RECORDING VOCALS

This article is taken from issue 7 of our brochure...

VOCAL KNOW-HOW

Achieving the perfect vocal take is a lot more in-depth than a quick gargle and a fifty-quid microphone, as our experts explain…

Recording has become easier and quicker than ever thanks to the ever evolving developments in music technology, in both hardware and software form. Gone are the days when the only way to be assured the perfect recording was to book George Martin and the whole of Abbey Road Studios for a month and a half. Nowadays if you’ve got a computer, a microphone and some half-decent musicians (or samples) you’re already halfway there.

That said, however, the advance in technology doesn’t automatically turn us into expert producers or recordists, so hopefully the advice on the following pages should help hone your skills when it comes to recording vocals and also open your mind to improving your set-up when it comes to recording other instruments too.

LOOK AFTER THE VOICE

You can have a million-pound studio full of the best equipment but if whatever you’re recording isn’t up to scratch, the gear isn’t worth a penny. When it comes to your voice (or your vocalist’s, if you’re relying on someone else to sing), it really does need to be cared for and even pampered in order to sound perfect on the day.

Vocal cords are delicate membranes stretched across the larynx and any mistreatment can damage the cords and therefore your voice. First of all, there’s the obvious ‘go steady on the booze, fags and late nights’ advice. Be careful of putting any strain on your voice in the days leading up to an important session. Shouting at a footie match, overdoing the karaoke sing-a-long, laughing too much at the latest Jackass movie… it all takes its toll on your voice. Also, take precautions against things you know affect your voice. Remember your hayfever tablets, get some medicine for that hacking cough and stock up on liquorice lozenges if you’ve got a series of gigs and recording sessions all piling up.

...AND THE ENVIRONMENT

The space you’re recording in is extremely important. Any flat surfaces that are parallel to each other have the capacity to build up standing waves (find out more about acoustic science in Andy Munro’s great article - CLICK HERE) and these could result in echoes or phasing on your vocal recording.

Experiment by standing where you’re going to record the vocalist and clapping. If you hear that telltale ring like a harmonic above the clap, you’ve got standing waves. Close the curtains, lay down a rug, hang up a duvet behind the singer and if you’re still getting them, now might be time to invest in some acoustic treatment tiles to place on walls and ceilings, or bass traps to stick in the corners of the room. The Auralex Aural Xpander kits are a well priced option to start with for a small room, or go for the Roominator package if you’re in a larger studio with more wall space to take care of.

MAKE FOR THE MIC

The next link in the chain is the microphone and most producers and engineers tend to agree that a large-diaphragm condenser microphone with a cardioid pickup (or polar) pattern is the best way to capture male and female vocals. The ‘large-diaphragm’ bit refers to the size of the capsule inside the mic. This is the delicate disc that transforms the movement of the soundwaves into an electrical current. Imagine that the sound coming from the vocalist’s mouth travels in a cone shape, with the sound spreading out as it travels further away. A larger diaphragm helps capture more of this sound compared to a small diaphragm (or ‘pencil’) mic that is designed to capture more direct soundwaves from things like plucked guitars or pianos.

The ‘cardioid’ part refers to the shape of the microphone’s pickup response, in other words how the mic’s capsule responds to sound approaching it from all angles. A cardioid capsule is tailored to pick up all of the sound from in front of it, some from the sides and reject most of that arriving at the back. When drawn in 2D this gives a heart shape, hence ‘cardioid’.

Condenser mics are more sensitive to frequencies than dynamic mics (keep them for live stage use) and give a much more detailed recording in the studio, capturing all the voice’s nuances. Don’t forget that nearly all condenser mics will require phantom power to operate the electronic circuitry inside. Most mixers, preamps and interfaces have a 48V phantom power supply, but check first!

A couple of our favourite vocal condensers include the premium Neumann TLM103 or the budget-friendly Røde NT1-A, which comes in a vocal recording pack with a few essential extras.

VALVES AND RIBBONS

Of course, you don’t have to restrict yourself to a straight condenser mic. If you’re after an especially warm, rounded sound, you might consider a valve condenser mic, which will warm up the signal. This is particularly good for flattering vocals that sound a little shrill or harsh to the naked ear. Røde (NTK, K2), Sontronics (Helios, Omega) and sE (Gemini, Z5600A MkII) all do some lovely sounding models.

