close mic/pre delay...

  • Thread starter Thread starter paresh
  • Start date Start date
P

paresh

Member
Hi guys - I'm sure this has been discussed but I cdn't find exactly what I want in archives: I use a ribbon mic for vocals in the studio, straight on, about 12 inches away - no further - bec it doesn't have much output. The result sounds "too direct" to my ears. I'd like more of a predelay effect but want to be sure I'm doing all i can before i start adding FX. I've never really done anything w mixing in a room mic bec of possible phasing problems & also bec my room isn't that great to begin with. If anyone has any thoughts I'd appreciate it. thanks
 
If the rooms a problem do some sound treatment on it or try a different room.
 
P.S.
pre delay is a control on some effect units that gives our ears a sense of the room type the reverb's in. The amount of time it takes to recieve the first reflections, thereby giving a cue as to the room size and characteristics.
 
try another mic like 6-8 feet away, near a wall.

other people will tell you not to do this, but the worst that can happen is you try it and it doesn't work. for me, I find that it works for exactly this purpose.
 
Or look into either a better ribbon mic, or a preamp capable of driving better levels. Personally though, experiment with som light reverbs though first, and a little EQ on the voice as well. That should take care of most of those problems:)
 
paresh said:
.. I use a ribbon mic for vocals in the studio, straight on, about 12 inches away.. The result sounds "too direct" to my ears. appreciate it. thanks
Click to expand...
Let's toss is some of the possible variables...
Short delays and reflections (less than about 40ms), tend to blend with the signal as 'one' to the ear. So these can be thought of to be used to 'blur or thicken (mono for example) or thicken/spread (perhaps for stereo). Double-tracing sort of falls in there too. As the times get farther out, the effects tends toward 'depth.
The first portion of reflections in our smaller rooms could fall into that, and you may be getting a bit of that at 12 inches. As you move back, naturally the room effect will increase, but the initial image will also shift to 'less intimate'.
So it's a mater of balance. Does the room give the type of tone and spread that fits? Will it be 'too much' and or too mono' as you add compression and it gets brought forward in the mix? Maybe take what you have and experiment with some short delays and early reflection portions of some room/verb patches in a mix.
Wayne
 
If you're trying to get that 'distant' sound, I recommend going with the most cheap-ass dynamic mic you can find, and place it off-axis at about five feet (i.e. direct your singing or playing to a point about three feet to either side of the mic). You might also boost the highs with a high shelf filter. Experiment for the optimum frequency....

Run the result through a reverb filter. Use a much wetter mix than you normally would (more reverb, less direct audio). Set the HF roll-off fairly high. -Now- set a long predelay with long tail, etc.
 
You must log in or register to reply here.
Back
Top