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Pro Vocal sound Condenser Microphones
Old 8th May 2006
  #31
Quote:
Originally Posted by Trebor Flow
I think a point missed here is the difference between a stunning "acoustic" recording of the human voice and a "tone" that fits into the style of the song.

For Punk, Heavy Rock, Pure pop and sim. often a perfect "acoustic" recording is the last thing you want. Here you are searching for "stylized tone" often double/triple tracked and compressed heavily EQ'ed and it sounds fun and exciting - great.

Then you have a situation that you have a wonderful singer with a wonderful tone and a more traditional song setting here you want that feeling of the singer "stood there right between the speakers" this requires gear that can perfectly reproduce every transient in perfect detail to create total realism.

It is my experience that the former does not require an expensive mic/pre amp but the latter never has the impact without an expensive "pro" mic/pre amp

Trebor

Sorry bro but you couldn't be farther from the truth.


A great vocal recording is a great vocal recording because of the performance.


And you want the best "acoustic" take to work with.


This is usually matching the voice with the right mic that matches the production.


All of the processing tricks are added after in the mix depending on the mixer.
Old 8th May 2006
  #32
Gear Nut
 

Quote:
Originally Posted by zemlin
Something else that needs to be mentioned is the space you're recording in. The room will contribute a lot to the sound - what sort of space are you working in? What kind of acoustic treatments do you have in place?
I will be working in a small vocal booth.Which will be dead because of the size.

j
Old 8th May 2006
  #33
Lives for gear
I'm using a Manley Reference through a Portico and RNC. No EQ. During mixdown I apply a Sony Oxford Inflator and a hi pass using a Focusrite D2 plugin. Works like a charm and sounds excellent. A good vocal mic is critical and there are many options out there. I was using a Rode NTK. The Manley is so much better. I think I picked up the Manley for around $1500 used. I think I saw a CharterOak in the classifieds here. They offer a lifetime warranty. See if it extends to you. I also saw a Presonus ADL-600 in the classifieds. Could be a nice match. The RNC is a killer comp...i need more of them. If I had the money I'd get a Distressor though.
Old 8th May 2006
  #34
Registered User
 

Quote:
Originally Posted by C Heat
This sounds like an interesting point.

I was only thinking about something similar earlier.

You get a lot of 'What Vocal Chain Was Used/Best For...' type questions (me included). Then I thought, even if I could afford this 'pro chain', there would still be a pretty good chance MY vocal recording wouldn't sound anywhere near as good as what I was referencing BECAUSE I would probably make compression / EQ / FX blunders because I'm not a pro (AE) in that discipline.
Yeah - I've found that if a freind is on a really tight budget and if he's doing certain styles of music then he can get great results from even a Rode NTK and a decent pre then with multi tracking and EQ and compression getting a really exciting "in vogue" sound.

But when we want a in your face "feel like the singers there" sound they come around and record on my BLUE Bottle and Origin STT-1 then the sense of realsim is great - unfortunately we've not been able to get that with a Rode!

Of course where money is no object a top class mic for everything is great BUT for some styles of music (if the singer is great of course) you don't have to have the big bucks gear.

All the Phil Collins/ Genesis vocals where cut virtually only on Beyer M88 (£250 dynamic) and although PC is not known for a great vocal sound the vocals do really fit and puch through but I just can't imagine cutting a Daryll Hall track on a 88 - it would work coz it's a mic - but it wouldn't be my first pick no way. That's my point really.

Trebor
Old 21st May 2006
  #35
Lives for gear
 
andrewj's Avatar
Just on the search of a good compressors for myself at the moent and read this one with pleasure! One question to add here:

Someone said if you want to get that pro audio sound you have to rent or buy that pro gear! May I add tha following Q to that:

If I have to get that Super PRO gear, then:

... will it be better to start with something like a pendulum or summit, manley, or GML to get a compressor that adds something more high end to your main tracks (vocals, guitars and bass) and 2buss and forget the squashing smashing compression sound found in other comps at first (not to foget, just let's say we will realize that job with softies like the URS stuff at first???)?

