Vocal Recording Techniques
Posted on Nov.08, 2011
Vocal Recording Techniques
For the most part, recording a vocalist is not much different from tracking any other instrument. My general rule is to keep about 6-8” between the microphone and the pop filter and about 6-8” between the pop filter and the performers mouth. (Of course this could change if a more intimate result was desired) This really supports a medium to upfront vocal and does a great job of breaking up any plosives. In my personal experience the first note one should make is that a singer’s voice can deteriorate under too much stress. By knowing this you should move quickly to get your initial levels and compression settings so as to not wear out the performer before getting the job done!
If possible, have a few microphone choices available and set them up in your vocal room with the capsules of the mic’s as close as possible. Doing it this way allows you to audition various types of microphones at the same time during the level setting phase. Currently I have a few “go to” mic’s but in reality I never know which one will match my singers voice. Some of my favorites are the Neumann TLM 103, The Shure SM7B and the AKG 414 XLS. (A good singer, room, mic & preamp is almost 100% necessary)
The genre of music highly dictates how I approach getting the vocal sound that I might be after. For example, if it’s a heavy rock tune I may want the end result to be a controlled voice that sits neatly into the mix (not on top). I may not really be that interested in the “breathiness” either. By outlining what I want the end result to be, I have now created a road map of sorts. Let’s break it down:
Assuming that we have a good vocal pre amp level with the performer approximately 12-16” from the microphone I will begin to dial in the compressor with the above “road map” in mind. Although high ratio’s will yield more control, I will go for a lower ratio with a bit more gain reduction. The lower ratio will give me a bigger vocal. For this I might try a 3:1 ratio, most likely not any higher (at least for the tracking). As far as the compression attack, I will lean more towards a faster attack. The faster attack will grab the loud peaks quickly and push them down while gently controlling our vocal so that it will sit neatly in our mix. The faster attack setting will also shave off a little bit of the transient which will also support pushing it back a little bit into the mix. Think of the transient as the detail. If the vocalist is surrounded by this big rock band, in reality you are not going to hear the subtleties in his voice and the faster attack setting will help you achieve this.
To assure that I don’t get too much of the breathiness of the singers performance, I would now adjust the release setting on the compressor to a slightly longer release. Doing this will push down more of the vocal while being compressed, once again supporting the control that we initially desired and also deemphasizing the breaths. It’s important to listen for any audible pumping effects from the compressor. I would go for a medium or slightly longer release and do my best to get it to sound consistent. At this point I should be hearing something close to the result I was looking for, lastly set your threshold for about 4-6db of gain reduction in the loudest vocal passages and top off your make up gain.
For Back Ground Vocals (BGV), I almost always go for a more controlled, darker sound. This can be achieved with the right distance between the performer and mic as we as the compression settings. I look at it this way, if I want something to sound farther back then I record it at a distance so with playback it will already have this important spatial cue. Aside from this I may even use a different microphone for textural reasons (helps separate the lead and BGV more). With the correct placement out of the way I will get my preamp levels as usual. I can’t even begin to stress how important a good healthy signal is. My compressor “Road Map for BGV” would be this: Because these are BGV, they should be in the back ground and not up front. This means a lot less detail should be present versus than the lead vocals. I also don’t want the BGV to get lost or buried in mix (big guitars and drums can take up a lot of space). Let’s get started with the ratio, a higher ratio will give us the control we need and also slimming down the size making it sound smaller or farther back. As with the attack, I would go fairly close to an ultra fast attack setting. This will shave off a little bit more of the transient (detail) and help to support (yet again) pushing the BGV to the back. Following the attack my road map calls for lots of control so let’s adjust the release to a longer release setting. Doing this, will ensure that we have a smooth BGV that is unmoving (and never lost) while sitting in the back of our mix.
That’s my general approach, but as I know you’ve heard before… there are no rules.
Recording | Mixing Engineer
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Posted on Apr.30, 2011
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Protect Your Band From… Your Band?
Posted on Nov.24, 2010
Sounds a bit extreme, but unfortunately this is the reality of the music business. Contracts are a important part of a musicians career, especially as the career grows and expands to larger playing fields. Most performing groups would seek out a contractual agreement if faced with a recording, development or distribution proposition and the same should hold true between the internal members of the band itself. This type agreement can add many benefits to the group’s longevity aside from protecting each individual from unnatural disasters like the loss of a drummer, singer or guitar player.
Let’s face it; working with a group of musicians on a joint effort towards success is not an easy task. In most cases, one must devote a great deal of his or her own time with very little reward in terms of income. From the group’s inception all the way to the group’s final demise, members will most likely come and go. This revolving door can create unforeseen obstacles for the remaining members in regards to future endeavors.
