recording the vocal?
I’ve gone full circle with singers from punching every word or phrase 200 times to now letting them sing through a song 3 times and then wood-shedding a 4th take. I encourageartists to spend plenty of rehearsal time “out of the studio” so when we do record, they’re ready to give it their best shot. After all that, I may likely “comp” or assemble the final vocal from those performances. Here’s why, most singers voices change rapidly over the course of an hour. I really want to get 3 takes that sound the same “physically”. Most great singers have about 4 good takes in them and then it gets
counter-productive. After that, they’re not only tired but have likely lost the “moment” and are thinking about things way to much. I try to be in “record” right away because the
best singer moments happen quickly and then they’re gone. Now, this is not to say that occasionally it may take a while to get a certain phrase musically correct. The problem with most producers is that they’re not singers themselves so they really can’t relate to what a singer is going through. I’m a good example of that...but I’ve learned...the hard way. The producer that starts right in with a lot of suggestions regarding pitch and needs for things to be his/her way is, in most cases, NOT the producer that gets the best performance out of a singer. I handle the situation almost the same for the “pro” studio singers. They get tired too. I’ll take “passion” in a vocal performance every time over perfection, particularly these days when I know that I have the technology to clean things up a little.
4. What is your favorite microphone set-up for group vocals?
I pretty much default to a semi-circle and 4 mics for SATB recording. I have the best mix results when I have blend control so I tend to choose separate mics for each stand or part (SATB). I can tell when it’s right as the singers will relax and settle in to what they’re hearing.
5. How do you feel about vocal editing and vocal tuning? In today’s marketplace, do you feel it compromises the recordings’ musical integrity or is it now a common modern-day extension of the singers’ performance?
I’m a huge fan of vocal editing/tuning as long as it’s a spice and not the main
ingredient. Unless the song calls for tuning/editing as an effect, I would never globally tune a vocal performance. I use Melodyne to make an already solid performance into a keeper by todays standards. I might be carefully affecting pitch, drift, or vibrato on any given
doing it. It can all be a bit subjective too. You have to ask yourself....is what I’ve done really making this “better”? Have I taken the “soul” out of this performance by choosing perfection? Sometimes the answer will surprise you. Many times the answer is
somewhere in between the two extremes.
As far as musical integrity goes...the question is almost laughable. I get paid to make things come out they way a client “wants” it to sound, not how it “actually” sounds. Further, understand that the expectation in the marketplace is different these days. Most
folks want it “perfect” so that’s what we give them...perfection that sounds like it was done that way to start with. That’s just the “gig”....get over the musical integrity
question. You’ll just be disappointed if you hang your hat on that one. I’ve chosen to die on a different battlefield.
6. What is your approach to recording vocal percussion?
Mic placement and selection is more important than normal as there are enormous “plosives” and other artifacts to deal with when recording vocal effects. Tube
compression with a medium fast attack and medium slow release is helpful. Also a mic pre with extremely fast transient response like the API 512 is helpful. In some cases, I’ve found that a dynamic mic is a better choice for vocal percussion.
7. Do you have any thoughts about the future of vocal recording and any advancements that might take place?
I think we will continue to see the advancement of tools that will make it easier to improve/edit vocal performances. More cost efficient microphones have been the rage in the past few years but I’m seeing a shift back to more high-end choices these days. I think the younger producers are trying to get it right with their greatly reduced budgets. They might not own or even use a real studio but their racks are filled with at least two channels of the very best recording chain possible. I would consider that behavior an
“advancement”.
8. Is there anything else you would like to add?
As a professional community I think we’re in a pretty good place right now as I feel like we’re still using and teaching the balance between proven, high end recording tools and the newest digital technology available to us. I’m hoping the young generation of producer/engineers will continue to be dedicated to that balance. The fact that a piece of technology is “old” or “new” does not alone determine it’s value to us. Let’s continue to embrace both the old and the new while striving for excellence in our craft.
1. How important do you consider the Vocal Chain Combination to the quality of the final recorded vocal sound? What are your favorite Vocal Chain Combinations?
The most important factor is the talent of the performer. The vocal chain is also quite important, especially in achieving the last “30%” or so of “excellence.” One can obtain a good – even very good – recording with fairly inexpensive equipment. In some cases, an ultra hi-fi sound is not desired, or needed.
My go-to vocal chain is a Telefunken AR51 mic through a Vintech 273
Preamp/EQ. I typically do not compress on the way in, but compress later using software emulations of hardware compressors.
2. If you record in a digital platform, do you find yourself trying to make the vocal sound more “analog?” And if so, what steps do you take in trying to achieve more of that “analog” sound?
Yes. I might add harmonics, tube saturation, tape saturation, “color” compression, or various forms of “desirable” distortion to warm/smooth the sound. 3. As a producer, what is your approach to working with a singer? Are there certain phrases you have learned to say that tend to work “magic” with the singer while recording the vocal?
Each singer is different. Some call for a firm hand, some need a delicate touch. Some respond best to encouragement, others to humor, others still need anger or shame to produce their best results. Or bourbon.
4. What is your favorite microphone set-up for group vocals?