Your browser does not support the audio element. Here’s a short snippet of a vocal I’m currently working on recorded with a Shure SM58: For this reason they have to be treated with care as the ribbon will not tolerate excessive movement from either loud sound sources or being thrown around! They also generally have a much lower output level to the other two and subsequently need more gain from a pre-amp. They are softer or more subtle they tend not to have the hyped top-end of condenser mics and unlike dynamic mics are very sensitive to SPL changes. Ribbon mics are the curved ball here, so to speak, as they are often richer in tone to both our alternatives. Bono from U2 for example likes to use a Shure SM-58 dynamic mic as it allows him more freedom to move around or perform the vocal as if in a live environment! A condenser mic, due to its sensitivity, might prohibit being held in the hand due to noises or indeed it may have too greater frequency range! However this may not always be the choice. This is needed to power the built in preamplifier and also to polarize (power) the capsule. Condenser microphones require a power source, called phantom power, to function. For this reason they tend to be the de-facto choice for vocals. They also tend to have a greater frequency response or dynamic range than dynamic mics. There are three main types of microphone to choose from.- Dynamic, Ribbon and Condenser.ĭynamic microphones are generally used for more close miking purposes such as drums or guitar cabinets, their sound is usually more mid-range focused and they can cope with higher sound pressure levels (SPL’s)Ĭondenser, or Capacitor mics, as they are also known, are more sensitive to sound pressure changes. This is very simplistic but essentially the basic science behind making a sound with a mic. This movement or vibration is in turn converted into an electrical signal, which is amplified to produce a sound. They have a diaphragm (or ribbon), which responds to changes in air pressure. Microphones come in all shapes and sizes but a basic understanding of how they work will help in any assessment of which one we choose.Īll microphones work in a similar way. Usually, and in a very short space of time, an engineer has to decide which mic, signal path (preamp, compressor eq etc) to use, set the correct level for recording and headphone balance, create the right atmosphere for singing and generally be subjected to, at best, minor grunts, at worst verbal abuse until the penny drops! Vocalists are a sensitive bunch and need nurturing, cuddling and whatever else it takes to make them feel like a supertar!ĭuring this article I shall attempt to set out a strategy for accomplishing these goals and maybe throw in a tip or two I’ve picked up along the way to assist in capturing the perfect take. Vocalists often tire easily and generally their early takes tend to be the best (before the thinking and over-analyzing takes over!) This in turn puts more emphasis on the importance of capturing and recording the vocal performance as perfectly as possible. Performing a lead vocal is arguably the toughest job in the recording studio.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |