How do you record studio vocals with a SM57?

[bassmac]

When tracking studio vocals with mic's like an SM57/58, SM7, MD421, etc...

- do you have the singer hold the mic - like a live performance?

- how about on a stand - what distance from the mic?

- do you use pop filters with these type of mic's?

- any other useful tips?



(I've read Bono uses a 58, so any info on his set-up would be cool too.)

thumbsup

[Jules]

SM57's & 58's ALWAYS - never work for me on vocals

[Bang]

I used a 57 on RUN and its gotten some good feedback on the vocal sound, although I don't care for it as much as some other stuff I've done. I didn't mean to use a 57, I actually used it for the scratch takes but then when it was time to do the real takes with the U47, I wasn't feeling it. So we used the scratch takes with the 57. I had to eq it to make it flatter but it came out decent, good midrange. take a listen at
www.blacklinerock.com I'm remixing the final version now, taking down the vox effects so you'll even hear more of the raw vocal... BTW, the chain was 57 to neve 1272 to A/D, in the mix it was compressed hard..
Steve

[Wiggy Neve Slut]

SM-57 or 58 --> Neve 1073 -->LA2A --> put feet up and go home.. The number of times that i have dont guides with that combo that ended up staying as 'takers' is weird.. i guess some people can relate to these mics in their perfromances a lot easier than a U47 ..

It a good combo and for rock work its a real staple..

Cheers
Wiggy

[chessparov]

bassmac, IMHO, here are some guidelines;

1) Virtually always, don't let the singer handhold the mic.
Handling noise, pops, massive changes in level, etc.,
can occur. (unless it's Mick Jagger/Daltrey/Tyler there!)

2) I like to be approx. 5-6" away from a '57, however,
many rock/R&B singers like to "eat" one for proximity
effect (3"or less).

3) Always use a mesh pop screen.

4) I like Fletcher's term "pounding" (EQing) regarding a SM57.
Be prepared to be willing to EQ (as necessary) when you mix.

Personally, here are the key EQ areas that help me;
(even after good "placement")

Around 900 Hz reduce 2 dB
try this around 3 kHz on female vocals too
(sometimes) boost 2 dB around 200 Hz
(sometimes) boost 2 dB @ 12 kHz

Be aware that the Sennheiser 421 MKII is much brighter than it's
ancestors, more limited for vocals as a result IMHO.

Stephen Tyler is normally miked with a SM57 and a Sennheiser
shotgun condenser microphone, at the same time, BTW.

The "best" chain I've sung with a SM57 was through an Avalon
737, and ran a "dead heat" with a U87ai to my ears, and another
musician's. (not that's in anyway conclusive!)
We used an RNC for compression BTW.

Chris

[Kenny Gioia]

I rarely use 57 on vocals but I can tell you this,

The distance the singer is from that mic makes a "HUGE" difference.

1/4" really matters.

It does bite in the upper mids and can be great for some singers.

If your looking for the vocal to sound pretty and expensive, use another mic.

If you want it to smack you in the face, try it out.

[Bob Olhsson]

I like to use a pop screen with a 57. Where it excels is when you have a noisy environment.

Handheld mikes are often a great help. I found out recently that most of Elvis Presley's vocals were recorded using a handheld mike. He refused to use cans or to overdub so the band had to create an acoustic balance in the studio.

[faeflora]

I like using a really clean pre with a 57 into a distressor at varying ratios. It can be easier to fit into a dense mix.

[ozraves]

I generally pick an SM58 over an SM57 for a vocal application. Generally, the singer holds the mic and I put up a Stedman popfilter between his mouth and the mic.

I'll admit I'm not a fan of either mic but I've got one singer who just needs a handheld to put out any kind of performance. I've found the A Designs and Grace mic pres to be spot on for this app.

Steve
www.mojopie.com

[DirkB]

If you're into dynamic mics, you've got to try the old 441. It's my first go to mic for heavy (like nu-metal) kind of voices.

Greetings,
Dirk

[chessparov]

Per Bob's post, I bet most of Elvis' vocals recorded that way
were done on an EV RE16 or RE15, that have the "variable-D"
feature to minimize proximity effect. (=easier to use!)
Also have read some of his vocals (early RCA) were done on
the EV 635a omni.

Chris

P.S. Jules, didn't you start out using a RE20 in your studio?
(Have become a big fan of much of EV's stuff BTW)

[dtobocman]

My new technique for recording vocals with an SM57 is to use an SM7 instead.

