Microphone + EQ Questions

[hcaulfield]

I am hoping that this is the right section to be posting these questions in. If not, I do apologize and please feel free to move the thread.

Any advice on the following questions would be very much appreciated:

Microphone:
1. When recording vocals, is it better to turn on the low cut switch during recording, or should it be kept off?

2. What's the best distance to stand from the microphone to get the best results?

3. (This is basically a 2nd part to question #2) When using an external microphone pre-amp, how do you determine your levels with your distance?

4. Should the -10db switch be turned on or off (given there is one on the microphone)

EQ:
1. When recording vocals, do you find it more comfortable to record with eq/compression on the monitor mix? Or is this considered a no go?

2. Is tracking vocals to an already mixed song (eq/compression on everything but the vocals) a bad idea?

I hope these questions aren't dumb. I am just trying to get a little more familiar with how to get better vocals at the source to save me time later on.

Thank you all!

 

[gecko zzed]

I am hoping that this is the right section to be posting these questions in. If not, I do apologize and please feel free to move the thread.

Any advice on the following questions would be very much appreciated:

Microphone:
1. When recording vocals, is it better to turn on the low cut switch during recording, or should it be kept off?

Under most circumstances it won't matter that much. You can turn on the low cut when tracking, and you can also replicate this function in your DAW if you need to.

2. What's the best distance to stand from the microphone to get the best results?

This is almost a "how long is a piece of string?" question. It depends on the singer and the style of singing. Most of the time, though, when I'm tracking singers, they tend to sing about 6" to 10" from the mike (15cm to about 25cm).

3. (This is basically a 2nd part to question #2) When using an external microphone pre-amp, how do you determine your levels with your distance?

I can't answer this. I don't use an external preamp. I use the preamp in my Firepod.

4. Should the -10db switch be turned on or off (given there is one on the microphone)

The -10db pad is intended to give the mike a sporting chance with very loud signals. I don't bother with it . . . singers tend not to get that loud.

EQ:
1. When recording vocals, do you find it more comfortable to record with eq/compression on the monitor mix? Or is this considered a no go?

I'm happy to live with an unprocessed signal in the monitor mix.

2. Is tracking vocals to an already mixed song (eq/compression on everything but the vocals) a bad idea?

Tracking to an already mixed song is not a bad idea as such. Mixing it later could be difficult. It can be tricky trying to make a vocal sit in an already compressed mix. If that's what you have, then yo have to live with it. However, if you have control of the backing (i.e. it is your mix), then you can change your mind about the mix once the vocals are there . . .the vocals may suggest a different approach.

I hope these questions aren't dumb. I am just trying to get a little more familiar with how to get better vocals at the source to save me time later on.

Thank you all!

Not dumb. My overall philosophy is to keep things as simple as possible on the way on. Focus energy on the performance, rather than technology, and secure a good performance. You can then use the technology to fiddle around after . . . and to undo things if you need to.

 

[Bobbsy]

I am hoping that this is the right section to be posting these questions in. If not, I do apologize and please feel free to move the thread.

Any advice on the following questions would be very much appreciated:

Microphone:
1. When recording vocals, is it better to turn on the low cut switch during recording, or should it be kept off?

Personal preference. For recording in a studio I'll usually do everything flat but, if tracking a live performance I'll switch on the LF cut as required to help the live mix

2. What's the best distance to stand from the microphone to get the best results?

Totally depends on the microphone you choose. Some, like the SM58 are designed so they need the proximity effect of working up close and personal or they sound kind of thin. Others, like LDCs generally want you to be worked farther away or the proximity effect will get annoying.

3. (This is basically a 2nd part to question #2) When using an external microphone pre-amp, how do you determine your levels with your distance?

Hopefully the external pre amp will have some kind of metering or at least a clip light you can back off from. We can be more specific if we know what hardware you have.

4. Should the -10db switch be turned on or off (given there is one on the microphone)

Again, it depends. Unless your mic is overloading don't select the 10dB pad. On most normal sources you won't need it but things like drums and guitar amps can get LOUD!

EQ:

1. When recording vocals, do you find it more comfortable to record with eq/compression on the monitor mix? Or is this considered a no go?

Let yourself be guided by the vocalist. Some like things totally flat, others like a bit of EQ and/or reverb. Avoid compression though...it can lead to vocalists chasing their dynamics and trying to get louder and louder the more the compression kicks in.

2. Is tracking vocals to an already mixed song (eq/compression on everything but the vocals) a bad idea?

Try not to but I bet we've all had to do it sometimes. However, the more options you can keep for the mix the better.

I hope these questions aren't dumb. I am just trying to get a little more familiar with how to get better vocals at the source to save me time later on.

Thank you all!

Hope my answers help at least a little.

 

[hcaulfield]

Thank you both for your replies. I appreciate the advice and help and will put it all to good use!

 

[Seidy]

For vocals I usually switch low cut on, but before that I check the specifications to see where and how deep the low cut is. Why to switch on? Less low frequencys to keep pre from overloading (for sudden and unexpected loud pops/singer hitting the stand/whatever). Also theoretically less processing in the computer saves the processing power.

 

[gcolbert]

1) The high-pass filter on most microphones is usually sloped to cancel handling noise with the singer/speaker moving the microphone in their hands. If the mic is on a stand you may want to keep it off to capture lower frequencies more accurately. If the singer must hold the like or play with the stand, turn in on.

2) Usually further away for condenser microphones, some dynamics (i.e., SM58s) want the source up close.

3) If the pre doesn't have a UV meter get a different pre...

4) If the mic is inside a drum or right in front of a guitar amp speaker you may want to turn on the attenuator. The mic specs will probably suggest pressure levels where it should be used.


EQ.

1) I prefer to record everything as dry as possible. Singers, however, seem to sing better if you can feed their headphones a bit of their vocals with some plate reverb and some compression. Better to add these in the monitor side rather than the recording side.

2) no idea.

Glen

 

[Seafroggys]

I'm a fan of always using high-pass filters on mic, since I use high pass filters very liberally. I only don't use them if I'm specifically recording bass instruments (like using a condenser on a bass drum or cab).

 

[Bobbsy]

1)

1) I prefer to record everything as dry as possible. Singers, however, seem to sing better if you can feed their headphones a bit of their vocals with some plate reverb and some compression. Better to add these in the monitor side rather than the recording side.

Completely agree on recording dry and also about the reverb in the monitor feed. However, in my experience, compression can be very dangerous, particularly with singers used to controlling their own dynamic range. If compression or limiting kicks in while they're trying to get softer or louder, they can "chase" levels trying to defeat the compressor and the whole thing ends up a mess.