Microphone Techniques: Recording Vocals

Now that we’ve covered the 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. Moreover, the proximity effect tends to add fullness to the voice. 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.

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, the omni pattern can yield excellent results when you do want to feature the room’s natural ambience. M-Audio's Solaris, Luna and Nova are all excellent choices for recording vocals.

Angling the mic downward can reduce unwanted vocal energy from reaching the diaphragm

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 figure8 microphone such as our Solaris. 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.

A figure-8 pattern can accommodate two vocalists facing each other in a duet

Positioning for multiple singers around a cardioid

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 experiment with angling the mic down at the performer’s mouth in order to avoid projecting the energy of the breath directly into the microphone. Also, make certain that the vocalist’s headphones are the closed-cup variety, as open-cup designs tend to leak sound that the microphone will capture.

As previously mentioned, a pop filter is highly recommended in order to soften plosives and to protect the condenser diaphragm from saliva. Pop filters can also help in controlling a singer’s proximity to the mic. (If a vocalist has a tendency to get too close to the mic, place the pop filter as far away from the mic as you want the vocalist to be, then have them sing directly into the filter.)

Pop filters do not help in controlling sibilance, commonly found in the hissing portion of the letter “s.” You can try moving the mic lower and/or farther away to reduce sibilance, as well as encourage the performer to turn their head slightly during those passages to avoid projecting the sibilance directly into the mic. If these approaches are not effective, you may need to process the vocal with a de-esser, a special form of compressor that targets sibilant frequencies.

A pop filter is often used to reduce vocal plosives

Most engineers do use some compression when tracking vocals, such as that found in our TAMPA preamp. A little compression goes a long way, and too much can squash a vocal. A few dB of compression is typically all that is necessary in order to prevent peaking while getting the maximum signal to the recorder. EQ adjustments should only be aimed at getting an optimal signal, rather than trying to perfect final tonality (something that should be reserved for the mix).

Be aware that a hard surface directly in front of the vocalist can create a strong sonic reflection that colors the vocal sound. If this is not desired, move the vocalist further back from that surface in order for the reflection to fall off more before reaching the mic.

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

Our ears are very highly tuned to the human voice, so even casual listeners are much more critical of recorded vocals than of any other instrument. Once you think you have a good miked sound for vocals, it’s always a good idea to compare it directly with the sound of the vocalist just singing in the room in order to get a reality check.

This story is excerpted from our free guide "Record Now: Choosing and Using Microphones". Download the free PDF now!

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