Vocal technique for condensor mic

[Garry Sharp]

Have just bought our female vocalist her first condensor mic. She's used to the SM58, moving back and forth to control volume, and is confused by my advice (?!) that she should stay at the same point all the time using the condensor.

We run it through a Trackmaster with fairly gentle compression - any other points to help her on volume control would be much appreciated.

 

[Gidge]

i think that same mic technique she used for the dynamic mic applies to condensors also......unless you are good at riding faders.....

 

[Henri Devill]

i think that same mic technique she used for the dynamic mic applies to condensors also......unless you are good at riding faders.....

Ditto..Also use your popfilter as a boundery.Good luck


Don

 

[Richard Monroe]

I think staying at one perfect distance from a condenser is probably bad technique, unless the singer has *no* dynamics, which I have never heard. The pickup pattern(s) of a condenser mic and its proximity effect is quite variable. You move relative to a condenser mic quite a bit. Guess what? I find it's very cool to *be somewhere else when you breath!*. Some songs and mics call for "swallowing " the mic and being wicked close to it. Others want to be backed off say, 8-18", but it's different on every song. Some mics just do or don't work for a singer on a specific song. The mic that just sucked could be great on another song. Ain't life a bitch?
Tell your singer that you move in and out on a cardioid condenser to control output and proximity, just like a dynamic mic, but like the difference between a truck and a sports car, little movements with the condenser produce big results. Your singer needs to learn what this mic is all about, and it takes time and practice. She must learn to play that mic, like a new guitar. It's an instrument, not a point and shoot camera, that just captures the sound you make. -Richie

 

[chessparov]

Be less "gentle" on the compression.
Worked for Motown when they recorded all those talented singers
when they were inexperienced with microphone technique.

Chris

 

[Gidge]

id rely on mic technique, riding the fader, and slight compression...you can always compress more later, but you cant take it away.....

speaking of Motown, copy the vocal track to another and compress the snot out of it and bring that one up under the origian track.....

 

[Garry Sharp]

Thanks guys - very helpful. I think my view that she shouldn't move was based on that point that the bass response grows as she gets closer, to which you're saying the answer is don't move very much.

As you say, we'll keep learning how to play it.

Thanks again

Garry