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tracking VOX w/ two mics
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PaRaNoId
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18th April 2004
Old 18th April 2004
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tracking VOX w/ two mics

Last night I was doing pre-production for a vocal tracking session. I found the best results for this particular vocalist was to record him through both a dynamic mic (57, 421) while also through a LDC (NT1-A this time) and blended them in the mix. Anybody else been doing this? I find that if the capsules of the mics are pretty close, the 2-mic blend has gobs of detail, depth and "roundness" to the sound. Of course for different parts or different people I would change around the combo.
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19th April 2004
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if it sounds good then go for it. I did a tracking session where I stuck a M149 on the vocalist, then on each side about a foot away from the mic I used a pair of Earthworks sr77's (one on each side). When mixed it gave a chorusy effect to the vocals....the artist didn't wind up using it but I thought it sounded cool. I haven't done anything like that since. I do double vocal parts a lot though...I like that better than using muiltiple mic's.

P.S., where do you track? I live in Apache Junction...
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19th April 2004
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FWIW,

I had done this a few times: particularly on thin sounding female voice - usually Soundelux U99/Royer R-121 combo, but sometimes a crappy mic as another option (with the ribbon mic for meat/girth).

Sometimes the oddest combos work - other times not...
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19th April 2004
Old 19th April 2004
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On a session once I got a very cool "psyco killer" tiled room 'cold' (comb filtered) sound by using

1) normal vocal mic (any)

Mixed with

2) PZM taped to the (inside) studio / CR window

Very Smashing Pumpkins sounding...
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19th April 2004
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for a blues rock band i once used a ld condenser in conjunction with a speaker in reverse (15 cm diameter) i just cut all low out of it till roundabout 500 hz and mixed it till it was just noticeable. some how it just added a little grit to the singers voice that was hard to describe but sounded really nice!

greets

thomas
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19th April 2004
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FWIW , Freddie Mercury used to sing in the studio through 2 mics strapped together cos it was the only way to deal with the sibilance !!!!!!
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19th April 2004
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Use a close mic compressed + gated/uncompressed track so that the vocal gets more ambient as they get louder. Works really cool on whisper/scream stuff.
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19th April 2004
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Quote:
Originally posted by djui5
P.S., where do you track? I live in Apache Junction...
I normally either do on-location recording / engineering at the clients houses/studios, or track in my living room-turned studio which is at Kyrene and Chandler Blvd. I've been meaning to post some pics of this place, as we just moved in a few weeks ago.
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19th April 2004
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If you ever wanna get together send me an e-mail...

I've been to most of the studios in town and recently found a great one...TML studios which used to be in cali but moved out here recently...
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20th April 2004
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for a blues singer i just put up 3 mics, one a foot off and one distant

manley ref card, SM7 , shure bullet

57 a foot away

SP B1 6 feet away



each song got a different combo plus effects, worked great
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20th April 2004
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Quote:
Originally posted by lucey
for a blues singer i just put up 3 mics, one a foot off and one distant

manley ref card, SM7 , shure bullet

57 a foot away

SP B1 6 feet away



each song got a different combo plus effects, worked great
I always have a distance mic going as well as an intimate one- usually both the same (Manley Gold Ref). Use just a tiny smidge of the distant one, or the other way around. Vocal LEAPS out of the speaker at you, right where it oughta be.
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21st April 2004
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I once met a producer who said that he liked to use a LDC with an SM57 next to it which he would "compress the piss out of." He claimed it sounded great, but then again he turned out to be a crackhead. Never tried it myself...
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21st April 2004
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I always use two mics....both LDC...one inverted above the other...phased correctly...one captures the upper nasal passages and the other the chest and neck tones....

Sounds silly but it really works well.The idea is complimentary mics....
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21st April 2004
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I used to do this as well quite a bit.
The distant mic as mentioned.
The triggered distant mic ala Tony Visconti. Tough to get the gate right but it works.
Two mics one behind the other and changing the delay between them can get interesting results. It can sound dammed good actually.
Funny enough I've never been able to apply the IBP in this fashion for some reason. Never gels for me.

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21st April 2004
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Quote:
Originally posted by shipshape
FWIW , Freddie Mercury used to sing in the studio through 2 mics strapped together cos it was the only way to deal with the sibilance !!!!!!
How did this deal with the sibilance?
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21st April 2004
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other than recording a choir or some backing vocals, i always record lead vocals with one mic. however if a singer is singing in the live room next to the drums or inside the control room with monitors cranked, i will tape together 2 mics and record them to their own tracks. so the singer is singing into one 58 while the other is aiming just below his chin. later , i will flip the phase on one, and blend them to a new track - thus cutting down on the spill dramatically.
s
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21st April 2004
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Quote:
Originally posted by Dan-O
I used to do this as well quite a bit.
The distant mic as mentioned.
The triggered distant mic ala Tony Visconti. Tough to get the gate right but it works.
Two mics one behind the other and changing the delay between them can get interesting results. It can sound dammed good actually.
Funny enough I've never been able to apply the IBP in this fashion for some reason. Never gels for me.

Dan-O
Snake Oil Recording
Richmond, VA.
I may be doing something different- I get the distance mic back like 6-15 feet, and use the IBP to dial it in extra sweet. Works for me! Not trying to change the delay though, just the phase.
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21st April 2004
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Quote:
Originally posted by Ted Nightshade
I may be doing something different- I get the distance mic back like 6-15 feet, and use the IBP to dial it in extra sweet. Works for me! Not trying to change the delay though, just the phase.
Well you know... I haven't tried the IBP with a "room type" distant mic. I'll have to give this a another go. Mucho gracias

And yes, only the phase and not the delay time with the IBP. Two different things, two different results.

Dan-O
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22nd April 2004
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I've had cool and original results when getting the signer to sing through an XY setup for an acoustic guitar tracking.

I asked her to sing for a ghost track so that she'll have some vox to play guitar to.

The results were cool. A phasy flangy type background vox effect.

Two mics were KM184's and a third mic SDU99 in omni

Jason
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25th April 2004
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anyone try and m-s setup for vocals..i have used it a couple of times...works great when you are looking for some 3d space ...instead of up front vocals..
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PaRaNoId
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26th April 2004
Old 26th April 2004
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MS power

MS would be awesome for adding vocal depth and image, but good luck finding a vocalist with "mic Kuntroll" good enough not to skew the image u want to create. Maybe a MS setup with some distance from the performer (2-7 ft) would get usable results. Maybe on group backup vox this would work well...
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