recording really low voices

[alarmo]

Here's a subject I'm not finding in the archives: what seems to work best with recording a really low, boomy, bass-y voice? I've been trying a few things lately - different mics, high-pass filters and/or low EQ, and I'm getting OK results but not great. Basically, I'm getting tracks that wind up either sounding too boomy without enough definition or clarity, or else they end up sounding kind of distorted from excessive EQ/filtering. Now, sometimes a vocal that's a little fuzzed out sounds great, but what do guys do when you want to get a clear sound on a voice like that? Any particular mics or other gear that work well, or not? Is it all just technique, and if so, what do you do?

I'm fully expecting the answer to be "there is no one silver bullet", but I'm curious what people suggest.

[darkskyy1]

the more omnidirectional your microphone, the less you have to worry about proximity effect, therefore, make sure you ware dealing with the vocalist's distance and axis on the microphone, also, try a microphone that will have a smooth low-end, or has a built in hi-pass, (md421, sm7, km140, c3000, tlm193, ksm32, etc. etc. etc.)

good luck, remember to use the air to your advantage, also, those songers with really deep voices tend to sing passages slightly flat, ask the singer to sing with a big smile on his face, this will not only change the sharpness of his voice, but could also adjust his/her natural voice timbre just enough to wear the boominess isn't a problem

[rhythm ranch]

Any particular mics or other gear that work well, or not?

What mic/pre are you using now?

[endofanera]

the more omnidirectional your microphone, the less you have to worry about proximity effect, therefore, make sure you ware dealing with the vocalist's distance and axis on the microphone, also, try a microphone that will have a smooth low-end, or has a built in hi-pass, (md421, sm7, km140, c3000, tlm193, ksm32, etc. etc. etc.)

good luck, remember to use the air to your advantage, also, those songers with really deep voices tend to sing passages slightly flat, ask the singer to sing with a big smile on his face, this will not only change the sharpness of his voice, but could also adjust his/her natural voice timbre just enough to wear the boominess isn't a problem

As one of these baritone unfortunates, I can attest that all of this is great advice for things to watch out for, as learned through a lot of trial and error, especially the bit about being slightly flat and how to tame it. I've found that SM-7s and RE-20s are both great mics to help deal with the boom and still capture the kind of sound youre talking about. I've also used a D-12 to really good effect, singing into it a little off-axis.

[DryCounty]

Slightly off topic: I'm currently listening to the Young Gods "L'eau Rouge" right now and happened to stumble upon this topic. Anyone know how they record/recorded, and/or what mics they may have used...?

[darkskyy1]

thanks ENDOFANERA, i forgot to list the EV RE20, which is a fantastic mic for this application, go to any broadcast studio and i gaurantee you will find at least one RE20, RE27 or PL20 in the studio being that most male broadcasters have that deep, booming radio voice and the RE20 has enhanced low frequency rejection due to the nature of the phasing slits that make it cardioid, in the 50's AKG made the D24 and D240, which employ the same type of low-freq rejection, i use a D24 underneath a snare because it rejects the kick very well, another mic to mention is the Beyer M88, it is similar to the 57 but it handles low frequencies very well, the AKG d112 and d12E plus the Shure beta52, all handle low frquencies really without distortion, the sennheiser MD421 is also a good choice as it uses a unique 5-position bass rolloff switch, Saddam Hussein actually always used these on his podium and i believe it was for that reason

[cgarges]

I've had really good luck recording these types of vocalists with 47-type mics. You know, the kind of mics that have a nice low-mid representation and a solid midrange. My favorite for this, and what pretty much always works great for me is a Telefunken 47, but that's probably not what you wanted to hear. I've had good results with the FET47 and the Blue Mouse. I imagine that the Audio Technica 4047 would be an excellent mic for this, but I have yet to record a baritone with one. (It's a great mic anyway.) These type of mics should give you a fairly flattering low end and the midrange bump should give you the clarity you need. With any directional mic, proximity effect should be used accordingly. The mic placement I like for baritones is below the mouth closer to the chin and pointing upwards. It's just worked great for me.

Chris Garges
Charlotte, NC

[AstroDan]

Yes, that is correct. Saddam was quite taken with, and always relied upon, the 421's smooth bass response and low cutting versatility.

[alarmo]

Thanks for the advice and suggestions. I'm totally in "home studio" territory, although the bands I play in and friends' bands are starting to come over to record more stuff lately. My mics (so far) aren't the greatest, but are about what you might expect with that - AT 3035, couple of various oktavas, sm57s, etc. (I know, this is where the "real studio" guys here start laughing. ) I've already discovered that going through my firestation's preamps works better for this than going through my board - it hasn't mattered on much else yet, but here it seems to.

I've gotten inconsistent results so far with low voices (like mine), so I'm still trying to hone what I'm doing, and looking for suggestions on what to watch out for. Chris - I'll try that chin-level mic placement tip, thanks for the idea. I'm also thinking a pl/re20 or 421 might be a good next mic, but I'm trying to learn what I'm doing with mic and vocal techniques, too.

[joel hamilton]

"bout what you might expect with that - AT 3035, couple of various oktavas, sm57s, etc. (I know, this is where the "real studio" guys here start laughing."

First of all, I am something of a "real" studio guy and I have used oktava's and 57's on every rock session in the last 10 years. Dont be hard on yourself. Big time mic's cost big time money. Be creative with what you have, and fuck everything else.

Second, recording boomy voices: try backing the guy up 6 inches from the mic, and compress a little to tape (or disk), then compress a little more on playback, and EQ to taste. That is the simple answer. That is how I would do it.

Hope that helps, in both cases.

[jajjguy]

Yes on the compression. Don't worry so much about making the voice sound huge and bassy during mic placement, worry more about getting a clear balanced sound. Then compress to bring it forward, and that'll bring the bass up too.

[nestle]

AT 4047...great for low vox and another vote for the RE20

[I'm Painting Again]

sm58 and d112 and ksm27 are a mics not mentioned so far that I find work sometimes on my baritone voice applicationsk..try stupid shit like singing through tubes and into corners and stuff that will always teach you something fun..experiment with what you got and you will find out neat stuff all the time..

[Randy]

I agree with the MD421 folks. Also, I got an Electrovoice PL-80 a while back and it works great on boomy voices also. PL-80s should be pretty cheap.

If you have no gear, years ago with very minimal gear I had luck with making the singer sing into a corner and mic'ing the back of his head. He was about 3 feet from the corner, and the mic was about 3 feet from his head.

Signal chain:
SM58- Tascam M106- Akai 1/4in reel to reel.

[Gebo]

Anyone remember a band called "Monster X", that dudes voice is low as hell!!!