For example, years ago I was part of a popular up and coming group gaining a modest amount success. As with most bands, mine too was playing a pretty serious game of musical chairs. I must have replaced somewhere in the neighborhood of six to eight different musicians during the span of only a few short years. Some of these members offered their contribution in the group’s writing process while others did not. Over the course of the bands final months, we unexpectedly lost three members (one half of the entire group). (I promise, it wasn’t a cult suicide) The worst part about this particular obstacle was that we had over a dozen dates left on our tour, some of which were major label show cases. Unfortunately this set back buried crippled the machine.
This untimely situation could have been less impactful if we had only taken the time to create an internal agreement to protect the band… from the band. We could have drawn up a contract early on which held each member responsible for completing any dates booked prior to a resignation. When those members decided to drop out without notice, those who were counting on the income were hurt the most.
My bad fortune is really only one of many different reasons to implement a band contract, I’m sure we can sum up a hundred more. For example, perhaps your band is getting ready to go into a recording studio to cut a record. Let’s say, for instance, this process runs a couple of hard working months. Shortly before finishing this exhausting yet rewarding adventure, an argument occurs resulting in the loss of a front man. After months of invested personal time and money, you’re left with nothing but music that can hardly be divided. I know, I know… this will not happen with your band.
Most professional business’s fail due to bad management and unless your music is a hobby, I suggest you get your paperwork in order!
For more info on sample band contracts please visit the following links: http://undercurrents.com/agreements/agreement-bandmember.html
http://www.lawdepot.com/contracts/band-partnership-agreement/
Tim Smith
Record Deal or Bust!
Posted on Jul.20, 2010
The question is, do you really need a record deal to enjoy success in the music industry today? Obviously, times have changed and technology has grown providing a new and improved “level playing field” for the self developing artist, but… is this enough?
Nowadays with the internet, there is no longer a need to spend the night at a Kinko’s only to find yourself aimlessly driving around town plastering flyers with the high hopes of generating some noise. Today, for the most part, you can do this from the comfort of your own home with “photo shop cyber flyers” via networking sites like facebook and myspace. So, what exactly can a record company do for you that you can’t already accomplish on your own?
Outside of financing your career, there really are not too many other reasons for an artist to seek out the once “almighty record deal”. In the past, a record company was needed to get your product to the buying public. But, as we are all aware of, the market place has changed locations and we no longer need the big distributors as a result of this either. So what about radio, is this still a sought after important bridge to stardom? We all know how impossible it is, without the right funding, to get your music on the commercial air waves. But with that being said, who listens to the radio anymore anyways?
Not a day goes by that I am not confronted with the age old question of “how do I get a record deal”? My reply to you is unfortunately yet another question. “Do you really need a record deal”?
Currently, with the advent of hi end consumer based gear, a decent demos can be made at home. Aside from that, professional grade recording studios have become much more available (and affordable), to the public, than ever before.
It used to be that record companies provided a form of artist development and brought unique, honest talent to the surface. This outdated practice, among many others, has been dropped by the waist side due to lack of funds. The entire system, including the criteria for a record deal, has changed leaving nothing but force fed cookie cutter derivatives of the same thing over and over.
Dare I mention that there are only four major labels left in the world…
Again I ask, do you really need a record deal to “make it” in this business, I guess it really depends on your view of success.
Recording, Mixing Engineer
Recording Drums: Part Three (Snare Drum)
Posted on Jun.20, 2010
When I started this Drum Recording article, I had intended to wrap it up with three installments. Only now I can see it will take much more to cover such an intricate and sometimes difficult instrument to capture!
Moving on to yet another “signature sound”, the Snare Drum, which in my own opinion can make or break the songs overall sonic character if it just doesn’t sound right. As mentioned in the past, good sounds start at their source, there is definitely no exception for the Snare. With that being said, please note that there are tons of great sounding snare drums and most of the drums tone comes from the materials in which it was made. For example, the type of wood or metal all the way down to the thickness and size. Finding a great sounding Snare Drum can be somewhat of a task but it really just boils down to research and nothing else.
Let’s assume you have a decent, lively, full bodied Snare Drum with the most ideal head for the tone. My first tip on this subject would be to pay close attention to sound you are going for and match a drum to that (you will get there much faster). For example, if you are looking for a “pingy” like sound, then start with a snare drum that has that characteristic, it’s that simple. Just like all other acoustic instruments, the room in which this sound is to be recorded in makes up quite a bit of the final sound. If it doesn’t sound like what you are going for in the room then you are not there yet.
