Increase microphone quality...

[bowler_man]

Hey everyone. I'm brand new to these forums; this is my first post. I hope I can learn a lot from you guys, 'cause I'm pretty new to all this home recording stuff!

Anyways, I've got a question...I use an MXL 992 condenser microphone for recording vocals. The microphone is okay, but I'm not in love with the sound it gives me. Are there any simple effects I can add to a vocal track to make the microphone sound better? I find adding just a hint of reverb helps a little, but I was wondering if there are any other steps I can take to improve the quality of sound. I'm using Adobe Audition 1.5 as my software, and an Alesis 4-channel USB interface mixer.

Let me know if can help me out, I'd appreciate it a lot. Thanks!

-Jimmy

 

[slowmotion]

Sorry to be Captain Obvious, but nothing will increase your microphone quality; it will always sound as it does (short of getting out the soldering iron). Even a really expensive preamp won't change the sound of the mic; which is why people keep chasing more and more gear... but don't worry about that. What you want is to increase the quality of the recording (I think).

That said, vocal tracks can do with a bit of reverb, bit of compression sometimes (don't go mental). Since you're using simple stuff just keep it simple I reckon, make sure any EQing is only subtractive (like you don't want to boost frequencies that your mic is missing or you'll only be boosting noise). Maybe even try a sonic maximizer type thing too; like a BBE or whatever...

That said you may never find the sound you like; sorry to sound brutal; but that's why the big studios have a million mics to suit various styles and stuff... so they can suit the mic to the source they are recording to get the sound they want. You don't have that liberty (and who really does at home) so you're kinda stuck with "fixing it in the mix" as it were.

Is there something in particular that you disliked about the sound? Too brittle, too muffled? Too thin? Let us know.

 

[kidvybes]

...actually there are a couple of "tricks" that are used quite frequently in pro studios, while not considered "purist", but somewhat effective at making "so-so" vocals sound better...the most common of these is "doubling" vocal tracks...create a duplicate track (most recording software will have a "copy" or "duplicate" function) and put it on another track in your DAW perfectly aligned with the original track (moving the track ever so slightly behind the original track will create a very basic "reverb" effect)...what I learned while working in a pro studio was applying this technique by creating a 2nd duplicate track, and processing or EQ'ing it to bring out what was lacking in the original (pitch-shifting to create more depth, more bass to create a "bigger" sound, or more high-end to make the vocal track stand out in a mix)...by adjusting the volume between the 2 vocal tracks (keeping the "tweaked" vocal track lower in volume than the original vocal), you can create a sound much more to your liking..."doubling" vocal tracks is very commonplace and can be a very effective tool in "tweaking" a vocal that is less than desired...keep in mind that there are no definitive "rules" in recording...had there been such rules, the Beatles would have never created tracks like those in their "Sgt. Pepper's" album...like Joe Meek once said, "if it sounds good, it is good"...

***More great tips here:
http://www.soundonsound.com/sos/apr05/articles/protoolsnotes.htm
http://www.tweakheadz.com/how_to_process_vocal_tracks.htm
http://audiotuts.com/mixing-mastering/powerful-vocal-processing-for-the-home-recording-musician/
http://www.hometracked.com/2008/02/07/vocal-eq-tips/
http://www.harmony-central.com/articles/tips/vocal_processing_tips_1/
http://www.harmony-central.com/articles/tips/vocal_processing_tips_2/

 

[BudgetMC]

Sir Jimmy,

I'll be contrarian, and say there are lots of things you can do to improve the sound of a recording with a given mic. Among the most basic, and most important, is where you record with it. The 992, as an LDC, is fairly sensitive, and it is going to pick up "room sound." If the room is small and has no sound treatment, you are likely to get funky echo's and what is called "comb filtering" as the sound waves smack each other around in unfortunate ways. But, one of the odd things about rooms is that you can sound terrible in one spot and GREAT in another. So... first thing to do is move around the room and see how it sounds in one spot or another. You may well be amazed. Years back, before I thought such things were important, I used to just slap a mic up and start recording. Often it sounded bad. Once in a while it sounded great. Took me a long time to figure out why.

Next, preamps DO matter. A good preamp can definately change your tone, especially if you are currently using a crummy preamp.

