Showing posts with label vocals. Show all posts
Showing posts with label vocals. Show all posts
Sunday, December 26, 2010
Newtone Pitch & Time Editor
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Wednesday, February 25, 2009
Thursday, February 19, 2009
Setting Up for a Mix in the Studio
Very good tips on setting up for a mix. He is speaking about real drums, but you can get some basic pointers about mixing. Especially the order.
Saturday, February 7, 2009
Sunday, January 25, 2009
Friday, July 25, 2008
Thursday, July 24, 2008
Wednesday, July 16, 2008
Vocal Recording Microphone Techniques
Written by Loren Alldrin - © 2006,
Thomson Course Technology PTR.
This article is an excerpt from the following book: The Home Studio Guide to Microphones
The human voice is the most complex and flexible instrument of all, capable of an incredibly broad range of expression, tone and volume. There's also a great deal of diversity from one voice to the next, which mandates a flexible, try-anything approach to vocal recording. Your first-choice vocal mic may sound wonderful on a strong baritone and horrid on a breathy soprano.
Most engineers' favorite vocal mics are large-diaphragm condensers that tend to capture a large, articulate vocal sound suitable for most types of music. But some small- and mid-sized diaphragms can achieve a similar vocal quality. And dynamic mics, though not usually a favorite for studio vocals, can deliver the perfect sound for some voices.
Because mic selection makes such a difference on vocals, it's not uncommon for engineers to record the same vocalist with different mics depending on the song and vocal delivery. The big, breathy sound of a large-diaphragm condenser may be perfect for a ballad, while the smaller, more focused sound of a vocal dynamic may better cut through a dense, up-tempo arrangement. When it comes time to choose a mic for a given vocalist or song, try every mic you've got; you may be surprised at which one sounds best.
While directional mics are most common for recording vocals, an omnidirectional mic can be very effective as well. An omni will exhibit no proximity effect, allowing you to place the mic much closer without bass buildup. An omni is also less prone to create popping noises, eliminating the need for a pop filter. The lack of proximity effect will also make for a more consistent sound if the vocalist changes distance from the mic. There will be a corresponding drop in level, but no significant change in tone. On mics with variable patterns, you can get good results from the intermediate patterns between cardioid and omni.
A good starting mic position for vocals is directly on-axis with the mouth, 6 to 12 inches away. You may get a softer sound by placing the mic a few inches to either side of the mouth. Placement above or below the mouth can result in different vocal characters, which may be advantageous for certain voices. One popular off-axis mic placement is roughly 12 inches from the singer, at about forehead level, pointing down towards the mouth. Off-axis placement also has the advantage of reducing sibilance and popping.
Mic distance depends in large part on the room. A noisy or highly reverberant room (or one with poor-sounding acoustics) will require a closer mic placement, at which point proximity effect becomes a significant factor in the vocal sound. At six or eight inches away, certain directional mics generate enough bass boost to really muddy up a vocal sound. If your mic has a low-cut switch, it can clean up the bottom end of the vocal considerably.
Because most vocals are recorded at very close distances, even small shifts in mic or vocalist placement can make a dramatic difference in the sound. A shifty vocalist can make for punches or edits that are very obvious due to the change in level and/or vocal tone. When tracking vocals—especially with a directional mic—it's very important that mic distance and placement stay consistent throughout a session.
To this end, encourage the vocalist to make a mental note of his or her location. It may be helpful to have them frequently check the distance from their lips to the mic or pop filter with their fingers. As a last resort, place a line of tape on the floor where the vocalist can position his or her toes during recording. When miking from distances of a few feet or more, small changes in the vocalist's position are far less noticeable.
Sibilance is the bright burst of noise radiated by consonants such as "s," "t" and "f." With certain voices and mics, sibilance can be overpowering. One method for reducing sibilance with directional mics is to keep the mic directly in front of the mouth, while rotating it off-axis slightly. This reduces the high-frequency pickup of most mics and can eliminate problem sibilance. Ten or twenty degrees is usually enough to do the trick, depending on mic design and pickup pattern.