Most “Session Drummers” know this more than anybody, that’s why they show up at the Recording Studio with four (4) Snare Drums, and occasionally an over abundance of cymbals. Always keep in mind that just because it sounded great at the venue or rehearsal space does not mean it will sound great in every room thereafter. This is the best starting point tip I can give you.
Once you have the perfect equation of “Drum + Room”, we can move onto other important details. Microphone choice and placement is the next big deal with achieving a great sound. Because there are so many excellent microphones available on the market I will default to my personal favorites and use them for my discussion. I prefer the Shure Beta 57A as a Snare Top Mic and a Shure SM57 for a Snare Bottom Mic. For some of you that are just dabbling in the Recording Arts, you may not be familiar with the bottom mic technique. I have found it necessary to utilize both top and bottom placement to reach my desired result, some engineers chose to option out of using the underside microphone and rely primarily on the top and sometimes use bleed from their Overheads to balance it out.
I like to use the Shure Beta 57A for the top mainly because of its “Hyper Cardioid” pick up pattern, it tends to pick up a bit less of the Hi-Hats. There was a time when I would use the SM57 on top but found I was always removing something weird in the mid range, as strange as this may sound I have come to believe the Beta 57A by default has less of whatever that was and therefore just seems to fit better in the mix. Regardless, these are just my starting point microphones of choice and could change if I were in a different room or was recording a different Snare Drum.
As far as my bottom mic, it really doesn’t matter to me. I almost always use it in the mix but only to a small degree, sometimes only 6-10 db. I will say this; I am not a big fan of condensers for the underside technique, mostly because I feel that they gather too many other unwanted sounds (Kick, Floor Tom, etc.).
The next Big Deal when going for a great Snare Drum Sound is Microphone Placement. As with most all drum mic’s, you must always be sure your gear is safe from flying sticks!
Top mic placement will usually be as far from the Hi Hats as I possibly can get without putting my intended Snare sound at the risk of not being captured properly. The idea at this point is to start using your ears, and listening to different areas of the drum. I generally find my Snare Microphones home approximately about three (3) inches off of the head just barely hanging over the rim or hoop, pointing toward the center of the Snare Drum. The bottom side will always be at a ninety degree angle to its counterpart above and about two (2) inches away from the “hazy” (bottom Snare Drum Head). I honestly do not spend very much time adjusting this mic; it’s going to get what I am looking for regardless.
From this point on, your decisions should be primarily influenced by your ears. If you are not getting the sound you were hoping for, perhaps you should look elsewhere. Most “bad sounding” recorded Snare Drums can be accounted for with poor tuning, a less than desirable room sound, the microphone(s) or even the Pre-Amp(s).
One should also note that “your one snare drum may not work for every song”.
Our next Drum Recording installment we will discuss “Toms & Floor Toms”. Until then, let’s make some great music!
Chief Recording/Mixing Engineer
Does Your Recording Software Really Make A Difference?
Posted on Jun.16, 2010
When it comes to quality recordings, I will be the first one to tell you that it has absolutely nothing to do with the software you are using. With tape machines being somewhat a thing of the past and studios now working primarily in the digital domain, I think it’s safe to say “digital is digital”. With the exception of a few that may not offer 32 bit float or perhaps a 64 bit capability, they are all the same in terms of “capturing audio and storing it”.
So where does the quality difference come from if it’s not within our choice of software? Surprisingly there are so many other factors of importance that we can lean on for “quality” before we even begin discussing software. Many of these, I might add, are severely overlooked.
Let’s start at the top of the list, with the musical performer. I can tell you first hand, a good player versus a poor player can make or break a recording even before it’s time for mix down. Odd, I know, but yes this is probably the most important element needed for a great recording. Believe it or not, there is a major difference between a gig at your local venue and placing yourself under the microscope of the recording studio. Not only will you find the need to set your gear up differently but you will also find the demand to perform your instrument in sometimes unique way to get a completely different point across!
Keep in mind that a great performer will not get you far without top notch sounding gear. This is not at all limited to a well set up instrument, tuning, cables, peddles, heads or strings. It’s important to be sure your amps create little to no hum or buzz. Your players and your instruments are the root of where the quality really starts. Without these two elements, your recordings will greatly suffer. Please note that “software” still has not been brought into the equation.
In the recording studio, engineers pay very close attention to something we call “gain structure” (…the keeping of optimum strength between devices or throughout a signals path). I mention this term because in many ways it can be used to describe exactly where quality lives.
