Before you record your next vocal track, take a moment to consider a few basic best practices which will improve any vocal recording. Keep in mind that once you get the performance down, you can always add effects or dirty up your track later, but starting with a clean track is always the best.
Good mic technique is easy to achieve. Keep two things in mind: First, remember that the microphone's diaphragm reacts differently to the subtle variations in your voice, and the intensity of your vocal delivery. Second, your body position and proximity to the mic should be adjusted throughout the vocal delivery depending on the dynamics of your performance.
For vocal performance that remain soft and intimate from start to finish, the singer should stay positioned just a few inches from the mic. For louder, full volume singing, stand back two or three feet and let loose. If your delivery requires a mixture of both, then you need to move in close and back off the mic as needed. Start getting used to doing this even if its just for a couple words or a short phrase.
Ideally, your mouth should be as close as possible to the mic without overloading the level. If you overload the level, two things can happen. You will either end up with digital clipping on your track, or in the case of super-sensitive mics, the mic itself with temporarily shut down. Both of the scenarios effectively ruin your recording. The easy remedy here is just to aim your mouth slightly off to the side or above the mic during loud bursts.
Getting rid of mouth pops and lip noise is crucial! Depending on the type of mic youre using, there may already be a pop-filter built in. Stage mics generally have the pop-filter built into the ball-shaped mesh grill that also serves to protect the sensitive parts. However, studio mics generally come with a foam sleeve that slips over the mic itself. Many engineers argue that the foam variety kills some of the high end frequencies and prefer the newer, nylon stocking O-ring pop filters. Positioning one of these between the singer and the mic will prevent blasts of breath from overloading the mic.
Avoid recording annoying mouth noise. Its and easily avoidable situation that requires minimal effort to correct, and makes a big difference in the end. Ok, brace yourself, here it is: drink lots of water, or have your singer drinks lots of water. It will go a long way towards eliminating unwanted mouth noise, and a few extra trips to the bathroom is a small price to pay.
If you follow these simple rules, you will start with a nice clean vocal track. From that point you are free to add reverb and whatever crazy effects you can dream up without enhancing the unwanted noise when you're trying to get at the meat. These simple practices will save you hours on Mr. Fix-it time in the end.
Good mic technique is easy to achieve. Keep two things in mind: First, remember that the microphone's diaphragm reacts differently to the subtle variations in your voice, and the intensity of your vocal delivery. Second, your body position and proximity to the mic should be adjusted throughout the vocal delivery depending on the dynamics of your performance.
For vocal performance that remain soft and intimate from start to finish, the singer should stay positioned just a few inches from the mic. For louder, full volume singing, stand back two or three feet and let loose. If your delivery requires a mixture of both, then you need to move in close and back off the mic as needed. Start getting used to doing this even if its just for a couple words or a short phrase.
Ideally, your mouth should be as close as possible to the mic without overloading the level. If you overload the level, two things can happen. You will either end up with digital clipping on your track, or in the case of super-sensitive mics, the mic itself with temporarily shut down. Both of the scenarios effectively ruin your recording. The easy remedy here is just to aim your mouth slightly off to the side or above the mic during loud bursts.
Getting rid of mouth pops and lip noise is crucial! Depending on the type of mic youre using, there may already be a pop-filter built in. Stage mics generally have the pop-filter built into the ball-shaped mesh grill that also serves to protect the sensitive parts. However, studio mics generally come with a foam sleeve that slips over the mic itself. Many engineers argue that the foam variety kills some of the high end frequencies and prefer the newer, nylon stocking O-ring pop filters. Positioning one of these between the singer and the mic will prevent blasts of breath from overloading the mic.
Avoid recording annoying mouth noise. Its and easily avoidable situation that requires minimal effort to correct, and makes a big difference in the end. Ok, brace yourself, here it is: drink lots of water, or have your singer drinks lots of water. It will go a long way towards eliminating unwanted mouth noise, and a few extra trips to the bathroom is a small price to pay.
If you follow these simple rules, you will start with a nice clean vocal track. From that point you are free to add reverb and whatever crazy effects you can dream up without enhancing the unwanted noise when you're trying to get at the meat. These simple practices will save you hours on Mr. Fix-it time in the end.
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