On the other hand, if you want a more intimate, less airy sound, try a ribbon mic. It will capture all those natural husky tones and give you a very ‘true’, uncoloured sound so you can treat it (add compression, EQ, etc) in the production stage if you want to. Ribbon mics have figure-of-eight polar patterns, picking up from the front and back only. If you’re going down the ribbon mic route, check out the British-designed, vintage-inspired Sontronics SIGMA or perhaps the Audio-Technica AT-4080SM, both phantom-powered ribbon mics.

MAKING A STAND

The importance of mic placement and the stand itself often gets overlooked, so here are a couple of quick tips. Firstly, make sure the stand is up to the job. If you’re using a particularly chunky mic, ensure the stand has an adequate counterweight and that the vertical tubing and boom arm can be tightened up enough so the mic doesn’t sag on the stand.

Make sure the mic is at the right height and position for the vocalist. Standing about a foot away from the microphone, the vocalist’s mouth should be at the same level as the capsule inside the grille of the mic. Hold the microphone up to the light and you should be able to see the capsule easily.

LOOK AFTER YOUR SOUND

Voice + room + microphone = job pretty much done, but there are a couple of other things to consider to make sure you get exactly the right signal in the first place. As engineers will always tell you, an hour spent getting the first stage right will save days trying to get rid of flaws at the mixing stage.

First of all, let’s deal with the vocals-into-microphone stage. A simple pop filter will not only reduce the plosives (from ‘b’ and ‘p’ consonants) and sibilants (from ‘s’, ‘c’, ‘x’, ‘h’ sounds), but will also protect the mic capsule from corrosion that naturally occurs with a build-up of saliva and warmth from a vocalist’s breath. A popshield is absolutely essential if you’re using a ribbon microphone, as the ribbon is just a few microns thick and it only takes a sneeze or a Lulu “We-eh-eh-eh-eh-eh-ell” type wail to damage it!

Another level of signal protection is the vocal screen. Usually fixed to the stand, this angled or curved ‘baffle’ prevents rogue reflections reaching the rear and sides of the microphone.
Of course, if you’ve done your job properly at the room treatment stage, a vocal screen may not be needed. However, for the home and small studio market, they are a great accessory. We particularly like the sE Project Studio Reflexion Filter or the Primacoustic VoxGuard, both inexpensive additions to your vocal recording set-up.

THE LAST LINK IN THE CHAIN

So your vocal is honed, you’ve got the right mic on the right stand and added the appropriate protection. The final link in the chain before the signal disappears into your mixer/DAW (more on that next issue) is the cable that gets it there.

Quality cables are an absolute must and you should go for the most expensive that you can afford. You may think that a cable is just a cable, but that higher price will give you top quality XLR connectors and a cable with good RF (radio frequency) shielding to protect your signal from interference and ensure the best possible signal integrity. Top-notch cables not only help you achieve the best possible sound quality, they’ll also fit your sockets perfectly (no more wiggling cheap plugs into mic sockets) and they’ll last longer too. Let’s just hope the voice holds out for as long!

MAKE MINE A MULTI

Any semi-pro to professional studio you set foot in will have an array of microphones to suit the different kinds of vocals they're recording. However, if you're in a smaller studio or recording at home where you really have to make the most of your budget, you will probably be looking at multi-pattern condenser microphones. A decent quality multi-pattern mic (especially if you get a pair) can be the Swiss Army knife in your recording arsenal.

There are plenty of multis out there but whichever you go for, you'll definitely need that cardioid pattern. However, take time to experiment with the other patterns and take note of how they make the vocals sound different as you flick through the options. Any other patterns are a bonus and you will no doubt find yourself using the mic on other stuff, from drums and guitar to overheads and voiceovers. A couple of good ones to try are the AKG C414XLS and the Sontronics SATURN.

WE RECOMMEND

• Auralex Aural Xpander Kit
This great little kit is a godsend when sorting out reflections and standing waves in a small recording environment.

• Røde NT1-A
For less than £180 you get the large-diaphragm NT1-A mic plus a pop filter, shockmount, headphones, carry pouch and an instructional DVD.

• Sontronics Sigma
This phantom-powered ribbon mic is inspired by the classic ribbons of the 1940s and 50s. It looks and sounds great for less than £450!

• sE Electronics Gemini III
This larger-than-life mic has valves on the input and output stages and also gives you omni, cardioid and figure-of-8 patterns for around £1,000.

• Primacoustic VoxGuard
For under 100 quid, this curved isolation panel is made from high-density, open-cell acoustic foam to protect the back and sides of your mic from reflections.