Bono's vocals

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I'm just beginning here, and in the process getting to have a lot more respect for my engineers!

On a first attempt at recording vocals, I was not at all happy with the resulting sound. The vocals *really* stood out, thin and impersonal in the end mix, not warm at all.

What I think is a great example of good vocals is Bono's vocals recordings in just about all of U2's songs. The sound is personal, fat, and spread out wide across the mix, rather than in one isolated center. It's got the impression that he's just singing to you in a room.

How do you do that?

For starters, I'm sure it's superior recording equipment, but any pointers would be great. Compressors? Reverb? Delay? EQ?

I know there are other threads discussing vocals techniques, but how about some discussion centered around the U2 reference point?

What do you think about U2's vocals recordings? Help me understand what's happening there that I'm appreciating so much.
 
This is probably not what you're going to want to hear. Basically, it's just a good singer, good room, good mic, good compression and eq, etc. etc.

To me, it doesn't sound like there's any special tricks or magic going on with U2's vocal sound.

The Edge's guitar sound is a whole nother story, now. :) I'm sure there have been whole articles written about the various tricks/techniques and the like that he uses . . . not the least of which would be judicious use of delay ala David Gilmour.
 
You said that it sounds like the vocals are "spread out wide across the mix, rather than in one isolated center" When you record have you tried .. depending on what type of recorder you are using, copying your vocal track and panning one at say 1-2o'clock and the other at 10-11 o'clock... might make the vocals sound a little fatter.. maybe evening moving the copy of the vocal track a millisecond or two forward or back to really fatten the vocals.

Porter
 
hmm

wouldn't that give a similar effect as Short Delay?
I noticed in rap, they re-rap over top of they're main recording, and have it quiet in the background, like a chorus, but, a seperate take, with different expression, etc...
 
They do a lot of tricks with Bono. He is a great singer but if you listen to the older albums the vocals are much more natural sounding.

The last few albums it sounds like there is a lot of doubling. They are also pretty liberal with flangers and distortion.

A lot of compression and a touch of stereo flanger can give you a really warm and 'in your face vocal'.
 
I agree with porter. Copy the tracks and pan them out. Also, if you do use a short delay UNDER 20 ms, it'll help. Because of how we percieve sound, we can't detect a delay of under 20 ms, so anything under that won't sound like a delay, but like a real fattening of the sound. Try both, it should really help to thicken it up.

***Justin***
 
actually tex, that is true...but not with "All That You Can't Leave Behind"...the 2000 release.

Personally, I love this album...and I think it is an engineering masterpiece.

As far as the vocals, the first time I heard it I was sprised. They really just stand right out there....unlike most of the 90s stuff like Achtung.

There seems to be a minimal amount of effects on it to me...

it sounds very dry. Some slight reverb....and not very much compression. There actually are some dynamics to the vocals.

I have read that they tracked some of the vocals with a Beta 58 - (close to an SM58) to give Bono a little more edge (no pun intended). hehe.

The vocal takes on the album also are not perfect....and also not always particularly flattering...(some of the falcetto on say, "in a little while" and "elevation" is a bit rough around the edges)....but...that is what makes it beautiful and natural sounding to me.

So, how do you get that sound - well, experiment with a dynamic mic, certainly....but thats gonna depend on your voice. Bono was really "pushing" and getting raspy on the last album...so, it worked well for that character.

In terms of placement - the copying thing is worth a shot...but, it might end up having that typical "thinning" effect that doubled tracks do sometimes.....don't know. I think if you stick it right in the center you should be able to get a pretty good spread that way...

The nice thing about that whole album....is that the results arn't unattainable. It is certainly an engineering masterpiece to me....but, from a stripped down perspective. I think in a couple of years I'll be able to get a sound like that - it's just a rock band.

Hopefully there will be some more good posts in this thread...I love U2, and it seems they are always hated on in this board.

You got the Elevation tour DVD? Brilliant. Such an awesome concert, and awesome filming....great documentaries on there too.
 
btw - what mic were you using when you got the thin sound?
 
Wes,

I couldn't agree more on All That You Can't Leave Behind. A masterpiece, in my mind eclipsed only by Joshua Tree. So any tips/thoughts on vocals or anything else on that record would be GREATLY appreciated.

This is off the topic slightly, but the wall of reverby background vocals/synths early in "Beautiful Day" is awesome. But what is it? Just great vocals and awesome reverb, or something else??

Fab
 
Wes,

The mic I'm using is a Groove Tubes GT55. Not the best of mics, I know, but this isn't my day job!

Last night I tried creating a little "vocal room" by surrounding myself with hanging blankets, and I think the vocals came out warmer. Now if only I can sing in tune and in time...

Thanks everyone.
 
Bono records his vocals with a Shure SM58 in the control room with the monitors screeming. This is a well known fact. It's amazing how different mics suit different singers.
I don't know what preamp they use, but I'm sure it's top end.

Mark
 
hey, you're welcome. IMO the sound on sound archive is one of the greatest things on the net.

David.
 
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