Tips for Dynamic Vocals?

S

shoggoth80

Member
Hey all.
I am searching for tips on how to get better sounds out of using a dynamic mic for home studio vocals. My current mic is a EV Co9. I am going to try to recall a mic that I loaned out to a friend (Samson Co1 condenser), but for the moment I am considering the fact that all I will have for project work is the one really solid dynamic.

This search goes multiple ways. As a singer, I like to move around a lot. Now, I remember reading that one trick was to set up a condenser for actual recording, and use the dynamic as a dummy. Until I get my other mic back, this isn't an option, but might be a good trick? To me a mic is something that is meant to be in the hands. Lol. Of course, a solid dynamic is good for this, as it has reduced handling noise compared to condenser mics.

I don't have my interface yet, but it should be shipping out soon. That ought to give some real, working information on what works better for getting sound down. I know there is no one blanket solution, which is why I am seeking for tips, or personal experiences. What has worked well for others?

I have a Mp109 preamp, and run a Tung Sol 12ax7 tube in it... replaced the SovTek a long time ago (but still have that tube as well) I put an ART preamp/USB interface on order a couple days ago. Naturally, both of these have gain, pad etc. After about the 3-4 o'clock position, the gain on the MP109 kicks in really mad. But being a more powerful vocal style (baritone. I can smooth things out, and belt...among other things), I can probably get away without having to use too much gain. I could also pad it, and crank the gain? I did some raw recording playing around with the Xbox mic... and while it does get sound through, it does sound muddy. Obviously this is just goofing around, and more appropriate tools will be used for actual tracking when it comes to that.

Sorry for being so wordy. I think that when asking questions, it is good to at least share some of the story behind why I think certain things may or may not work.
 
Last edited:
IDK? I would still put the microphone on a stand even the microphone cable will pick up some noise as it's bouncing around. Just get use to it.







:cool:
 
Lol. Yeah yeah...mic stand:D
I have one...somewhere. Dunno where though. It got gobbled by my folks' garage when I moved out, the first time. :laughings:

Now, I am a fan of the old round based straight stand. However I do understand a boom might be useful for other reasons. Last I recall, they weren't expensive things. Just a matter of whether I should grab a boom, and it could do a round robin for the other people involved? Or force other people to get their own gear? Lol.

I also subscribe to the theory that you do not need a huge amount of tech to make good music. Otherwise you can get caught up in gear mania. That's what happened the first time around, and I sank entirely too much cash into the endeavor (was a mic hoarder). I suppose there is an added benefit to being a little older, and light in the wallet, huh? :D

So, my other buddy that I loaned my budget condenser to is going to let me reclaim it, as the phantom power dumped on his interface. So, I will have to play around to see what makes the best sound after the interface I ordered comes in.
 
Get a mic stand. Tripod style is best for stability. Boom is good because it gets room to move around under the mic. If you are recording, you do not want to be handling the mic, it's that simple. Get over your live performance-style of holding the mic while singing.
 
Any tips for getting the "best possible sound" (a relative term) out of a dynamic cardoid? In tech tip terms anyway. I'll either find my mic stand, or just eat it and buy another.
 
shoggoth80 said:
Any tips for getting the "best possible sound" (a relative term) out of a dynamic cardoid? In tech tip terms anyway. I'll either find my mic stand, or just eat it and buy another.
Click to expand...

shoggoth80,

Many folks have successfully used a dynamic mic when recording, but don't "dance around" holding the microphone while doing so. Folks have suggested you need to use a stand and perhaps a boom attachment to let you "move around" the microphone as you like.

You'd be wise to follow the advice given instead of insisting on doing what you've been doing. You've asked for help and it was given. You are free to follow it or ignore it.

Best wishes,

Lloyd
 
shoggoth80 said:
Any tips for getting the "best possible sound" (a relative term) out of a dynamic cardoid? In tech tip terms anyway. I'll either find my mic stand, or just eat it and buy another.
Click to expand...
I'm not sure what "in tech tip terms" means exactly, but first of all, lose the concern about the mic being a dynamic mic. That matters very little to either your vocal or your electronic technique. It's kind of like worrying about your driving style based upon whether you have a gasoline or a diesel engine.

Being a cardioid, though, you do have to watch for "proximity effect"; i.e. the tendency for the bass response to increase when you move extra close to the mic on-axis. This is not always a bad thing necessarily, but you need to be conscious of it and use it when you want it and avoid it when you don't.

And regardless of the type of mic you have or use; "work it". This means knowing how to back off the mic when you're screaming and getting a little closer when you're not, to help keep your levels within a sane volume leve regardless of what your voice is doing.

G.
 
Well, as far as tech tips go... I was wondering if anyone had a ballpark level setting, or a ballpark gain, stuff like that. I know a lot of that depends largely on the singer, style, volume etc. Was just trying to get general input on that end.

