recording vocals

Recording vocals

You may hear it said of some singers that they have ‘great microphone technique’. These performers have learned to use the microphone as a tool to capture the best possible sound from their voice and possibly even increase the range of expression they can convey. If your current skill level is a little short of this a little understanding of just some of the technicalities will help you get the best recording of your voice.

The most common method used to record a solo vocalist is the close mic technique in which the microphone is placed very close to the performer’s mouth – typically 15-30cm (6-12 inches). This placement minimises the effects contributed by the recording room (eg, reverb) and allows microphone characteristics such as proximity effect (when a cardioid microphone type is used) which emphasises low frequencies giving a warm sound to the voice. The perspective obtained from having the mic so close can lend an intimate air to the right material – just like whispering in someone’s ear – or alternatively communicate a great deal of vocal power.

To prevent the plosive sounds (‘p’ and ‘b’) creating a popping noise in the microphone, a ‘pop shield’ (usually a circular frame, 20-25cm across covered with stocking type material) is placed between the microphone and the performer.

To the first time performer placed up close to this contraption it can appear for all the world as if you are being asked to sing to a brick wall. It takes a considerable act of will to sing normally. Sing normally, however, is precisely what you must do. Try to look through the pop shield and over, under or around the microphone, focusing on a point in the middle distance as you would normally. This may help the microphone to seemingly “disappear” and let you concentrate on your performance.

If the equipment really is getting in your way then please tell an engineer who will try to find an alternative microphone placement that you find less obstructive.

A close mic placement can sometimes emphasise sibilance and breath sounds. If this proves a problem for your voice and a better mic position cannot be found to overcome the problem you might be asked to adjust your technique (for example, by deliberately pronouncing ‘s’ and ‘t’ sounds with less force) or a different microphone or microphone technique might be used.

You should try to move around as little as possible while recording and it is vital that you remain fairly still when using a closely place mic. In simple terms, sound pressure (loudness, if you like) follows the inverse square rule, which means that it reduces as the square of the distance from the source. What?

Let’s say the microphone is placed 20cm from your lips. If, while you are singing you move back just 20cm further from the microphone (ie, the distance between you and the microphone is doubled,) the loudness of your voice as perceived by the microphone will be just a quarter of what it was. Move closer and the opposite happens – the loudness of your voice seems to rapidly increase. Sway back and forth and the recording will sound as if someone is playing with the volume control.

Actually, most singers seem to want to swallow the microphone so you should know that all our microphones are treated with a bitter substance that leaves a nasty taste in the mouth for days afterwards. Please don’t try to eat our mics!

If, instead of swaying back and forth you were to sway from side to side another problem appears. The cardioid microphone type that is commonly used is most sensitive in the forward direction, less sensitive at the sides and most insensitive at the rear. Even a small distance to the side therefore will have the recording level fall off markedly. Also, even the very best studio microphones can suffer an uneven frequency response at the sides, becoming less sensitive in the very frequency range that most characterises the human voice. Your voice will, therefore, not just sound quieter it will also start to sound quite muddy.

If your vocal technique relies on large body movements and you really can’t sing any other way, don’t worry – the engineers will do their best to use a different microphone arrangement to accommodate you. It helps everyone and saves a great deal of time if you let them know about your lively personality in advance, however.

Whatever you do, please DON’T grab the microphone or its stand. Studio microphones are much more sensitive than stage mics and will also pick up the sound of the stand being touched. If you’ve ever wondered why photos of some well known performers in recording studios show them with their hands firmly in their pockets, it’s because the engineers have sewn their sleeves to their trousers. You have been warned!

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Last modified: 30 July, 2002