For vocals should I use a....

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Gregwor

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Should I use a Audix OM6, Audix 3xB, SM57, SM58??

I wish I owned some really high class mics, but I'm making due with what I got.

Oh, yeah, I recently used a 57 at about 8 inches, forhead height pointing down at the nose/mouth and it sounds like garbage....now I have to make the guy sing it again. I've heard so much good things about this sort of placement, but I am sadly disappointed. Any other ways to smooth out the vocals other than some compression or awesome vocal technic? The only part of my recording seems to be the damned vocals. Help if possible. Thanks. Greg.
 
Didn't have any pop problems. It just sounds so damned dull and not pro at all. The rest of the record sounds pro....the vocals are just slaughtering my work.....but to answer your question, yes I did.
 
Then try pointing the mic directly at his mouth. The only reason I can imagine anyone wanting to point the mic down off-axis like that and so far away would be to minimize pops. If you've already got a good pop filter, then bring the vocalist in a lot closer - like maybe 2-4 inches, and sing directly at the mic.

Positioning is everything. Especially with the 57.

Does he have a good voice or technique to being with?
 
Yeah, his is killer. I think I will do that, but it sure will suck trying to explain to him that he has to redo all his vocal tracks. He can pretty much get them all in 1 take though, so it is all good.

What do you recommend for efffects and shit for a wicked vocal sound?

What frequencies should I try to put the vocals into. Most pro recordings sound like their vocals have alot of every frequency, but no.
 
Gregwor said:
It just sounds so damned dull and not pro at all. The rest of the record sounds pro....
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What kind of preamp/signal chain are you using? In my vastly limited experience, dynamic mics are very sensitive to the loading characteristics of the input. On one preamp my SM58 sounds bright and clear - on another, dull and lifeless as you describe.

I think I would mic the singer using the same axis but maybe from 3 or 4 inches away if you have no problem with plosives. Here's a website that gives some fundamental info on recording techniques. Go to Microphone University/Application Guide/Miking Vocals.

http://www.dpamicrophones.com/index.htm
 
Yea, it's kinda' tough having to tell someone to do it over again. What I usually do (as opposed to admiting guilt) would be to tell him you think that you can get it a lot better. :) Like you've discovered this new technique, or you have a new voice processor and get him all excited about it.

If he's that good, then I wouldn't worry about what frequencies to boost or "killer effects" or anything like that. If it ain't broke, then don't break it. Just play with the mic untill you think you've found a sweet spot and then run with it. It will be different for every voice.

And you are using some sort of compressor at some point, aren't you?
 
I'd grab the OM6 first out of those, but I've gotten very good results with the 57.

Please answer crazydoc's question about the rest of the chain. What's your preamp? Any other processing on the way in? The way in to what? Are you recording on a consumer soundcard, prosumer interface, pro A/D converters to a pro digital card, some variety of analog? These things make a difference.
-kent
 
THE GUILT

I don't want to answer your questions.......sorry, but I am ashamed. I spent all last night mixing. I actually screwed around with my EQs and found a sweet spot that really brings out his voice (not the crappy 'in your face' sound though). It actually smoothed out his vocals (which I was concerned about and thought I would need to compress it), so I kinda killed two birds with one stone. I am running into a DAW. I don't own any effects. So I was planning on adding effects later (during mixdown). The recording actually sounds really killer now. I still wish I could re-do his vocals just to see what I COULD get out of it, but I probably can't. Thanks for all your help. My future recordings will be greatly improved with the consideration of your comments.

Future = compressor right off the bat = play alot to find the sweet spot BEFORE laying it down and fighting with it later
 
This is exactly what i was talkin' about. lol

SM57 sound dull to me.
 
There's really two ways to do it:

* If you compress on the way in, I would keep it fairly light, and I would position the mic and eq it the way you like it BEFORE it hits the compressor on the way in. Remember, if you overcompress, you're stuck with it. And changing eq after compression competely messes with the dynamics.

This is more of a "get it right on the way in" method. It takes more experience and practice to get this method right.

* Then there's the "track it as is and muck with it later" philosophy. Use mic positioning to get the sound the way you like it, without obsessing over it. I would use a peak limiter just to catch any freak transients that might otherwise cause digital clipping (yuck!).

From there, you can use plugins for EQ, compression, effects, etc. to shape it after the fact.
 
rapper2001 said:
This is exactly what i was talkin' about. lol

SM57 sound dull to me.
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The reason the 57 sound dull is cuz it less forgiving. What you expect for $75 dollar mic? If you take time and learn how and where to point it and use it right, no more sound dull. :)
 
The 57 is definately not a dull mic. It's tuned for alot of high mids....which will sound bright. I just positioned it in such a way that it was, I suppose you could say, 'out of range'. The 57 is an awesome mic.

**By the way, they are $150 here in Alberta, Canada.

Any good (kinda cheap) brands/models of compressors for me. Single channel is all I need. Thanks. Greg.


Hey rapper....do you for real rap? I think your problem with it being dull is not the mic, but what your running it into. :) Do you have tweeters on your speakers?;)
 
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