Vocal Input
From using the right kind of mic to choosing a good-sounding room, some more ideas for improving and differentiating your recorded vocals
Just when you think you’ve gotten the knack of vocal tracking, on comes one of your favorite productions and for the first time you notice something exceptional going on—maybe it’s the way a certain effect is used, or how the vocal seems to jump out of the mix, or perhaps it’s just the palpable performance energy you’re hearing through the speakers.
Even if your singing comes out just fine using your current miking methods, trying a few alternate approaches to vocal recording—whether it’s adding a second room microphone to achieve a “wider” feel, or just changing your usual on-mic positioning—can help differentiate the overall sound.
Finding your spot. There are varying opinions when it comes to choosing a good spot to record vocal tracks. Some believe in the traditional “vocal booth” strategy, whereby a makeshift enclosure is placed around the singer to keep leakage at bay, while also providing a dedicated space free of unwanted room reflections. Rather than construct an actual “booth,” simply suspending a packing blanket or similar substance in front of the vocal mic can offer some degree of isolation. Others, however, prefer to place the singer in the center of a room which takes the walls out of the equation, while also allowing the track to “breathe” a bit more.
Trying different mics. While condenser mics like the Neumann U87 and its various lookalikes have long been the undisputed champs of recorded sound, any respectable microphone can do the job in a pinch as long as you make the proper adjustments. Condenser mics offer significantly more gain and a wider pickup range than their non-powered counterparts, allowing singers greater freedom of movement around the mic while recording. On the other hand, many dynamic and ribbon microphones have a sound that’s more agnostic than rounder, bassier condensers, and can be a better fit when seeking a punchier vocal tone.
The space between. Knowing how much air to leave between yourself and the front of the microphone is a decision that’s often based on the style of song you’re doing and finding a tone to match. You can clearly hear the subtle differences in sound by simply putting on headphones and standing directly in front of the mic about a foot away, then begin singing while ever so slightly moving from side to side, as well as further away and then closer to the mic’s diaphragm. On a condenser mic, you can try switching from the standard cardioid pickup position (one side live) to omni (all sides live) or figure-of-eight (only front and rear sides live), particularly when seeking an “airier” or less-direct vocal tone. Some engineers have also used a second microphone placed several feet behind the main mic in order to achieve a fuller, more ambient sound, experimenting with different combinations of mics (perhaps a dynamic SM57 out front, with a condenser mic suspended to the rear) and distances until the desired effect is achieved.
Take two. There are various ways to record a pair of vocalists, whether they’re performing an actual duet or just laying down incidental background harmonies. Some prefer to track the vocals separately, which allows the singers to perfect their parts using punch-ins, while also providing greater editing flexibility when mixing. If it’s a live vibe you’re after, record the vocalists together in the same room, using a dedicated mic for each singer or, if you’re feeling bold, a single condenser mic placed directly in front of the singers and set to cardioid mode, or between the singers set to omni or figure-of-eight mode. Some trial-and-error may be required when using this approach (not to mention singers who are adept at self-balancing), but when done properly you’ll have both vocals on a single track, with no further mixing required.
Blending time. They may seem suitable when soloed, but it’s how the vocals sound when folded into the mix that matters most. Here you’ll want to spend some time carefully adjusting the timbre and tonality of the tracks, reducing excess low end while boosting the midrange or treble as needed until the vocals have a clean and clear pathway and can be easily heard above the rhythm section. When using reverb or similar processing, keep the length of the effect (or reverb “time”) short, and include a touch of pre-delay at the top to ensure the vocal stays focused. And don’t forget that sometimes adding a little extra weight is as easy as doing a second vocal take, then bringing up the “double-tracked” part to the same or slightly lower level as the main vocal, and only to accentuate certain sections of the song such as a bridge or chorus.
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