proximity effect for thicker vocal?
proximity effect for thicker vocal?
Xmas time off has me reading a bunch and I've come up with some questions.
I read somewhere that proximity effect with the right mic can thicken a vocal? Is it just a matter of getting close to the mic?
How close do you normally put your singers to a mic?
I'm trying to get a better sound out of my own voice (tenor/baritone, but I do a fair amount of falsetto) using a Red Type B. I am mostly within 12 inches of the mic. I'm getting a pretty good sound, but would like to see if I can get more thickness in the tone. Other than EQ and compression...just wondering if I should be thinking about proximity effect?
I read somewhere that proximity effect with the right mic can thicken a vocal? Is it just a matter of getting close to the mic?
How close do you normally put your singers to a mic?
I'm trying to get a better sound out of my own voice (tenor/baritone, but I do a fair amount of falsetto) using a Red Type B. I am mostly within 12 inches of the mic. I'm getting a pretty good sound, but would like to see if I can get more thickness in the tone. Other than EQ and compression...just wondering if I should be thinking about proximity effect?
i sing about the same range.
spread your hand wide open, fingers fully extended, and place your thumb tip to your lips and lightly touch the address side of the mic with the tip of your pinky.
that's the distance i often use for my vocals.
mind, if you're using a condenser, i'd put a pop screen in there after measuring.
spread your hand wide open, fingers fully extended, and place your thumb tip to your lips and lightly touch the address side of the mic with the tip of your pinky.
that's the distance i often use for my vocals.
mind, if you're using a condenser, i'd put a pop screen in there after measuring.
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- billiamwalker
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my voice is third plane of hell deep and I prefer getting up good and close when singing quietly and then using the mics low roll-off plus EQ sometimes - depending on what else is happening the track. that is to say, even though I'm rolling a bunch of the lows off it still sounds better to me to get the proximity effect and roll off than it does to stand further back and not use any roll off. they end up with the same basic eq curve but there's something about singing close. maybe I just feel hotter singing closer to the mic.
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- zen recordist
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Yea, the timbre is so much cooler when the singer is really close and not singing loudly!syrupcore wrote:my voice is third plane of hell deep and I prefer getting up good and close when singing quietly and then using the mics low roll-off plus EQ sometimes - depending on what else is happening the track. that is to say, even though I'm rolling a bunch of the lows off it still sounds better to me to get the proximity effect and roll off than it does to stand further back and not use any roll off. they end up with the same basic eq curve but there's something about singing close. maybe I just feel hotter singing closer to the mic.
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For any lurkers out there, proximity effect is unique to cardioid pattern mics. When deciding to take advantage of it to thicken a vocal, be really careful to maintain a consistant distance from the mic from one take to another if comping is a consideration. Inside of 6 inches, tonality can vary a great deal with one inch of difference (size matters). It was common in the old days for engineers to place a piece of gaffer's tape on the floor so the vocalist could be sure of where they were. On mic technique is what seperates a pro session vocalist with everyone else.
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- billiamwalker
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but aren't Fig. 8 mics essentially two cardioid capsules facing away from one another? for example, are they not 180 degrees out of phase with respect to one another?Figure of eight ribbon microphones exhibit hugh amounts of proximity effect...think "the X Files will return in a moment"
I don't own a mic with a fig 8 pattern so...
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- george martin
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fig 8's are like two tight cardioid patterns back to back, but not necesarily two capsules. a ribbon mic, for example is usually just one element. regardless, they generally have the most proximity effect of any pattern.nesta wrote:but aren't Fig. 8 mics essentially two cardioid capsules facing away from one another? for example, are they not 180 degrees out of phase with respect to one another?Figure of eight ribbon microphones exhibit hugh amounts of proximity effect...think "the X Files will return in a moment"
I don't own a mic with a fig 8 pattern so...
the opposite of omni, btw, which has the least. room concerns aside, the amount of proximity effect is one thing i always consider when i choose a mic/pattern. omni 3" away, or fig 8 7" away?
syrupcore wrote:+1billiamwalker wrote:i always jsut place the pop filter in the correct area that he needs and so he can stand comfortable and put his mouth up to the pop filter and he knows that he's a good distance from the mic.
+2
Bury your face right in there. It's even better if the pantyhose smells like women. Or ass, whatever you prefer.
I shaved my moustache cause it kept scratching against the pop filter, very annoying. Good thing I was doone shooting that "movie". I'd like to try one of those metal ones, but it probably won't taste as good.
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