At this point, we have a few different aspects that enter the picture to make or break the outcome of a recording. In my personal opinion the next important detail would be the room acoustics. As the old saying goes, “if you want it to sound like a basement, then record it in one!” Believe it or not, over 50% of your recorded sound (aside from line instruments) is greatly influenced by the “characteristics” of the room. I should also point out that there are absolutely no exceptions for your monitoring environment either.
Let’s recap; Quality now equals Performer, Musician and Room. What else could possibly come before Software? How about Microphone choice, Microphone Placement and let’s not forget about Cables. Much like “HD TV”, cable quality is beyond valuable when it comes to a clean and detailed recording.
I never said it was easy to make great sounding recordings, I just said the software has nothing to do with it. In fact, at this point we are only about half way through our signal path before reaching any “capturing medium” such as “Pro Tools”, “Nuendo” or “Cubass”. What other obstacles could “color or degrade the sound”? Depending on the instrument or voice being recorded, the audio will most like travel next to a “Pre- Amp” designed to bring our microphone signal up to a line level and in some cases even supply power. This alone can make a major difference in the end result. After a Pre Amp, we might pump the sound through a compressor or limiter; once again quality can be lost due to low budget gear or in many cases lack of “operating knowledge”.
Before we go any farther, I’d like to share a personal endeavor for further supporting these ideas. When I was about seventeen years old my friends and I recorded an album with our analogue four track cassette recorder. The music consisted of live drums, guitars, bass, key boards, percussion and vocals. I realize you are most likely scratching your head wondering how we managed to fit all of that on four tracks! Well, I will leave you to research that on your own but I’ll give you a hint, it’s called “bouncing”. Anyhow, we entered a contest (The Independent Music World series: Disc Makers) which was broken up into regions, ours being the Mid West. Well over a 1000 acts entered music with only three to be chosen for a number of different awards. To make a long story short, are “four track recorded song” ranked at number nine (9)! The material submitted was judged primarily on recording quality. The medium in which the music was recorded hardly played a role.
Are we there yet? Just about, only a few more major details which greatly dictate our final quality. Before we reach our software the audio will need to be converted to an acceptable (or perhaps the highest) sample rate and bit depth available. This conversion takes place in the “A/D Converters”, or with smaller setups a “Soundcard”. Poor converters will detrimentally degrade the signal, just as great converters can exceptionally capture the truth with pristine sparkle. As every element discussed thus far, all are equally vital to the art of successful recording. Along side of this process, your system will also need to depend on top of the line clocks for proper synchronization.
What else could make such a difference in quality before software choice? It’s hard to not notice all of which we have listed without once mentioning Pro Tools, Nuendo or Cubass. Perhaps you are familiar with the phrase “it’s the driver not the car”. A talented, intuitive recording engineer can get you the desired sound with technique and knowledge. The great ones can get you this result with anything from a four track to the latest and greatest of D.A.W. Software based systems as well as the elite state of the art consoles like Neve or SSL.
The truth of the matter is, the quality of your recordings does not revolve around any of the above mentioned programs. All of these are simply a matter of taste, some have more options than others and some do not have much of a difference at all.
“…for years I used an ACE Hardware Lawnmower to cut my lawn, recently I upgraded to a powerful Troy Built Mower with lots of sweet bells and whistles. Does it do a better job? Not really, in fact I think it’s worse.”
The 27 Club of Musicians
Posted on May.21, 2010
The 27 Club of Musicians…
Was it a deal with the devil… or just a coincidence? Regardless, this phenomenon of successful musicians all moving on at the early age of 27 is kind of eerie! Oddly enough, the list is quite a bit longer than what you might think!
The 27 Club, or sometimes referred to as “The Forever 27 Club” is typically known for Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain and Brian Jones.
Even stranger, Brian Jones and Jim Morrison each died on the same date two years apart! But what most fail to recognize are the many, many others who had also left this earth at the pinnacle of their career at the ripe old age of 27!
Just to name a few:
- Alan “Blind Owl” Wilson: Singer for “Canned Heat”
- Dave Alexander: Bassist for the “Stooges”
- Peter ham: Keys & Guitar for “Badfinger”
- Rudy Lewis: Singer for the “Drifters”
And this is just the tip of the iceberg! What other “Big Names” can we add to this list…
For More Info, Check Out “The 27’s: The Greatest Myth Of Rock & Roll”
What Exactly Makes An Album Gold Or Platinum?
Posted on May.11, 2010
Gold Record Award Launched in 1958 "RIAA"
A few years ago I took a “Music Business” course, and today I have to admit that it was really one of the best decisions I ever made. Throughout this time my instructor went into great detail about “what constitutes a hit record”, something I had never really thought too much about until then. Of course, this was not the focal point of the program and he did, as one would expect, touch on many other important subjects as well.
