Best Mic For Screaming Male Lead Rock Vocals? - Page 2

84K · 6th February 2005

Quote:

Originally posted by wwittman
1st choice: good U-47
(IS there a better rock vocal sound than Lennon on Twist and Shout? gee, i guess that tube really can't handle the "spl"... yawn)

Lennon's preformance on that track is one of my fav vocals of all times. Although, a lot of that sound was not the volume of his voice, but the wicked state he put it in from screaming all day. We have a mint 47 at the studio, and I admitt, I have not tried it.... yet. Most mics can't handle. Some can handle, but sound like cheap mics.... So far, SM-7 wins...

MMazurek · 6th February 2005

Yeah, I use an sm-7 when it works.

Otherwise a Lawson L47/mp.
The L47 into a Great River MP-2nv HOT! into a Distressor (trying all kinds of wacky settings) is AWESOME on screamers.

Actually, the sm-7 usually gets the same chain.

Jamz · 6th February 2005

John Lennon's vocal on Twist and Shout is in the books. Amazing!
When I look through the Abbey Road Sessions book the early studio shots have almost nothing but U47s. On everything. Of course they weren't a rare vintage mic back then now were they.

I too find that some of the very expensive newer boutique tube mics seem to have very sensitive capsules and do not like high SPL. When I'm in a studio that doesn't have a room full of U47s and I'm recording loud rappers that don't have Lennon's mic technique the SM7 and sometimes a Fet47 through any of the API, Avalon, Cransong mic pres work just fine.

I also like the lead vocal on Puddle of Mudds "Nobody Told Me". Second verse he kicks ass. I wonder what mic John Kurwzeg used on Wesley's voice?

wwittman · 6th February 2005

Are most rock records made with the vocal compressed to hell and with added distortion?
I think not.

There's never a reason to not record something WELL, even if after the fact you decide to manipulate it.

I've never heard any vocalist able to distort good U-47... and certainly not a 47fet with its pad.

DirkB · 6th February 2005

If I'm not using a LD, I like the MD441...

Greetings,
Dirk

Megnus · 23rd July 2007

I am very sorry for bringing up a very old thread, but it is something that i have to know a little bit more about.
What does thread-starter mean about the Linkin Park multi-voice screamed out hooks?

Quote:

Originally Posted by 84K

HI,

I was wondering what everyone is using for screaming male rock lead vocals. What are your suggestions? Most tube mics can't handle the SPL. Which do you go to? Does anyone know what they use on the Linkin Park multi-voice screamed out hooks? Thanks-Kris

uncle duncan · 23rd July 2007

Hah! It's an old thread. That's why no one mentioned the Heil PR40 dynamic, which probably wasn't out yet. This mic is in the SM7/RE20 family, but with a little less mud.

Trev@Circle · 23rd July 2007

EV RE20 or Shure SM7

Trev@Circle · 23rd July 2007

oh man... it's a real old thread!

Pfhuck · 24th July 2007

Since I can't afford to comment on the gear flavor of the month, some of these old threads suit me just fine, so....

So why just limit yourself to just one mic while recording vocals??

I just finished a project where we used KSM32's for the majority of the vocals. Which I think is pretty rad for screaming vocals. Low cut and pad and all... still needed a fair amount of processing to "fit".... is that unusual??

This was augmented by a Shure Green Bullet which was either plugged DI into a Vintech 1272 or into a Marshall JCM900(?).

We also used/tried:
SM7
421
SM57
SM58
e609
635a
sm62
etc
sennheiser headphones (if ya DI and scream into them, it sounds like....)
PSA-1
SC-50

If I haven't used a Nuemann, or Geffel, or Blue....

Whatever fits the song I guess?

Wears ur producer hat?!?!?

Laters,
Pfhuck

Megnus · 26th July 2007

I still doesn't know what multi-voice screamed out hooks mean. I'm not from an English speaking country so I am not an expert in english :P
Can someone explain it for me please?

Pfhuck · 26th July 2007

I don't think your english is at fault Megnus!

