Quote:
Originally Posted by Storyville  My experience tells me the opposite. Place the mic slightly above the mouth, backed off and aimed down at the chest.
But the best way is to listen to yourself in the headphones and find a good angle and distance based on that. |
I will add on to Story's suggestion with this as well.
Find a good angle and distance whilst monitoring WITH compression engaged.
Compression is usually what exacerbates the sibilant tonality of a microphone. In some situations if you have a mic that initially isn't all that sibilant, then if you place it without hearing what the compression will do to it, you're in for a surprise once you decide to go for that stupid fresh, gignormous phat, full bodied Schwepervessant raspberry ginger ale crisp compressor, in post. More likely than not, Suzy Sibilance will rear her ugly head.
And if your mic is too bright to begin with, she'll bring Hannah Harsh and Carrie Crap-Ola with her.
PS Story has a built in spectrum analyzer inside his head, it accompanies his positronic brain. So he can PRE DETECT sibilance without needing a compressor. I envy him, but also I don't mind plugging him in at night when we close the studio for the day. It does suck pretty bad when Chris Lago (his evil android twin brother) comes by with the Borg and tries to autotune EVERYTHING.
"Resistance is futile."
Peace
Illumination