M-Audio Microphone manual Specific MikingChapterApplications5, Vocals

Specific MikingChapterApplications5

Now that we￿ve covered some basics, it￿s time to look at some time-honored guidelines for common recording situations.While experimentation is definitely encouraged, these techniques will get you in the ballpark and, more importantly, provide additional understanding about microphones

and placement techniques so that you can find what works in any given situation.

Vocals

Vocals are perhaps the most difficult subject to mic. Each vocalist is different and there can be a tremendous amount of dynamic range within a single performance. Vocalists also tend to move when they sing, providing yet another challenge.

A large diaphragm capsule is traditionally desired on vocal tracks. Large diaphragms are generally better equipped to accommodate a vocalist￿s potentially high dynamic levels. The proximity effect tends to add fullness to the voice, as well.That same proximity effect can be overwhelming when used on a performer that already has an extremely deep voice. In this event, a medium capsule can be more appropriate because of the reduced proximity effect.

Tube mics and preamps are highly recommended for vocals, as vocals tend to be the featured element.

Cardioids are typically used when close-miking a vocalist, especially when the acoustic space is not necessarily something you want featured in the track. On the other hand, omni can yield excellent results when you do want to feature the room￿s natural ambience. In the case of recording multiple vocalists, there may not be enough resources for separate mics or tracks. For a duet, placing the performers on either side of a figure-8 capsule works well. For background vocalists or an entire singing group, place the singers in a semicircle around a cardioid. Position the individual vocalists closer to or further from the mic in order to achieve the desired balance in their levels.

In all cases, the distance between the vocalist and the microphone will determine how ￿present￿ or intimate the sound is, as well how much reflected sound is picked up. Note also that the law of inverse squares dictates that slight movements on the part of the singer will have much less effect on the mic output level if he or she is not ￿eating￿ the mic.A good starting distance is 12 to 18 inches away from the vocalist.

Vocal mics are usually placed at the same level as the performer￿s mouth. Raising the mic produces a more nasal sound, while lowering it yields a more chesty sound. Avoid extremes, as they tend to stretch or constrict the subject￿s throat￿enemies of a good vocal performance.You can also

Angling the mic downward can reduce unwanted

vocal energy from reaching the diaphragm

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In order to avoid primary sonic reflection, vocalists and mics should not be positioned directly in front of a hard surface

A pop filter is often used to reduce vocal plosives

Choosing & Using Microphones 25