... is (e.g.) a Ted Fletcher P38 or a Drawmer 1968 a tool that is not worthy the buy? Heard good thing about these units? They cost some bucks, so why do people pay the price if they can not do that job!?

... is it really this important to use the best compressors on the single track or is the diamond on the 2buss that final extra wow? I am not sure anyway!
Old 21st May 2006
  #36
Lives for gear
 
De chromium cob's Avatar
 

A pro studio with many excellent mics to choose between, comps and preamps along with a pro engineer should get you the vocal sound your looking for assuming the vocal talent is there.

Other than that no one can tell you with any certainty without hearing the voice and the music no matter what anyone here says to the contrary.
Old 22nd May 2006
  #37
Lives for gear
 
stevetgn's Avatar
Quote:
Originally Posted by andrewj
Just on the search of a good compressors for myself at the moent and read this one with pleasure! One question to add here:

Someone said if you want to get that pro audio sound you have to rent or buy that pro gear! May I add tha following Q to that:

If I have to get that Super PRO gear, then:

... will it be better to start with something like a pendulum or summit, manley, or GML to get a compressor that adds something more high end to your main tracks (vocals, guitars and bass) and 2buss and forget the squashing smashing compression sound found in other comps at first (not to foget, just let's say we will realize that job with softies like the URS stuff at first???)?

... is (e.g.) a Ted Fletcher P38 or a Drawmer 1968 a tool that is not worthy the buy? Heard good thing about these units? They cost some bucks, so why do people pay the price if they can not do that job!?

... is it really this important to use the best compressors on the single track or is the diamond on the 2buss that final extra wow? I am not sure anyway!
The tfpro P38 is the best in its class for "effect" compression. Fantastic on the drum group as well as individual tracks. Its not cheap but its a hell of a lot more afforable than many other that sound no better!

Go buy one now....no, don't wait NOW!
Old 22nd May 2006
  #38
Lives for gear
 
andrewj's Avatar
Quote:
Originally Posted by stevetgn
The tfpro P38 is the best in its class for "effect" compression. Fantastic on the drum group as well as individual tracks. Its not cheap but its a hell of a lot more afforable than many other that sound no better!

Go buy one now....no, don't wait NOW!
Just for Effect compression? That's a pity! I thought this one was very versatile!
Old 24th May 2006
  #39
Lives for gear
 
stevetgn's Avatar
Quote:
Originally Posted by andrewj
Just for Effect compression? That's a pity! I thought this one was very versatile!
At low ratios it can be very transparent too. I just like squashing the crap out of stuff with it! Drums, Bass, all sound mega.

Works well as a buss master comp, although I'm saving for a API2500 or a Smart C2
Old 25th May 2006
  #40
Lives for gear
 
andrewj's Avatar
Quote:
Originally Posted by stevetgn
At low ratios it can be very transparent too. I just like squashing the crap out of stuff with it! Drums, Bass, all sound mega.

Works well as a buss master comp, although I'm saving for a API2500 or a Smart C2
I was also thinking about an API2500! Thought about buying that one at first! Rightnow I am thinking abut the TFPro in combination with another one! The SPL Kultube or the Drawmer 1968 Mercenary Edition perhaps!!! Hear a lot good things about both units, too!

I am not that mad about C2s and all these SSLish tools! They sound great, but I am sure that you will get a cheaper and more useful solution in the SSL Duende!
Old 25th May 2006
  #41
Lives for gear
 
Sigma's Avatar
U 47 Tube or Sony 800 ... vintage Neve channel strip... 2 fader compressor in the middle set up [ride the input to compressor ride the output to storage medium] ..3-5 Db compression max and then process it as you like LATER..this method works with all types of music and gives a clean very workable and smooth vocal recording when done correctly..

Most important thing to remember is don't go nutz on the record end..or you will be stuck
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