I'm getting my budget condenser back from the friend I loaned it to, then I can do a comparison of the sounds between my mics, and run with which one I like best. I know there are some dynamics that are specified as solid studio staples (I think it is the SM7)... basically was wondering if there was anything special that I would have to do for using a dynamic in place of a condenser (such as add gain, pad or no pad).

I'll have about a week to go before I can really experiment though, as my order for the interface glitched, and MF canceled it... so I re-ordered using the checkout on their site instead of paypal this time around.

I understand proximity effect, and mic technique decently well, but I am sure that actually trying to get it *just* right when tracking will be a new learning experience. Good to know that using a dynamic is not always considered a detraction when laying down vocals in studio. Like I said, I used to be a mic hoarder/snob... I guess I still have to work on ditching that mindset. Lol. Actually a cardoid dynamic should be decent given what I am working with and where the computer is located. Should help keep out undesired sounds. ;)

"You'd be wise to follow the advice given instead of insisting on doing what you've been doing. You've asked for help and it was given. You are free to follow it or ignore it."
-I intend to follow it. :D I just try to eek out as much possible information as I can about things. I suppose the stand is the #1 way to get consistency of course. If I haven't found my stand by Friday, I am just gonna go buy another.
 
shoggoth80 said:
Well, as far as tech tips go... I was wondering if anyone had a ballpark level setting, or a ballpark gain, stuff like that. I know a lot of that depends largely on the singer, style, volume etc. Was just trying to get general input on that end.
Click to expand...
I understand the desire to get such info. Unfortunately it doesn't much work that way. Like you say there are a lot of variables involved, and what settings you wind up needing pretty much have to adjust for those variables, and not follow many set rules.

Though one general one I would suggest, however, is don't fall into the old trap of recording your levels as hot as you can That's an old piece of advice which really doesn't hold too much water any more. Just let your signal lay to disc (or tape, or smoke signal, or whatever you got) at a medium level, leaving several dBs between your peaks and the top of the scale, and you should be just fine. Your mix will thank you for it later.
shoggoth80 said:
I'm getting my budget condenser back from the friend I loaned it to, then I can do a comparison of the sounds between my mics, and run with which one I like best. I know there are some dynamics that are specified as solid studio staples (I think it is the SM7)... basically was wondering if there was anything special that I would have to do for using a dynamic in place of a condenser (such as add gain, pad or no pad).
Click to expand...
Not predictably. Once again, it depends; every mic has it's own personality, and it really doesn't all that neatly break down cleanly between dynamics and condensers. Better to not so much think of it that way and just go with the flow, see what hand each mic deals you, and play that hand to the best of it's own ability.

G.
 
shoggoth80 said:
Well, as far as tech tips go... I was wondering if anyone had a ballpark level setting, or a ballpark gain, stuff like that. I know a lot of that depends largely on the singer, style, volume etc. Was just trying to get general input on that end.

.
Click to expand...
It all depends on how your board or preamp responds. Generally, you want a strong clean signal coming from your preamp. When setting your preamp gain you want the idiot light to blink ocassionally on the loudest part of your vocal only. For a dynamic, it's generally a little past halfway on your trim knob, for a condensor usually less. Once you set the gain then it's all about balance. EQ and mix the channel to taste or need.
 
whenever i get a new mic i always plug it in and start with the gain at 0, then add gain until there is a strong signal. then just play with it to find the sweet spot for what you're doing. sometimes less gain is great sounding, other times it needs to be pushed pretty hard. Pad doesn't really matter much unless you wanna drive a tube section without peaking. i'd ignore the pad unless you really need to use it to keep the tone without peaking.
 
aaronmcoleman said:
whenever i get a new mic i always plug it in and start with the gain at 0, then add gain until there is a strong signal. then just play with it to find the sweet spot for what you're doing. sometimes less gain is great sounding, other times it needs to be pushed pretty hard. Pad doesn't really matter much unless you wanna drive a tube section without peaking. i'd ignore the pad unless you really need to use it to keep the tone without peaking.
Click to expand...

What are you talking about?go back to high school and learn how to spell and write...
:mad::mad::mad::mad::mad:


:D
 
guitaristic said:
What are you talking about?go back to high school and learn how to spell and write...
:mad::mad::mad::mad::mad:


:D
Click to expand...

umm, I'm not the greatest speller, but I think all of the words in that post were spelled correctly using conventional English spelling. I don't always capitalize but I'm not sure why I need to go back to high school and where this anger is coming from.

Maybe you have an issue with the content being very self evident, but I thought it might help the the poster. Sorry I thought pointing out that each mic had its own personality might be useful.
 
Is this a thread? OP, get a stand and a pop filter.

My favorite vocal mic is a cardioid dynamic, the wonderful RE-20. Check it out.
 
You must log in or register to reply here.
Back
Top