Vocal recording technique

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macroman

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Hey all... My very first post!

Anyway...

I applied a technique that I have been using to record myself to a few other vocalists recently and they all said that it has really helped them when recording.

This requires the use of 2 busses on the console. The first bus is connected to the multitrack and the second bus is used for monitoring.

I assign the vocal channel to both busses. In the second bus I insert a compressor into the bus insert. I use the following settings:

Threshold - -20Db
Ratio - 2:1
Attack - 75%
Release - 35%
Output Gain - +10db

These settings really depend on the vocalist but these are good starting points. Someone with a wide dynamic range might need a 3:1 ratio and a slightly faster attack etc etc...

Since the compression is on the bus that is applied to the monitor mix it is not going to tape.

I then run a tap delay on the vocals in the monitor mix. I use only the left and the right tap. The delay time and feedback settings depend on the type of song and the singer. For example if the singer has a long sustaining notes a 330Ms delay on the left and a 331Ms delay on the right side with a feedback of about 20 should do. If it is more like a country song usually short delay and feedback times work better.

What this does for the vocalist is allow him/her to be able to hear every nuance of their voice. The stereo delay puts the signal in both ears and provides for nice ambiance. If the long delay is being used when the singer is sustaining a note this will actually keep them in tune (Most singers I have worked with, including myself, will sometimes fall flat when sustaining a note). The compression puts the signal right in their face regardless of the dynamics. All of this is going on and the recorded track is going down dry.

One other thing I have been trying recently is using in ear monitoring headphones for recording (I am using the shure E1 in ear headphones). You can hear more of your voice resonating inside your head and it also helps with headphone bleed onto the track.
 
Complicated

This sounds a bit complicated. It is normal studio practice to add some reverb to the headphone mix as this helps some vocalists to hit the notes. Other than that, you may find that going to all that trouble may have a negative effect for some musicians if you keep them hanging around while you get the right level of compression etc etc.
 
You route it to two busses? Why? I just take the output of the mic pre, send it to a track on the recorder, set up a cue mix and if the vocalist wants reverb or delay, I send it to their cue mix and the effect doesn't record. I don't like routing something like voice or acoustic instrument thru the mixer and out of a buss. I want the shortest path to tape.
 
Correct me if I'm wrong..... but if you take a signal and split into two busses, one going to tape as a the destination, and the other a source of monitoring, won't both of those siganls be much weaker than if you designated it to one buss?

RF
 
Track Rat, I run it through a second bus because I monitor from the board. I assign the bus to the monitor mix on the board. Maybe you and I are talking about 2 different items or there is just more than one way to skin cat.

The Byre, I completely agree with you however, some vocalists (Myself included) don't like the whole just give me reverb thing... Another thing is it doesn't have to be an exact science to get these settings to an acceptable level. This is only for a monitoring mix.

Whenever a vocalist can here every little nuance of their voice in both ears I think (and this is just the opinion of myself and a few other vocalists, this isn't a one size fits all solution) that it helps for things like phrasing and sustained notes.
 
Track Rat said:
You route it to two busses? Why? I just take the output of the mic pre, send it to a track on the recorder, set up a cue mix and if the vocalist wants reverb or delay, I send it to their cue mix and the effect doesn't record. I don't like routing something like voice or acoustic instrument thru the mixer and out of a buss. I want the shortest path to tape.

Absolutely right - the method proposed leads to unneccessary loss of quality.
Second - the less reverb a vocalist can live with in monitors the better, and also, preferably keep any delay completely out of the monitors.
 
Hmmmm...

No... no... no...
Some singer might be happy to hear monitor with reverb. But they usualy unhappy after they hear the result recorded. Slightly out of tune. Flat. Keep the monitor away from FX and Low frequencies, giving the vocalist more control on the recording section. It's natural psycho acoustic things in brains that leads singer -with certain amount reverb and/or low frequency on monitor- to singing unpitch. Couple cents flat. Some may be good (long years experienced live performer who gigs often with loud stage monitors). But most often, the first case happens. :eek:
 
Re: Hmmmm...

James Argo said:
No... no... no...
Some singer might be happy to hear monitor with reverb. But they usualy unhappy after they hear the result recorded. Slightly out of tune. Flat.

:D In other words ....... yes......yes........yes......????
 
Hmmmm...

No... no... no...
Some singer might be happy to hear monitor with reverb. But they usualy unhappy after they hear the result recorded. Slightly out of tune. Flat. Keep the monitor away from FX and Low frequencies, giving the vocalist more control on the recording section. It's natural psycho acoustic things in brains that leads singer -with certain amount reverb and/or low frequency on monitor- to singing unpitch. Couple cents flat. Some may be good (long years experienced live performer who gigs often with loud stage monitors). But most often, the first case happens. :eek:
 
Ups... sorry. 1st time I hit the submit, error. Back and hit the submit, error. Three times... I ve got two post hanging here. What the...?

And sjoko2... YES... YES...YES...!!!:D
 
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