The "in your face" female vocal sound - what is the best technique?

BillyK · 3rd April 2005

As many of you are aware the recent trend for vocals... (especially female) is a real "in your face" sound. I was curious if there are any particular techniques used to achieve that sound? I remember recenly there was a discussion on here where someone who had tracked Christina Aguilera had related the mic chain they were using on her. Is that "in your face" sound all in the mic chain or are there some other things going on that allow the vocals sound that way while still giving the feel that it sits well in the mix?

I guess what brought this question to mind is that today I was listening to my XM and one channel was playing a Natalie Merchant song (Jealousy) which was followed by a new Jewel song "Intuition". Jewel just jumped out of the Bose radio compared to Natalie.

As I am currently working on a project with a female lead I appreciate any input!

Thanks
Bill

84K · 3rd April 2005

If $$ was no object... I'd start with trying a Sony C-800G... Get a great solid state mic-pre (Martech, API), play with two compressors... one vari-mu and one Opto, fast attack compression, light on the threshold. Best Of Luck!!

Jules · 3rd April 2005

With all the compression, room accoustics must play a part...

Very dead vocal areas....?

C.Lambrechts · 3rd April 2005

Quote:

Originally Posted by Jules

With all the compression, room accoustics must play a part...

Very dead vocal areas....?

definately. Combination of close mic, dead room, proper heavy compression and eq and definately not in the least also .... placing that vocal in the mix. For this type of vocals I find the lexicon one of the invaluable elements. being able to put the vocal tracks through a reverb without loosing the vocal.

maxim · 3rd April 2005

and ride them faders, cowboy

BrianT · 3rd April 2005

To nail this:

Great mic of choice with one main aspect.....not tubby at all. Singer needs to be close to the mic, so a mic that gets too fat with proximity effect will be a problem.

Vocalist should have her back to, and be relatively close to the corner of the room. Corner walls behind her should be acoustically dead. 3" acoustic foam works best, IMO. Remember, a cardioid mic will mostly hear what's behind the singer, not what's behind the mic.

With the above, it's 1176 time. Slow attack, fast release and the gain reduction meter should be working for a living. You can try an additional compressor if you want, but I think an 1176 will do you right if the other elements are together.

The rest is taste, and if you knew enough to ask this question on this forum, you're probably good to go.

max cooper · 3rd April 2005

Go dry on the verb.

Y'know how increasing the verb (especially the amount) will tend to make a track more distant sounding? Well, conversely...

3rd April 2005	#1
BillyK Gear interested Joined: Nov 2004 Location: Lombard, IL Posts: 14 Thread Starter	The "in your face" female vocal sound - what is the best technique? As many of you are aware the recent trend for vocals... (especially female) is a real "in your face" sound. I was curious if there are any particular techniques used to achieve that sound? I remember recenly there was a discussion on here where someone who had tracked Christina Aguilera had related the mic chain they were using on her. Is that "in your face" sound all in the mic chain or are there some other things going on that allow the vocals sound that way while still giving the feel that it sits well in the mix? I guess what brought this question to mind is that today I was listening to my XM and one channel was playing a Natalie Merchant song (Jealousy) which was followed by a new Jewel song "Intuition". Jewel just jumped out of the Bose radio compared to Natalie. As I am currently working on a project with a female lead I appreciate any input! Thanks Bill

3rd April 2005	#6
BrianT Lives for gear Joined: Jul 2002 Location: Nashville Posts: 1,816	To nail this: Great mic of choice with one main aspect.....not tubby at all. Singer needs to be close to the mic, so a mic that gets too fat with proximity effect will be a problem. Vocalist should have her back to, and be relatively close to the corner of the room. Corner walls behind her should be acoustically dead. 3" acoustic foam works best, IMO. Remember, a cardioid mic will mostly hear what's behind the singer, not what's behind the mic. With the above, it's 1176 time. Slow attack, fast release and the gain reduction meter should be working for a living. You can try an additional compressor if you want, but I think an 1176 will do you right if the other elements are together. The rest is taste, and if you knew enough to ask this question on this forum, you're probably good to go. __________________ Regards, Brian T

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3rd April 2005	#2
84K Lives for gear Joined: Oct 2004 Location: right coast Posts: 3,857	If $$ was no object... I'd start with trying a Sony C-800G... Get a great solid state mic-pre (Martech, API), play with two compressors... one vari-mu and one Opto, fast attack compression, light on the threshold. Best Of Luck!!

3rd April 2005	#3
Jules Gearslutz.com admin Joined: Apr 2002 Location: A Yank in London, UK Posts: 17,805 1 Review written	With all the compression, room accoustics must play a part... Very dead vocal areas....?

3rd April 2005	#5
maxim Gear maniac Joined: Jul 2002 Posts: 216	and ride them faders, cowboy

3rd April 2005	#7
max cooper Lives for gear Joined: Aug 2004 Location: tx Posts: 8,802	Go dry on the verb. Y'know how increasing the verb (especially the amount) will tend to make a track more distant sounding? Well, conversely...