I write about these “Music Industry Related Topics”, in hopes to help educate young “up and coming” musicians. Like I have mentioned in the past, To survive in any market you need to thoroughly know how the system works inside and out.
So what does constitute a Hit Record? First lets break down what goes into the release of an album or for a lack of better words, lets break down what kind of “investment” is made by a Record Label.
For example, when a new band is signed, the record company will begin by investing in the artist in a number of different ways. Some may include a “Music Video”, “Publicist”, “Producer” and possibly a “Management Firm” among many other things. For the sake of this brief outline, let’s say the record company has invested $500,000.00 into this newly signed act.
I should also mention that, in many cases, new groups acquiring a contract with a label can expect to be locked in for three to five albums. This is because, statistically, it takes most new bands three to five releases to bring in a profit for the record company. With our example of a $500,000.00 investment for one release, we can easily understand how difficult it would be to gain a return on such an investment.
To continue with our fictitious “fortunate” band, lets now assume that an investment of $1,000,000.00 has been “spent” on the “Hopeful Success” of the groups music career.
Back to the current question at hand, what makes a hit record? Well … it’s entirely this simple. If $1,000,000.00 was invested into an artist, for this release to be a “Hit”, the record company would have to see a minimum return of $1,000,000.01. That is what constitutes a Hit.
So what exactly makes an album “Gold or Platinum”? This fits under what is commonly referred to as “Units Shipped or Units Sold”. In 1958 The RIAA established this “Awards Program”, and since then has grown from “Gold to Diamond”.
[Launched in 1958] Gold= 500,000 Copies Sold.
[Launched in 1976] Platinum= 1,000,000 Copies Sold
[Launched in 1999] Diamond= 10,000,000 Copies Sold
** Information can be found on www.riaa.com
Tim Smith
Music Industry Scams!
Posted on Apr.16, 2010
We’ve all heard about those supposed “Industry A&R Companies” who will “make you famous” … for a fee. There are tons of them out there taking advantage of young unsuspecting singers and songwriters alike. Over the years I have encountered a few myself and I’m sure you have too!
As I have mentioned in previous posts, my main goal with this site is to help educate newcomers to the business of music. I can’t even begin to tell you the stories I hear being fed to ambitious young talented kids wanting nothing more but to become successful.
This is a cut throat industry and everybody is out for their own. If you want to survive you will need to do your research. Be prepared for all of the scams.
In the next few weeks I intend to “spot light” music industry scams to be aware of and to watch out for. I will not post anything that can not be researched. If any of our readers have any companies to add to this list by all means post it in your comments (along with credible links).
This list can be comprised of Any Music Related Businesses Throughout The World That Have Been Tagged As Fraudulent Or Scamers! This Is The SHAME List: The First… “TAXI”
For those of you who are not familiar with TAXI, you may be one of the more lucky ones! I can only tell you stories I’ve heard or read. The links below will give you a good starting point. This company has been pulling scams for quite sometime (according to the research below).
http://www.recordingchannel.com/taxi-musics-site..-worthwhile-80477.html
http://www.thomasmoens.com/taxi.htm
These are just a few of the links I found claiming Taxi to be fraudulent. I do want to be the first to say that there are two sides to every coin.
Tim Smith
How Can We Market Your Band Today, With Success?
Posted on Mar.29, 2010
Let’s talk about new inventive ways for an artist (in the music industry today) to create a following and revenue. In my own personal opinion, traditional marketing tactics have drastically changed leaving old school methods of “creating a local or even national buzz” useless to a large degree.
I remember sitting at Kinko’s night after night making new flyers (several 1,000 copies!) Today, we have home computers and printers to make this task quite a bit easier! Unfortunately… where can you staple up a flyer today!?! Due to major changes in the music industry, most “record” stores have closed their door. Perhaps a good reply to this would be myspace, although from my recent findings, myspace has become more of a cesspool of spam rather an ideal place for picking up a fan base!
I really feel like the usual “e-mail blast” is not as effective either. I realize more and more people are utilizing social media sites like “facebook & twitter”, but what past methods can still be put to use? And aside from that, what other roads can today’s musician or band travel to create individuality in this highly competitive internet based world?
I’m hoping to create a “hub of industry info” for new voyagers in this crazy modern music business we have at our disposal today”. So please, give your thoughts ( as always ALL COMMENTS are welcome), lets create a “depot of new inventive ways to market yourself in the present music industry ”.
Thoughts?