I'm not really sure what a "multi-voice screamed out hook" is either...

Maybe how the "angry and distorted" vocal parts contrast to the "clean and melodic" vocal parts??

I'm sure both vocals would be recorded on their own track or overdubbed.

Different microphones and processing for each vocal = space and contrast.

Hope this helps.

Laters,
Pfhuck

Megnus · 26th July 2007

so that is how you get the contrast? When it is the same person who is singing, but it sounds different? Using different microphones..

Thanks for your answer

And once again.. very sorry for bringing up this old thread.

bobwarren · 26th July 2007

Quote:

Originally Posted by Drumsound

421

+1 for me. Most screamers like to hold the mic and usually bend over as they belt out their anguish. Just keep an eye on handling noise, but the MD421 does a pretty good job.

jnorman · 26th July 2007

senn md441

Calaveras · 16th August 2007

sorry for resurecting
such an old thread. I was looking up info on the beyer soundstar MKII.
I pretty much have recorded only punk and metal for a while now. With a little hip hop for good measure.
If you are recording an actually loud screamer, and not just somebody that abuses their vocal chords to make it sound like they are screaming. I would advise against the beta 57! It is a very high output for a dynamic. It also has a honky midrange, (which makes it good on some sources).
When I did try it on vocals, a good screamer would just flatten my poor mic pre no matter how low I turned the input.
What I do for screamy vocals is give em a 57/58 om3/5 on a stand in front of a GT52, 414 or other LDC.
I usually space them apart about a foot or so.
If there are any phase problems I'll align the tracks in the DAW.
I also usually put the LDC up about 4" higher than the dynamic. To get more nose. I also will sometimes run the dynamic through an old Shure mixer or my PM180 to get some overdriven transistor noises.
But yeah, the soundstar II any good?

Harvey Gerst · 16th August 2007

Quote:

Originally Posted by Calaveras

But yeah, the soundstar II any good?

Yeah, it's very good for loud vocals.

blackcom · 16th August 2007

SM7...is it not kinda obvious?

And use an API mic pre if you have it....

Distressors and 1176 would work fine as a compressor too....

hurd300403 · 17th August 2007

sorry if these have been mentioned already:

ksm44, or sm-57.

i've had fantastic results with the ksm44 and screaming vox!

somedguy · 2nd March 2010

Fist I will say I know that some of you will hate me for this but.... I recently recorded a screamer that If I had double taked (one take for loud and one for quiet) There would have been a major loss in energy. He wanted a very raw singer song writer feel. So I set up a pair of apex 185. one was behind a wind screen and another one was on a 45 degree from that with no wind screen so all he had to do was turn his head slightly so as to minimize distortion. one was set up with the pre low to pick up the screaming and the other set high to pickup the quiet vocals. I did this in a dead room so you coudn't hear acoustic differences between the two mics then in protools I comped them togeather. It work wonderfully given that it destorted my pres on my mic set up for quiet really bad when he was screaming into the other mic but it was seam less after you comp it. I must admit the apex185s are fantistic mics. I have used other pairs pencel mics and the 185s have great freq responce from lows to high with very little roll off. at least if you are broke like me. lol

greyskull · 2nd March 2010

SM7, it takes pansy screamers and makes them into men.,

mattg082 · 2nd March 2010

sm-57 is great for rock screams. I layed down a few rock industrial cheer chants with a distortion chain fx added after with Izotope trash and clean chain with a great river and api pre mixed on two seperate aux tracks and it sounded awesome and the real deal! All it need is a little eq and takes about 5min to do so to make it just right in the mix. I always like to record screams clean on the pre and manipulate the distortion and over tones after so I don't have to do retakes and can have a better work flow. I agree if it's recorded good and not distorted and done later it's way better. I would never ride the gain and print something like that when I can be safe and do it ITB or just stem it back out if i need to print with something. Always want to have a clean version tracked.

