M
macroman
New member
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.
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.