Controlling bleed over from affecting pitch correction units via mic selection

JeffF

New member
Scenario: In situations where a vocalist is new to multitracking, it seems that on occasions using closed-back headphones may make it difficult for that vocalist to find his/her voice in the playback. If semi-open headphones may be helpful for such vocalists, bleed over must be addressed.

Some resources suggest that controlling bleed over with the semi-open cans is achievable by balancing input level to the phones so that whatever minimal bleed over that is picked up is not readily heard behind the stronger level of the singer's voice.

Potential problem: In using a subtle-pitch-correction unit in series with the mic, I am concerned that even lowered bleed over might affect the pitch correction unit's functioning. (I'll be recording vocalists only with playback in phones, no played music in room.)

Of questions, please. . .

1) Has anyone run into such a situation of bleed over--especially from semi-opened back phones but in general, too--affecting subtle-pitch-correction units? (I'll be using TC Helicon's G-XT or an older Correct unit.)

In controlling semi-open-back phones' bleed over in general, with or without pitch correction a concern. . .

2) Does the type of mic affect controlling bleed over? For example, are cardioid dynamics over condensers somewhat less sensitive to bleed over?

3) If so, would an off-axis rejection type dynamic be an even better choice for vocal mic'ing in reducing pick up of bleed over from semi-open headphones?

4) Lastly, any comments on your impression of the sound of the Rode M1 with male and female singers is appreciated.

Answering any single question would be helpful and appreciated.

Lastly, I've got a medical issue to address this week so I will not able to reply for a couple of weeks but I'll be checking replies every other day--learning along the way of recuperation will be uplifting.

Thanks for sharing insight, JeffF.
 
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