6th February 2005	#33
Jamz Lives for gear Joined: Nov 2002 Location: Bucks County/Philly, PA Posts: 2,344	John Lennon's vocal on Twist and Shout is in the books. Amazing! When I look through the Abbey Road Sessions book the early studio shots have almost nothing but U47s. On everything. Of course they weren't a rare vintage mic back then now were they. I too find that some of the very expensive newer boutique tube mics seem to have very sensitive capsules and do not like high SPL. When I'm in a studio that doesn't have a room full of U47s and I'm recording loud rappers that don't have Lennon's mic technique the SM7 and sometimes a Fet47 through any of the API, Avalon, Cransong mic pres work just fine. I also like the lead vocal on Puddle of Mudds "Nobody Told Me". Second verse he kicks ass. I wonder what mic John Kurwzeg used on Wesley's voice? __________________ Jim Salamone http://cambridgesoundstudios.com http://www.facebook.com/pages/Newtow...9272438?ref=ts http://www.reverbnation.com/cambridgesoundstudios

6th February 2005	#34
wwittman one man, ONE mic pre Joined: Jan 2004 Location: New York Posts: 2,300	Are most rock records made with the vocal compressed to hell and with added distortion? I think not. There's never a reason to not record something WELL, even if after the fact you decide to manipulate it. I've never heard any vocalist able to distort good U-47... and certainly not a 47fet with its pad. __________________ William Wittman Producer/Engineer (Cyndi Lauper, Joan Osborne, The Fixx, The Outfield...) prorecordingworkshop.lefora.com thewombforums.com

23rd July 2007	#37
uncle duncan Lives for gear Joined: Oct 2005 Posts: 3,712	Hah! It's an old thread. That's why no one mentioned the Heil PR40 dynamic, which probably wasn't out yet. This mic is in the SM7/RE20 family, but with a little less mud. __________________ "You're either with a native DAW, or you're with the terrorists." G.W. Busch Lite

24th July 2007	#40
Pfhuck Gear nut Joined: Nov 2004 Location: Lincoln, NE Posts: 137	Since I can't afford to comment on the gear flavor of the month, some of these old threads suit me just fine, so.... So why just limit yourself to just one mic while recording vocals?? I just finished a project where we used KSM32's for the majority of the vocals. Which I think is pretty rad for screaming vocals. Low cut and pad and all... still needed a fair amount of processing to "fit".... is that unusual?? This was augmented by a Shure Green Bullet which was either plugged DI into a Vintech 1272 or into a Marshall JCM900(?). We also used/tried: SM7 421 SM57 SM58 e609 635a sm62 etc sennheiser headphones (if ya DI and scream into them, it sounds like....) PSA-1 SC-50 If I haven't used a Nuemann, or Geffel, or Blue.... Whatever fits the song I guess? Wears ur producer hat?!?!? Laters, Pfhuck Last edited by Pfhuck; 24th July 2007 at 06:30 AM.. Reason: Sailor Jerry

26th July 2007	#42
Pfhuck Gear nut Joined: Nov 2004 Location: Lincoln, NE Posts: 137	I don't think your english is at fault Megnus! I'm not really sure what a "multi-voice screamed out hook" is either... Maybe how the "angry and distorted" vocal parts contrast to the "clean and melodic" vocal parts?? I'm sure both vocals would be recorded on their own track or overdubbed. Different microphones and processing for each vocal = space and contrast. Hope this helps. Laters, Pfhuck Last edited by Pfhuck; 26th July 2007 at 04:32 AM.. Reason: Clarity!! It's that damn schizophrenia again....

6th February 2005	#32
MMazurek Gear nut Joined: Jun 2002 Location: Naperville, Illinois USA Posts: 146	Yeah, I use an sm-7 when it works. Otherwise a Lawson L47/mp. The L47 into a Great River MP-2nv HOT! into a Distressor (trying all kinds of wacky settings) is AWESOME on screamers. Actually, the sm-7 usually gets the same chain.