The most effective means of suppressing popping noises from plosives like "p" and "b" is the fabric pop filter. Stretched over a circular frame, the pop filter mounts to the mic stand or boom arm. Foam filters, whether inside the mic or placed directly over it, are rarely as effective or as acoustically transparent. If you're using a vocal mic with a built-in pop filter, try removing the grill and foam filter and placing the mic behind a fabric pop filter instead. You can easily make your own pop filter with a pair of pantyhose and a 6- or 8-inch embroidery hoop.
For the vocalist who insists on holding the microphone during recording, here's a trick for pacifying them while still getting a clean vocal track. Set up your vocal mic of choice at a safe distance from the vocalist. Attach any handheld mic to a second cable and give it to the vocalist. The singer can then belt their most inspired performance into the placebo mic, while you capture the take without compromise with the more distant mic.
Thomson Course Technology PTR.
This article is an excerpt from the following book: The Home Studio Guide to Microphones
The human voice is the most complex and flexible instrument of all, capable of an incredibly broad range of expression, tone and volume. There's also a great deal of diversity from one voice to the next, which mandates a flexible, try-anything approach to vocal recording. Your first-choice vocal mic may sound wonderful on a strong baritone and horrid on a breathy soprano.
Most engineers' favorite vocal mics are large-diaphragm condensers that tend to capture a large, articulate vocal sound suitable for most types of music. But some small- and mid-sized diaphragms can achieve a similar vocal quality. And dynamic mics, though not usually a favorite for studio vocals, can deliver the perfect sound for some voices.
Because mic selection makes such a difference on vocals, it's not uncommon for engineers to record the same vocalist with different mics depending on the song and vocal delivery. The big, breathy sound of a large-diaphragm condenser may be perfect for a ballad, while the smaller, more focused sound of a vocal dynamic may better cut through a dense, up-tempo arrangement. When it comes time to choose a mic for a given vocalist or song, try every mic you've got; you may be surprised at which one sounds best.
While directional mics are most common for recording vocals, an omnidirectional mic can be very effective as well. An omni will exhibit no proximity effect, allowing you to place the mic much closer without bass buildup. An omni is also less prone to create popping noises, eliminating the need for a pop filter. The lack of proximity effect will also make for a more consistent sound if the vocalist changes distance from the mic. There will be a corresponding drop in level, but no significant change in tone. On mics with variable patterns, you can get good results from the intermediate patterns between cardioid and omni.
A good starting mic position for vocals is directly on-axis with the mouth, 6 to 12 inches away. You may get a softer sound by placing the mic a few inches to either side of the mouth. Placement above or below the mouth can result in different vocal characters, which may be advantageous for certain voices. One popular off-axis mic placement is roughly 12 inches from the singer, at about forehead level, pointing down towards the mouth. Off-axis placement also has the advantage of reducing sibilance and popping.
Mic distance depends in large part on the room. A noisy or highly reverberant room (or one with poor-sounding acoustics) will require a closer mic placement, at which point proximity effect becomes a significant factor in the vocal sound. At six or eight inches away, certain directional mics generate enough bass boost to really muddy up a vocal sound. If your mic has a low-cut switch, it can clean up the bottom end of the vocal considerably.
Because most vocals are recorded at very close distances, even small shifts in mic or vocalist placement can make a dramatic difference in the sound. A shifty vocalist can make for punches or edits that are very obvious due to the change in level and/or vocal tone. When tracking vocals—especially with a directional mic—it's very important that mic distance and placement stay consistent throughout a session.
To this end, encourage the vocalist to make a mental note of his or her location. It may be helpful to have them frequently check the distance from their lips to the mic or pop filter with their fingers. As a last resort, place a line of tape on the floor where the vocalist can position his or her toes during recording. When miking from distances of a few feet or more, small changes in the vocalist's position are far less noticeable.
