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Old 4th May 2018
Here for the gear

Originally Posted by GeneHall View Post
Your welcome, and if any of that can be of any help to you, I'm really glad to have helped in a very small way.
Honestly though, I would go back to that borrowed 87 and really play around with it. If you can get the singer in and experiment with a few different techniques , I think you'll do great with such a fine microphone. I'm blessed to own many really awesome microphones but a nice 87 is something I really want, it is one of those microphones that can be just about anything you need it to be. While I'm certain there will be an occasion where it's not the ideal microphone, if it is what you have access to and it's your best alternative, put the time in to get to know how to control it and I'm pretty sure you'll get a result you can be proud of. People will chime in and suggest every microphone under the sun, usually the one they themselves own. Take it all with a grain of salt to a large extent. Use this opportunity to expand your skillset!!
One thing I would definitely suggest you not try is dumping a bunch of money on a single mic for a single artist for a single session.

Try instead to use what you have, set up the vocal chain you have, maybe try-U87>
Preamp with a HP filter set around 50-100hz. With a female voice there is nothing down there that's gonna be of any real use to you in mix, get rid of what you can. Don't use eq to boost anything,be careful about making cuts too
1176 set with attack at 3ish and release at 7ish doing no more than 3-4db of GR
LA2A set to just gently knock any ultra fast peaks down a tiny bit .05-.1 db , make sure the LA2A is looking at the high freq's.
> Ride the fader, know the song as well as the singer. Don't stress about any loud peaks, so long as you don't blow out. You'll clip gain all those loud bits before you mix so it's really no drama no matter how high the peaks are, focus on capturing the energy, enthusiasm and emotion of the performance.

Lastly, and perhaps most importantly is your headphone mix. Do not mess this up, it will define the singers experience and can go a very long way to ensuring you get a great performance and excellent capture from a singer who is really digging what is coming through the cans. This is not easy but if you have an Apollo, they are excellent for setting up a great headphone mix. Often I record the Aux send effects that is a big part of my headphone mix, just in case there is some magic bits I want to use in mix.
A lousy headphone mix will cost a singer's best, potentially fatigue them but will absolutely bore them and have an adverse effect on the capture. Headphones should be comfortable and allow the singer to get caught up in the headphone experience. If the singer takes the headphones off and holds only one side up to their ear, try hitting them with a stick to make them stop doing that ( I'm kidding of course).
Make the whole experience FUN, be encouraging and avoid any conversations about any challenges you are dealing with. Always be the solution, never be the problem.
Wow, what a great advice! This is something beyond what I expected in this thread. Thank you for putting your time on it, and yes, for sure I’ll try what you suggested with this singer. I managed to borrow Rode K2 and WA47 (wishing this was U47) from a friend of mine. So I decided to try out those plus SM7B which is is also in his mic locker now. Meanwhile, I’ll for sure re-try U87 so I can get somewhat better sound this time.

I guess I’m lucky enough to get a lot of help from all these people including you! Would you recommend the same settings for tube mics as well? Sorry one last question...