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Good condenser microphones for a loud female singer Condenser Microphones
Old 4th May 2018
  #31
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Quote:
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...
Old 4th May 2018
  #32
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GeneHall's Avatar
Quote:
Originally Posted by aurora7 View Post
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...
I'm not first hand familiar with either of those mics, but I'm sure they are more than adequate. If I were going to be buying a 47, it would be a FleA FET 47/48 all the way and with no hesitation.
I have had an original SM7 for many years an would never part with it.
You can definitely try the same approach regardless of which mic you are using.
Old 5th May 2018
  #33
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Gene, for around $2000 my fave LDC I've tried on my voice (mine can be superloud too!) was...

The Bock iFET, set on "I" for loud vocals.

Not an AE here, although my sense was that it was a good all-rounder-with all the tonal options.

Chris
Old 5th May 2018
  #34
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dickiefunk's Avatar
I use a JZ V11 microphone on loud harsh vocals and it works extremely well for this application. It has a darker sound with very low self noise.

Vintage 11



– JZ Microphones Latvia
Old 5th May 2018
  #35
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GeneHall's Avatar
Quote:
Originally Posted by chessparov2.0 View Post
Gene, for around $2000 my fave LDC I've tried on my voice (mine can be superloud too!) was...

The Bock iFET, set on "I" for loud vocals.

Not an AE here, although my sense was that it was a good all-rounder-with all the tonal options.

Chris
Thanks for the suggestion, I did try and buy one of his mics years back but the wait was longer than I was prepared to hold out. He's a wonderful guy and really great with communication, if I'm ever in the market for a 251 style mic again, Bock will be one of my first stops for sure!ty
Old 5th May 2018
  #36
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Thanks, and I love the 251 too! Chris
Old 6th May 2018
  #37
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vernier's Avatar
Quote:
Originally Posted by aurora7 View Post
Hi,

I have a recording session coming up with a female singer. I need an immediate help for choosing a right microphone for this singer. I'd say genre is pop/pop R&B. Her songs and singing have a wide dynamic range and a lot of vocal acrobats.

First of all, my vocal recording chain is microphone - Neve 1073 (UAD) - Apollo Twin - DAW. So it's very simple - no compression or EQ on the way. I only monitor with a touch of LA2A but never track with it. I also have a well-treated professional recording room for this project (not a home studio-type recording). I've tried U87ai with her first but I wasn't a big fan of it. "Overly bright and harsh" was my impression on her voice (regardless of the gain staging on 1073).

Her voice has a lot of weight and power. I heard a lot of emphasis and harshness on upper-mid range (1-2k) with U87ai. She gets really loud on chorus part. Many people mention Adele and Amy Winehouse when they hear her raw voice. But I must say she is the most powerful singer I've ever seen (which is exactly why I'm struggling with mic choice). The budget is under 2k but I can push a bit more.

What condenser microphones would you go for this type of situation? There are so many to even try out, and I am kind of lost at this point. Some people say SM7B is good but I've never used dynamic mics for vocals.

Thank you for your help.
U87, U89, M149 worked for me on loud woman screaming.
Old 6th May 2018
  #38
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I had a mic that would be perfect, but it's very rare. C800 without the heat sink. That thing can take 156 SPL and is perfect for female vocals, but only in the case you describe. I often used it inside a kick drum or as a mono overhead.
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