[jpaudio]

I had the pleasure of tracking vocals for Bjork last year, and after setting up a few choice microphones in the studio's Iso booth, she asked if she could just use a 58 in the control with our nearfields. Patched it through a console channel (original Focusrite 110 modules) with an LA2A barely there on the insert. Her method of singing and working the mic was incredible to watch... definately an experience that left a big impression.

[stealthbalance]

Originally posted by dtobocman
My new technique for recording vocals with an SM57 is to use an SM7 instead.

--------------
the shure sm7 is without a doubt my favorite vocal mic ever. more times then not it is the best for me - although i will say you need to eq it a bit. whether its on a stand or handheld it is great . the last album i produced for a rock band was all sm 58 though.
s

[stealthbalance]

Originally posted by jpaudio
she asked if she could just use a 58 in the control with our nearfields. Patched it through a console channel (original Focusrite 110 modules) with an LA2A barely there on the insert. Her method of singing and working the mic was incredible to watch... definately an experience that left a big impression. [/B]

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i should also add that i pretty much will only record lead vocals in the control room - as i find that the performances are so much better.

[Bob Olhsson]

I recorded the vocal for "I Just Want To Celebrate" with a handheld SM-53 in the control room with the 604s cranked. Everybody got so excited that we proceeded to record the three-part background parts right there using the same mike.

[Nutmeg II.]

Originally posted by DirkB
If you're into dynamic mics, you've got to try the old 441. It's my first go to mic for heavy (like nu-metal) kind of voices.

Greetings,
Dirk

Did it with a singer worked well!

BTW Is the SM7 using the same capsul as the SM57?

[chessparov]

Hmm.
Maybe my attitude towards letting singers hand hold the
microphone needs to loosen up...

Chris

[stealthbalance]

Originally posted by Bob Olhsson
I recorded the vocal for "I Just Want To Celebrate" with a handheld SM-53 in the control room with the 604s cranked. Everybody got so excited that we proceeded to record the three-part background parts right there using the same mike.

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wow bob , that is so cool to know - and now i guess i need to go find an sm53!
as far as in the control room vocals, i do try and have all wear headphones to make my job a little easier though.
i was doing some live tracking a while back for rod stewart and he really wanted to be standing right next to the live drums - no gobos ! after a couple songs like that, i helped my nightmare problem by tapeing 2 separate sm57's together , spaced about 3 or so inches apart parralell side by side. i asked him to please sing into the top 57 only and have the other 57 hang down below his chin. i processed the mics exactly the same. after i recorded them i brought them up at the desk , flipped the phase on the chin mic and bussed them together to another track. with that i found that i was able to lose at least 70% of all the aweful leakage in the room and had a far more usable vocal. ive also used this method in a control roon when the singer likes to have the monitors cranked. also if the singer doesn't mind, ive had even better results in control rooms with this next technique - the only thing is its not as comfortable of a set-up. put the singer in the control room with a mic on a stand ( they are stuck there). now get the mix coming out of the mains or ns-10's feeling really good for the singer and set the over listening level to a great place ( because it can't be touched). do all the vocal takes you want - and when thats done , do one more take on a new track and have the singer stand there in the same place BUT sing nothing- just stand there like a jackass as if they were performing but now they are silent. then use the same bussing technique to a new track while flipping the phase on the silent leakage only track . this for me has eliminated as much as 85% or more of all the caca leakage. just a winded sidenote.
s

[Bob Olhsson]

I never liked it all that much for anything else and traded it to Steve Lampen for a used EV 666!

My first choices today would be a Beyer M-88 or a 441 or even a 635a. The M-88 is the only mike I've ever felt worked for singing in a room with live drums.

[chessparov]

Thanks to Bob's and Scott Dorsey's past posts on RAP, knew enough to score
a EV 666.

I think the EV 666 is great for crooning melodic material, like ballads.

Chris

[Drumsound]

Originally posted by Bob Olhsson
I recorded the vocal for "I Just Want To Celebrate" with a handheld SM-53 in the control room with the 604s cranked. Everybody got so excited that we proceeded to record the three-part background parts right there using the same mike.

When I was a kid my Dad owned a custom van shop called San's Vans. He had the 8-track of that record we listened to in all of the different vans. It's still one of his, and my, favorite songs!



As for the 57 on vocals…Here’s my technique. Singer in the booth, 57 in hand. 57 plugged into a Dual Rectumfryer with mucho distortion. One of the only ways I like a 57.

[bassmac]

I just wanted to say thanks to everyone who participated in this thread - great information here!

You guys are the best -