And, EQ can work all sorts of magic. It doesn't have to be subtractive... it just needs to sound good when you are done. If it works with the mix it works with the mix. Sometimes that means a fat sound, sometimes that means sharp sound.

A host of other options are open to you. Multi-effects units can be very useful. Don't be afraid to try running the mic through a distortion pedal or guitar amp. I've gotten great vocal sounds using rotary speaker simulations. The key is to be creative.

That said, I own a boatload of mics. Different mics do have different sounds. Mics are all part of the tool kit. But, a $2000 mic isn't always better than a $100 mic. I'd put my money on a skilled engineer with a cheap mic over an idiot with a U47 Fet any day.

 

[bowler_man]

the most common of these is "doubling" vocal tracks...create a duplicate track (most recording software will have a "copy" or "duplicate" function) and put it on another track in your DAW perfectly aligned with the original track

I wouldn't know, because I haven't tried it, but would aligning the second track perfectly with the original make any difference at all? It seems to me like it would sound the same, since both tracks are playing at the same exact time...

Thanks for all the advice everyone, though. Slowmotion mentioned I should use compression. I have no idea what that is. Like I said, I really am new to all this. What does it do, and how do I do it?

And in response to changing my location in the room...where in the room (my bedroom) should I stand. For example, in a corner, smack dab in the middle, etc. Or will it be different for each room, and I just need to experiment?

 

[kidvybes]

I wouldn't know, because I haven't tried it, but would aligning the second track perfectly with the original make any difference at all? It seems to me like it would sound the same, since both tracks are playing at the same exact time...

Thanks for all the advice everyone, though. Slowmotion mentioned I should use compression. I have no idea what that is. Like I said, I really am new to all this. What does it do, and how do I do it?

And in response to changing my location in the room...where in the room (my bedroom) should I stand. For example, in a corner, smack dab in the middle, etc. Or will it be different for each room, and I just need to experiment?

...as to your first question, it will sound the same but a bit "bigger" or "fuller" (and louder, which you will have to adjust volume on the 2nd track to keep it from distorting) since you now have two tracks of the same vocal...read the articles I listed links to, as they will explain using a compressor, reverb, EQ'ing, pitch-shifting, and comping tracks...then go ahead and "play"...keep an original (untreated) track for safe-keeping just in case you over do it while experimenting...good luck!

 

[hairylarry]

Doubling vocal tracks

Hi,

There's always the old fashioned way where you sing the part twice.

This sounds much harder than it actually is. After a few times through you can even double you own nuance.

Definitely thickens the vocal and since it's two takes no need to misalign them.

Thanks,

Hairy Larry

 

[mshilarious]

If you copy a track and sample-align it without doing any else, it's the same as a gain change. You need to add some processing that creates a difference in the two tracks.

Or just do a second take, as hairylarry suggests. That's the classic method, and that's what I prefer as well. You need to work hard to get the performances consistent though, unless you want the Marvin Gaye effect.

 

[kidvybes]

If you copy a track and sample-align it without doing any else, it's the same as a gain change. You need to add some processing that creates a difference in the two tracks.

...some programs, such as Melodyne, allow you to do a "random pitch-shift" or "edit the file formant" on the second vocal track (copy), either of which can be a viable alternative to doing a "live" second take of the vocal, if you find it too difficult...I've recorded many vocalists who just can't seem to master the art of live "doubling"...but, no doubt, it is the best option if done well...

 

[AndyK12]

Compression is probably the least understood effect and the hardest to hear. It's like an automatic fader that you can control how fast it moves, when it moves, and how slowly it will return to the set point.

It reduces the dynamic range of a track so the lowest and highest amplitudes are closer which then allows you to raise the overall track level (if you want to). It usually provides a much fatter sound to the track and a consistency that most people's ears find pleasing. Too much of it is like the equivalent of Audio MSG - tastes good at the start but after awhile it makes you sick.