Sibilance is the bright burst of noise radiated by consonants such as "s," "t" and "f." With certain voices and mics, sibilance can be overpowering. One method for reducing sibilance with directional mics is to keep the mic directly in front of the mouth, while rotating it off-axis slightly. This reduces the high-frequency pickup of most mics and can eliminate problem sibilance. Ten or twenty degrees is usually enough to do the trick, depending on mic design and pickup pattern.
The most effective means of suppressing popping noises from plosives like "p" and "b" is the fabric pop filter. Stretched over a circular frame, the pop filter mounts to the mic stand or boom arm. Foam filters, whether inside the mic or placed directly over it, are rarely as effective or as acoustically transparent. If you're using a vocal mic with a built-in pop filter, try removing the grill and foam filter and placing the mic behind a fabric pop filter instead. You can easily make your own pop filter with a pair of pantyhose and a 6- or 8-inch embroidery hoop.
For the vocalist who insists on holding the microphone during recording, here's a trick for pacifying them while still getting a clean vocal track. Set up your vocal mic of choice at a safe distance from the vocalist. Attach any handheld mic to a second cable and give it to the vocalist. The singer can then belt their most inspired performance into the placebo mic, while you capture the take without compromise with the more distant mic.
Create Your Unique Singing Style
by Donna Flynn, vocalcoach.ca
What does it mean to create a singing style that is unique and distinct to you? We all attempt to develop a singing voice that brings out all the “best” qualities in our voice, but how is that achieved? How do we take our “best” vocal qualities and develop them in a way that is different from everyone else? How can we make our style engaging and pleasing to the listener?
First, you need to understand the fundamentals of vocal technique. Second, and more specific, you will need to learn where tone is produced and how that tone is transformed into a sound that radiates from the point a singer projects the voice, to the point where it softens and eventually fades out completely. This is referred to as resonance. It is the result caused by air traveling through the vocal cords, producing a tone and pitch that is carried outward on sound waves. In other words, resonance is what you hear when you sing using proper vocal co-ordination.
Resonance may be more easily understood when thinking of the speaking voice rather then the singing voice. Public speakers and business professionals, for example, will fall into two categories. They will either speak from the throat only where tone is produced resulting in a harsh shouting sound for men and a shallow squeaky sound for women or they will speak from a place that produces a slight “humming”. This “humming” combined with tone from the vocal cords will project a firm and confident voice that smoothly and warmly communicates each word. All great speakers have learned to achieve a balance between tone production and resonance.
When we produce tone only and do not modify it with resonance, blending the deeper pitches from the chest with the higher pitches from the head, the result is unbalanced and unpleasant to listen too. Lack of resonance will result in long-term vocal cord damage and will keep you from reaching your potential. You will be unable to sing in a contemporary manner and will limit the variety of styles you can sing.
Guidelines for Creating Resonance and your UNIQUE Singing Style:
- As tone is produced in the vocal cords, lifting the tone above the vocal cords and placing the sound forward in the front of the mouth will allow you to have creative freedom and the ability to locate the exact spot where you resonate your unique sound.
- Use proper breath control to move the tone upward and into position.
- Keep your mental focus on the front of the mouth and not on the throat to avoid unnecessary pressure around the vocal cords.
- When practicing, work up the scale singing gently. Let the feeling of singing the scale guide you. Do not maneuver or impose the sound, as this will not give you the results your need.
Once accomplished, you will be free to focus on creating your unique singing style rather then being concerned about cracks, breaks or pitch. You will be able to sing up and down your entire range easily, without tension. Your larynx will stay seated, not rising up to high notes. You will feel a vibration in the head and/or chest. While similar for everyone, each person is slightly different, so you will need to experiment.
It is very easy to fall into old habits. Don’t! Stay focused on the long-term benefits and resist short-term thinking that will limit and likely stunt your ability to develop your voice and grow beyond your current limitations.
The point where you create resonance is the same place where you create your singing voice, modify and amplify the sound, and make any adjustments necessary to express a song in whatever way you choose. This is where all of your training takes action. Enjoy the process, push your creative boundaries and dare to be who you are musically. Everyone will be glad you did.
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