6th February 2005	#35
DirkB Lives for gear Joined: Jul 2003 Location: Netherlands Posts: 1,722	If I'm not using a LD, I like the MD441... Greetings, Dirk

23rd July 2007	#38
Trev@Circle www.circlestudios.co.uk Joined: May 2007 Location: UK Posts: 2,032	EV RE20 or Shure SM7

26th July 2007	#41
Megnus Gear interested Joined: Jul 2007 Posts: 4	I still doesn't know what multi-voice screamed out hooks mean. I'm not from an English speaking country so I am not an expert in english :P Can someone explain it for me please?

26th July 2007	#45
jnorman Lives for gear Joined: Sep 2004 Posts: 1,807 2 Reviews written	senn md441

16th August 2007	#46
Calaveras Gear interested Joined: Oct 2006 Posts: 7	sorry for resurecting such an old thread. I was looking up info on the beyer soundstar MKII. I pretty much have recorded only punk and metal for a while now. With a little hip hop for good measure. If you are recording an actually loud screamer, and not just somebody that abuses their vocal chords to make it sound like they are screaming. I would advise against the beta 57! It is a very high output for a dynamic. It also has a honky midrange, (which makes it good on some sources). When I did try it on vocals, a good screamer would just flatten my poor mic pre no matter how low I turned the input. What I do for screamy vocals is give em a 57/58 om3/5 on a stand in front of a GT52, 414 or other LDC. I usually space them apart about a foot or so. If there are any phase problems I'll align the tracks in the DAW. I also usually put the LDC up about 4" higher than the dynamic. To get more nose. I also will sometimes run the dynamic through an old Shure mixer or my PM180 to get some overdriven transistor noises. But yeah, the soundstar II any good?

16th August 2007	#48
blackcom Lives for gear Joined: Mar 2004 Posts: 985	SM7...is it not kinda obvious? And use an API mic pre if you have it.... Distressors and 1176 would work fine as a compressor too....

17th August 2007	#49
hurd300403 Gear maniac Joined: Feb 2006 Location: Washington DC Posts: 249	sorry if these have been mentioned already: ksm44, or sm-57. i've had fantastic results with the ksm44 and screaming vox!

2nd March 2010	#50
somedguy Gear interested Joined: Mar 2010 Posts: 1	somthing differerent for screaming Fist I will say I know that some of you will hate me for this but.... I recently recorded a screamer that If I had double taked (one take for loud and one for quiet) There would have been a major loss in energy. He wanted a very raw singer song writer feel. So I set up a pair of apex 185. one was behind a wind screen and another one was on a 45 degree from that with no wind screen so all he had to do was turn his head slightly so as to minimize distortion. one was set up with the pre low to pick up the screaming and the other set high to pickup the quiet vocals. I did this in a dead room so you coudn't hear acoustic differences between the two mics then in protools I comped them togeather. It work wonderfully given that it destorted my pres on my mic set up for quiet really bad when he was screaming into the other mic but it was seam less after you comp it. I must admit the apex185s are fantistic mics. I have used other pairs pencel mics and the 185s have great freq responce from lows to high with very little roll off. at least if you are broke like me. lol

2nd March 2010	#51
greyskull Gear addict Joined: Nov 2006 Location: surrey Posts: 430 1 Review written	SM7, it takes pansy screamers and makes them into men.,

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2nd March 2010	#52
mattg082 Lives for gear Joined: Oct 2009 Location: New Orleans Posts: 2,717 1 Review written	sm-57 is great for rock screams. I layed down a few rock industrial cheer chants with a distortion chain fx added after with Izotope trash and clean chain with a great river and api pre mixed on two seperate aux tracks and it sounded awesome and the real deal! All it need is a little eq and takes about 5min to do so to make it just right in the mix. I always like to record screams clean on the pre and manipulate the distortion and over tones after so I don't have to do retakes and can have a better work flow. I agree if it's recorded good and not distorted and done later it's way better. I would never ride the gain and print something like that when I can be safe and do it ITB or just stem it back out if i need to print with something. Always want to have a clean version tracked.