Screamer/Growler mics

What's the go to mic for "Screamers" & "Growlers"

  • MD-421

    Votes: 5 14.3%

  • SM-7

    Votes: 9 25.7%

  • RE-20

    Votes: 3 8.6%

  • SM 57/58

    Votes: 18 51.4%
  • Total voters
    35
Clit Torres

Clit Torres

New member
Just curious as to see what people reach for when they get a screamer or growler into the studio. Dynamics are all that I included in this poll, but I'd also like to see what condensors people have had success with. Right now I personally use either an sm57/58 or an AKG D112 on the dynamics side (cause I don't own the others listed in the poll), and on the condensor side my Kel HM-4 has been taking screamer duties. :)

I was also wondering if any have or are currently using the e609 for this application.
 
I just used a md421 and I feel that it sounds much nicer then the SM57, but it all depends of the voice. The guy had a throat voice, not much of beef so I liked the bottom and low mid that the md421 gave me more then the SM57.
 
Clit Torres said:
I was also wondering if any have or are currently using the e609 for this application.
Click to expand...

I will tomorrow. I will let you know. A band called Fate of the Fallen. Check out some of their old stuff at fateofthefallen.com

If you like metal, they seem pretty good.

Another note on the 609, we used 3 tonight on toms, and they were pretty amazing. Direct into Mackie Onyx 1640, firewire into Cubase SX3.

Pete
Meter 12
BurnCycle Productions
 
battleminnow said:
I will tomorrow. I will let you know. A band called Fate of the Fallen. Check out some of their old stuff at fateofthefallen.com

If you like metal, they seem pretty good.

Another note on the 609, we used 3 tonight on toms, and they were pretty amazing. Direct into Mackie Onyx 1640, firewire into Cubase SX3.

Pete
Meter 12
BurnCycle Productions
Click to expand...

Will definately check out that band.

And hit us back when you test the 609 on vox. I'm definately pickin up a couple for toms and cabs.

Thanx for the info. :)
 
I've been recording my sons hordcore band with screaming/growling vocals and I'll give a little insight on what I learned so far.

#1, the vocals can't be super clean or "pristine" :rolleyes: , I'm thinking that a decent tube pre with a little warmth and grit would be the ticket here but I haven't tried it yet.

#2, so far I've tried a Beyer M88, Beyer M400, SM58 and SM57 on vocals and the '57 was the best by far. I had my Beta52 out the other day and tried a little vocals with it and I think that it may work on this singer! I have to give it a shot.

#3, hardware compressor. I used about 4:1-5:1 on the full range of vocals and it worked very well. Its actually the most natural vocal setting that I have been able to get out of my old dbx166a to date. I used to use it like a limiter with a hard compression (8:1) starting at the middle of the dynamic range. :( I really wish that I knew how to work that thing 15 years ago, I have tons of songs with compressor "breathing" on the vocals. lol, WTF was I thinking. :D

How did the D112 work on vocals for you?
 
I saw on the DVD of Liam Lynch's CD (which was a self-produced humor CD), that when he recorded Jack Black's singing/screaming (THE Jack Black from Tenacious D, etc.), they had an SM57 RIGHT NEXT to a U87-looking mic. Has anyone tried this? I just joined a new band with a "screamer" and I may try this when we record, although I may want to use my friends B1 or put the mic back a few inches...

- Jarick
 
Yareek said:
they had an SM57 RIGHT NEXT to a U87-looking mic. Has anyone tried this? I just joined a new band with a "screamer" and I may try this when we record, although I may want to use my friends B1 or put the mic back a few inches...

- Jarick
Click to expand...

I am going to be trying the Studio Projects B1 w/a 57 for fill. I will also be trying an AT4040, a Shure KSM27, and one of the new Audix i5 dynamics (which is an amazing snare mic.) I'll post some samples when I get them.

Pete
 
franksquid said:
I've been recording my sons hordcore band with screaming/growling vocals and I'll give a little insight on what I learned so far.

#1, the vocals can't be super clean or "pristine" :rolleyes: , I'm thinking that a decent tube pre with a little warmth and grit would be the ticket here but I haven't tried it yet.

#2, so far I've tried a Beyer M88, Beyer M400, SM58 and SM57 on vocals and the '57 was the best by far. I had my Beta52 out the other day and tried a little vocals with it and I think that it may work on this singer! I have to give it a shot.

#3, hardware compressor. I used about 4:1-5:1 on the full range of vocals and it worked very well. Its actually the most natural vocal setting that I have been able to get out of my old dbx166a to date. I used to use it like a limiter with a hard compression (8:1) starting at the middle of the dynamic range. :( I really wish that I knew how to work that thing 15 years ago, I have tons of songs with compressor "breathing" on the vocals. lol, WTF was I thinking. :D

How did the D112 work on vocals for you?
Click to expand...

I definately agree that too "clean" or too "pristine" just doesn't cut it for a screamy type of vocal. I sometimes use my Art MPA to impart a little grit, but I find it muddies things up quickly if not used judiciously. Sometimes I'll use the Antares Tube to give me what I need when I'm looking for a little raunch to add to a vocal.

As for the D112, it has worked suprisingly well on both hardcore and pop punk tracks that I've done with a couple of different vocalists (just never seemed to suit my own voice very well).
 
Just wanted to let anyone who might be waiting know that the vox got pushed back a little. The drums took a little longer than we'd hoped. Hopefully we can get some stuff down this week vocally.

Pete
Meter 12
Burn Cycle Records
 
i'm not sure this poll is reliable, many people just vote for what they have.

i'd really like to know the answer though (i realize nothing works all the time)
 
Not a true screamer/growler, but I was watching that Metallica movie on VH1 last night and they almost always had Hetfield singing into the SM7 during rehearsals (occasional SM57, too). I think that's a pretty safe bet for capturing the nuances of the vocal without all the shimmery crap and proximity boom of many condensers.
 
OK, used an M-Audio Solaris, a BLUE 8-ball, a Shure KSM44 and an AT4040.

The best of all for this particular singer was....

























Drumroll please


















The M-Audio Solaris.

This mic was also the best for soft, falsetto style from this same singer. The KSM had a slightly better overall sound, but despite different placements with different and even multiple pop filters (nylon and stedman), it was very sensitive to plosives. The Solaris seemed to perform best with the roll off switch and the 10db pad activated, in figure 8/dual diaphragm mode. I will post a little more info later. It's time for bed.

Pete
Meter 12
Burn Cycle Productions
 
i've got a secret mic,
its a TECT , i've never seen ANY info on this brand,
found that 'silver' mic in a box, six years ago,
its my favorite vocal mic for live, and demo recordings,

it sounds so much fuller, more powerful, even brighter than a 57,
a 57 is nice,...but just lacks something...
i even think my TECT is a bit better than a 58 ..but of course,
my opinion and blablabla..

i wonder, did anyone ever use a TECT mic,
u got a link to a website or anything? i can't find info !
don't even know what type of mic it is (cardioid yes, but talking about model number)
 
I have seen several instances where a Shure SM7 was used for extreme vocals. Sounds like a good choice to me. I have been thinking of picking one up for that very reason.
 
so this is how i recorded screamed vocals on my bands ep that we're recording...
studio projects b1 and about 16 inches away using a home stereo speaker cover as a pop filter (holding it near my face while i yell).
granted this isn't retarded metal screaming, its more like a whiskey soaked cigarette tinged strained singing with the ocassional semi nicely sung bit and the ocassional all out screaming... but it sounds great with LOTS of compression.
if i ever needed a part doubled i did it with an es57 (shure 57 copy)
 
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