recording vocals when you have a thin, nasally-ass voice

[kseconds]

I'm sure this topic has been covered here a billion and one times but I did a search and found nothing that addressed my little problem.

I'm recording an album on a non-existent budget for a small label and I want to improve on how my recorded vocals sound. I can't afford to buy any new gear so I'm relying solely on what I already have and any new, fun tricks any of you might be willing to throw my way.

My vocals tend to come out really thin sounding and I'd really like to warm them up without making them too muffled. I've always just doubled the lead vocal parts and panned them and I do like the effect I get with that on some tunes but on the 'loner dude with just his acoustic guitar and raggedy voice' ones, I'd like to just be able to get my voice to sound full and warm without having to cheat.

I'm thinking how Joe Strummer sounds whenever it's just him on some of his quieter moments (intro to Coma Girl, etc. etc.) or even Elvis Costello.

Essentially, this is an acoustic guitar record and I've managed to get a really nice, bright-stringy guitar tone. Now I just need the warm lead vocals.

For the technical record, I'm recording on an old Powerbook G4, using an Mbox and ProTools. I tend to stick with an AKG C1000 I've had for years and use ProTools compression plug-in because I don't have any other means of compression.

Help?


-Kevin

[A.David.MacKinnon]

Try some other mics. Beg, borrow, steal or rent other mics.
I have a thin, reedy, nasal voice too and I've learned to stay away from cheap condensor mics. Dark dynamics and ribbon mics are a big, big help.
My 2 favorites at the moment are the Electro Voice 664 (the big chrome job that shows up in all the 60's Johnny Cash pics) and the Apex 205 (super cheap Chinese ribbon - like the Tape Op, Nady, Shiny Box, etc, etc). 57's and 58's work too.
If you've got a bit of cash look for a used Bayer M88, or Shure SM7, or a 421. If you have more money look for an EV 666 or an RE20. I'm sure the rest of the gang can chime in with more big money sugestions.

If you're stuck with what you have try singing off axis on the mic - ie: turn the mic so that it's at a 45? angle to you're head. Then step back a bit, or step closer, it depends.
The right mic for your voice is 90% of the battle. Try as many as you can before you settle on something. Even with the right mic I still have to do some de-essing and other work to make my voice less grating, but with the wrong mic it's hopeless. You should try to think of it the same way you'd think about buying a cool guitar or amp or what-ever. You're voice has more to do wiith your sound than anything else. Don't get lazy and don't cheap out.

[drumsound]

Also try to put the mic lower so it picks up more of you chest vibrations My singer is relly pointy and nasal-y. We tried lowering the mic and it helped a bit. EQ the oppisite way you think you might need to. Don't cut the nasal stuff, boost the good stuff. or the other way around. Try a couple compressors in series, or EQ before and after compression. Try parallel compression. Try try try...

[Ryan Silva]

Hey Kevin,

I also live in Sac, and have a EV re-20 that I use for the very same reason. If you would like to Rent it for $15 a day let me know, if not I may be able to help you record the vocals at my place. I have a small home studio with good mics and pre's that I basicly give away time at. I understand there is no budget, but I am always willing to help out the person that brought us 'Old School'. It was my first punk tape ever, at 15. Never left my tape deck.

Let me know.


Ryan Silva

[A.David.MacKinnon]

Also try to put the mic lower so it picks up more of you chest vibrations My singer is relly pointy and nasal-y.

Yes! Also if you've got a fig 8 ribbon (I know the original poster doesn't but what the hell) try pointing the null at your nose. The mic will end up angled toward your lower neck/upper chest.

[dsw]

It's ok to sound thin and nasally, just ask Neil Young.

[Brett Siler]

Do not use a mic with hyped high end! I found that a mic like the Oktava 319 is good for nasally vocals. I recorded a "screamo" band where the vocals where real whiney and nasally sounding (not talking shit, thats what they were going for) and I ended up using the 319 the whole time. I have also come to find that by moving the mic up (north, or higher from the mouth) that the mic becomes rounder or darker sounding, and the opposite with down (south or lower from the mouth).

up = bass
down= treble

It's like a tone knob in the air!

[apropos of nothing]

I just swallow a SM-58 and sing into my gullet.

Okay, not quite, but I've found that proximity effect is in fact my friend.

[TapeOpLarry]

Make Baccigaluppi loan you some mics. Did the vocals he tracked for you sound thin? You should ask him what he was using.

[kseconds]

Make Baccigaluppi loan you some mics. Did the vocals he tracked for you sound thin? You should ask him what he was using.

He's loaned me more than enough stuff over the years. I think I once managed to hold on to one of his Joe Meek compressors for over a year and he was too kind about it

[T-rex]

If you can get some loaner mics definitely try a ribbon. I used the Tape Op ribbons for a very nasally singer that i record a lot and it is really nice. It is dark, but I do a little boost at 20k on an eq and it totally brings it right there - not dull but not sibilant and thin.

I have also hard good luck with that same singer through an AT4047, like an inch from the grill. Condenser, but transformer driven, nice and dark with good proximity.

Oh yeah, also usually through my N72 pre input cranked, output fader low so it also helps add that low end thickness.

Unfortunately no tricks other than swallowing the mic for proximity but if you can beg borrow or steal: thick pre and ribbon mic - even a cheap one.

[ChrisCo]

Yeah man, I've had the C1000 for years, and when I moved to the LDC (AT 4040), it just opened up a world of frequency ranges and possibilities. I've felt that the C1000 tended to hype up the nasaly frequencies of the vocalists I'd record them on, which made them sound less than desirable (though her voice and technique were Uber uber great). Once I ditched that particular model AKG, things sounded much better.

[Sean Sullivan]

I would sell the C1000 and get a MXL V67G or run it through a darker compressor...the JoeMeek VC1 I had was great for nasally voices.

I realize you have no budget, but a dynamic like the RE20, SM7B, and Heil PR-40 are great for vocals as well. If you sold the C1000 you might be able to get a used Heil PR-30 (a great mic in it's own right) for about the same price.

[darjama]

I'm gonna join the consensus and say the c1000 isn't the right tool for the job, but there are ways to make it work if you don't have other options available. You could try EQing the heck out of out it, or using a multiband compressor plugin to clamp down on those high-mid frequencies. And definitely get as close as possible when singing into it to take advantage of the proximity effect.

I worked with one singer where I had him sing directly into a dynamic and had a condenser off to the side slightly, higher than I'd usually have it and pointing down. Blending them together, I used the condenser to add a little "air" to lighten up the dynamic sound. I'd try this if you've got a cheap dynamic lying around.

If you happen to have one around, I love the Sennheiser e906 for a deep rich vocal sound.

...and props to one of the guys who got me started making music.

[Ryan Silva]

I remember before I knew anything about mics, or proximity effect, off axis ect. I use to sing over the top of my c1000s like it was a side address. It worked pretty well at reducing that normally very apparent thin, nasal sound of my voice. I will never sell my c1000s, to many memories.