Close-Up Vocals: Does the Room Really Matter?
- fossiltooth
- carpal tunnel
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The more you compress a vocal later the more a crappy room can come up and bite you on the ass.
I've found those commercially available "reflexion filters" work very well in cutting down the room.
If you can't afford one of those you can make a "T" with a boom stand and place a blanket over it. Make 2 "T's" and put them in an inverted V ^ then put your microphone in the ^ with the rear of the mic pointed at the center of the ^
I've found those commercially available "reflexion filters" work very well in cutting down the room.
If you can't afford one of those you can make a "T" with a boom stand and place a blanket over it. Make 2 "T's" and put them in an inverted V ^ then put your microphone in the ^ with the rear of the mic pointed at the center of the ^
Or, make yer own.roscoenyc wrote:
I've found those commercially available "reflexion filters" work very well in cutting down the room.
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- zen recordist
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I put the blankets behind the singer and a Primacoustic Voxguard behind the mic recently and it worked great.roscoenyc wrote:The more you compress a vocal later the more a crappy room can come up and bite you on the ass.
I've found those commercially available "reflexion filters" work very well in cutting down the room.
If you can't afford one of those you can make a "T" with a boom stand and place a blanket over it. Make 2 "T's" and put them in an inverted V ^ then put your microphone in the ^ with the rear of the mic pointed at the center of the ^
At this point I pretty always do tracking out and about, renting a space if necessary. My permanent work space is my mixing room at home. So generally I'll have vocalists record there, since I have RealTraps and other various treatments. The room isn't completely dead, but doesn't have any weird nodes and I can always position them near near/between some absorption panels. If they can't handle headphones and want to hear the monitors loud, and it works out with the tone and style, I'll use a Shure SM7b since it's got very unidirectional and has lots of off axis rejection.
Occasionally, if they want a lot of ambiance or natural reverb, I'll have them open the door and step out in the hallway with hardwood floors or down the hall into the bathroom. It's not a solution that works in every instance or for everyone, but if you do your own mixes it's always good to have a properly treated space. So it's just a nice bonus that it makes for handy vocal room as well.
Occasionally, if they want a lot of ambiance or natural reverb, I'll have them open the door and step out in the hallway with hardwood floors or down the hall into the bathroom. It's not a solution that works in every instance or for everyone, but if you do your own mixes it's always good to have a properly treated space. So it's just a nice bonus that it makes for handy vocal room as well.
For years I tracked in an empty warehouse at my office. We had these rolling racks for storing/moving windows and doors and I would drape packing blankets over them and move them around for baffles. Separation while tracking a band live, getting a nice tight dry drum sound, improvised vocal "booth". A little creative improvisation can go a long way.roscoenyc wrote:The more you compress a vocal later the more a crappy room can come up and bite you on the ass.
I've found those commercially available "reflexion filters" work very well in cutting down the room.
If you can't afford one of those you can make a "T" with a boom stand and place a blanket over it. Make 2 "T's" and put them in an inverted V ^ then put your microphone in the ^ with the rear of the mic pointed at the center of the ^
Having a nice mic is always recommended. It's a good idea to have as much isolation from reflections as possible when recording, especially to emulate that Wallflowers sound, you don't want any reflections from your room. So if you're in a small room (or even convert your closet into a vocal booth) you should be fine, provided you pick up a reflection filter with the mic. SE makes a really nice one that I've used myself and highly recommend. I'd say tha'ts much more of a permanent and fiscally responsible route to go over renting studio time.
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- audio school
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I use inexpensive garment racks for this purpose. Available at your local Walmart for less than a mike stand. Actually, one filled with clothes on hangers works rather well too.Corey Y wrote: For years I tracked in an empty warehouse at my office. We had these rolling racks for storing/moving windows and doors and I would drape packing blankets over them and move them around for baffles. Separation while tracking a band live, getting a nice tight dry drum sound, improvised vocal "booth". A little creative improvisation can go a long way.
- JGriffin
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So the answer is "record it and then stage the video with lots of cool-looking setups that weren't at all how you did it so guys on recording messageboards get bad info..."
"Jeweller, you've failed. Jeweller."
"Lots of people are nostalgic for analog. I suspect they're people who never had to work with it." ? Brian Eno
All the DWLB music is at http://dwlb.bandcamp.com/
"Lots of people are nostalgic for analog. I suspect they're people who never had to work with it." ? Brian Eno
All the DWLB music is at http://dwlb.bandcamp.com/
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