I usually use a parametric EQ set with a really sharp Q with a huge boost (+10 dB) and sweep it back and forth over a looped section and jot down notes to where the nasal tone sits, airy-ness, the spittiness, where the breathing is most prominent, if any low end information is screwing with the sound. I then keep the same Q and do a -10dB but and sweep back and forth jotting down any changes that I notice. Then depending on the type of music (ballad, roots rock, heavy metal) I'll try and boost and cut different aspects of the track until it sounds what I'm going for. I generally try and use EQ as something really intentional - otherwise your liable to jam EQ on every track when it's not really needed. Also, High Pass is your best friend. Always have an idea of what type of sound you're going after otherwise it's easy to just flounder with all of the options.

The best advice I ever got from audio school was when a studio owner said the most he spends on an individual track for a major label release is 2 hours (after his assistants edit it). After 2 hours you're just uncertain about how the track should sound.

 

[hairylarry]

compression on low voices

Hi,

I sing through an EV 649b lav mic velcroed to my harp rack. It's an omni so no proximity effect. On many songs I sing in a low pitched raspy voice.

When I compress my vocals track in post it's kind of like a bass boost. It enhances the raspiness and thickens the vocals but without any boominess that you can get with proximity effect or bass eq.

This doesn't work all the time. On the last show I did for some reason It wasn't helping and just made everything sound crappy so I just put a touch of bass on it.

This could also work well on studio tracks that don't have proximity effect because the singer sang 6 or more inches from the mic. Like with a pop screen.

Next time you have a male vocalist and the recording sounds thin try compression and see if it enhances the bass.

Thanks,

Hairy Larry

 

[acutemess]

good advice!

 

[Chylite]

whats good ya'll. im new to this site, but not so new to recording. since i have the low-budget studio at the house i want to weed out what i've heard from whats fact. i read through most of whats on this page and it disagree's with some things that i've heard. the most important thing to me is to get the maximum amount of clarity from my recordings. anything outside of my vocals can be ajusted in the post mixing, correct? as well i was told the two most important components of getting quality vocals is your pre-amp and microphone. i am under the impression that this is where you need to be more loose with your budget, so what would be a good make or model to purchase? im currently on a MXL 990. as far as a pre-amp, i record to a Fostex VF80ex. so i assume there is a built in pre-amp. if anyone knows anything post it up, or e-mail me. chyliteillsquad@gmail.com ;all advice would be appreciated.

 

[hairylarry]

mics and preamps

whats good ya'll. im new to this site, but not so new to recording. since i have the low-budget studio at the house i want to weed out what i've heard from whats fact. i read through most of whats on this page and it disagree's with some things that i've heard. the most important thing to me is to get the maximum amount of clarity from my recordings. anything outside of my vocals can be ajusted in the post mixing, correct? as well i was told the two most important components of getting quality vocals is your pre-amp and microphone. i am under the impression that this is where you need to be more loose with your budget, so what would be a good make or model to purchase? im currently on a MXL 990. as far as a pre-amp, i record to a Fostex VF80ex. so i assume there is a built in pre-amp. if anyone knows anything post it up, or e-mail me. chyliteillsquad@gmail.com ;all advice would be appreciated.

Chylite,

I use a Fostex VF160 and the preamps on it are pretty good. But I like the preamps on my M-Audio DMP2 better. The current version is the DMP3. I also have a Studio Projects VTB1 preamp which I like as well. Outboard preamps like this run about $80 a channel so you can see why no low end mixer or record deck can compete with them. They will make all your mics sound better.

For a different sound than your 990 try a dynamic mic. There is quite a bit of discussion on this at my fifty dollar mic thread but I'll throw a few out you might want to look into.

Shure SM57 or SM58 - The low end standard.
AKG D770 - A little smoother than the Shures and cheaper used.
EV PL80 - A real classic. A Jazz vocalists mic. Also inexpensive used.

EV has recently reissued the PL80. Has anybody tried them?

Thanks,

Hairy Larry

 

[stupidfatnugly]

...
***More great tips here:
http://www.soundonsound.com/sos/apr05/articles/protoolsnotes.htm
http://www.tweakheadz.com/how_to_process_vocal_tracks.htm
http://audiotuts.com/mixing-mastering/powerful-vocal-processing-for-the-home-recording-musician/
http://www.hometracked.com/2008/02/07/vocal-eq-tips/
http://www.harmony-central.com/articles/tips/vocal_processing_tips_1/
http://www.harmony-central.com/articles/tips/vocal_processing_tips_2/

very nice thanks