If you have time, do you prefer to use a different mic for backing vocals?

[camerondye]

This is the question, if you have time do you prefer to use a different mic on backing vocals.

BTW, this is for rock or pop/rock where you have a lead vocal and some (3-5) backing vocals but not necessarily for stacking purposes like with rap & pop/R&B where you have 16-120 stacks.

Tell what your situation is if you want, which mics you are getting good sounds with and complement each other.
cam

[illacov]

Please add "sometimes" as an option. For me its 50/50. What I like to do sometimes is have a completely different vocal mic for the main vocal on the chorus and use the mic for the main vocal (verses etc..) as the BGV mic.

Other songs I just use whatevers up.

But I like the mixed media of using say a nice mellow condenser for the vocals on verses etc..and then on the chorus having something like a SM58 or SM57 for the BGV stack tracks and a maybe even an SDC for the main vocal on the chorus. It really helps to make large stacked choruses stand apart if you don't have alot of voices to choose from. Might be one guy, but if you have him do like maybe 3 or 4 different takes with different mics it will add diversity to all those overdubs. This is all my opinion but a 58 don't sound like a 47 or a 67 on voice so there's the mouth of the rabbit hole right there.

Again short version, please add a sometimes option lol.

Peace
Illumination

[theblue1]

Yet another radio button poll that doesn't have an answer for my situation.


But here's my position in a nutshell:

I use the best mic for the task at hand.

That's not to suggest that some folks' habit of switching out mics to 'differentiate' tracks has no value. It may well provide enough subtle shaping of the sound to give two otherwise 'too-similar' tracks (whatever that would mean) some individual character that might work for them in the mix. At the same time, it might work worse and you're stuck with the sound of the mic.

And then you have to weigh whether you're swapping mics just to differentiate and if the choice of an appropriate mic, well suited to the source sound, might not make more sense.

Also... if the goal is to differentiate the tracks in order to make more room in the mix -- might it not make more sense from at least some angles, to use EQ and perhaps compression and other processing tools to differentiate and place the track in the mix at a point where you know how that mix is shaping up and what has to be accomodated?

[camerondye]

Originally Posted by theblue1

Also[/I]... if the goal is to differentiate the tracks in order to make more room in the mix -- might it not make more sense from at least some angles, to use EQ and perhaps compression and other processing tools to differentiate and place the track in the mix at a point where you know how that mix is shaping up and what has to be accomodated?

This is what I'm currently doing but wanted to get some other angles on it. I'm using a 2247se (which I love) and the BV seem to almost disappear too much behind the lead except when they aren't lining up perfectly. It's not a huge problem but I'm thinking if I used my 22-251 on BV that they would be a little more airy without that huge bottom that might automatically poke out on different frequencies. I know I'm going to have to try and do it myself but it seems worth it to throw it out there and see what others are doing at the moment.
cam

[deeper]

I usually find it better to use the same mic if the harmony is a parallel third. It helps the harmony become more "intimate" with the lead.

But all other background vocals seem to "back further away" from the lead frequency-wise if they are done with a different mic.

When stacking harmonies, I also like to position the microphone in different locations in the room, so all the vocals don't come from the same "space". It makes a big difference on the fullness of the BV mix.

[antoniosolo]

Since my artists are solo artists I use the same mic but use different compression, limiting, eq and effects to differentiate. If I have multiple artists of course I use whatever mic works for their voice/performance. I again change up the processing.

[camerondye]

I knew there would be sometimes kind of answers but I think a "what you do most of the time" would be sufficient.
cam

[warhead]

Half the time it is the same mic but in different positions, depending on the situation. If we're layering say 3 or 4 backup parts I might take one part from 24" out, the next at 48" out, the next slightly off axis and so on. In the end it has a more spacious sound and takes advantage of the room.

If I choose a different backup vocal mic it's usually because the main vocal is on a dynamic or ribbon, and I may want a brighter sound so I bring out a condenser.

War

[joeq]

usually a different mic -- as we go on, maybe even another mic and odd positioning

Especially when it is one or two people. The deeper the stack the more variation I usually seek, except for rare occasions when we are going for that pudding sound.

I find the 'if you have time' part of the question a little strange. I like to keep things moving for my clients but man, the clock must be screaming at you to not have the Time to throw up one more vocal mic.

[theblue1]

Originally Posted by camerondye

This is what I'm currently doing but wanted to get some other angles on it. I'm using a 2247se (which I love) and the BV seem to almost disappear too much behind the lead except when they aren't lining up perfectly. It's not a huge problem but I'm thinking if I used my 22-251 on BV that they would be a little more airy without that huge bottom that might automatically poke out on different frequencies. I know I'm going to have to try and do it myself but it seems worth it to throw it out there and see what others are doing at the moment.
cam

This is precisely the type of flexibility I tried to build into my answer, as infuriatingly platitudinous and slippery on specifics as it may have sounded.

With regard to how to pick the right mic for the right job, I've always kept two tracks in my head: one is the consensus formed by the opinions and practices of respected, experienced users -- and the other is my own personal experience. I've always been one to try to remember how different mics sound on different instruments and, at a certain point, you can develop a moderately good ability to project your understanding of a given mic's performance to new, untried circumstances. You know, like: I'll bet at Mikotronica 5000XL would sound great on that bagpipe... But you never really know until you've got the mic on the stand and the piper wailing away...

[camerondye]

I do also use distance also but haven't tried 48" out on vocals...probably would work better in a great room but not as great in my room.
cam

[Top_Shelf]

Personally I do but yes, time is not always there for that. i usually do most of my work on the EQ to make the leads and backups different. usually that's enough for me

[Rednose]

Just throw up a couple of mics next time you do a vocal session.
I do Rock/Metal vox ALL the time.
I will allways setup at least two mics.
One for the Lead vox (Blueberry - API 512c - DBX 160vu) and one for other vocals, (AT 4050 - SOLO 610 - Aphex 9901 eq - Aphex 9651 comp).
This way I can do lots of different preamp and eqs from sqauck to whisper tracks on the AT 4050 and leave the main vocal mic as is.