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Some people go out of tune using the cans and might need to monitor off a speaker instead. I only 'experiment' if the 'traditional' methods are clearly failing. Some prefer to punch their way through the song. Some people need to do whole takes start to finish. Session flow: I study the artist's reactions to pre-roll times and gauge how long they might need between punches - some people like to go again right away, some people need a little longer to reset.
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If he is pushing his voice, maybe the music is too loud, etc. If he is pulling his punches on the belting notes, his own voice is probably too loud. Even when the singer says his cue mix is "fine" you can often tell it's not by little things in the performance. Very careful attention to a good cue mix. Not just for the best sound, but for the artist's confidence that we are open to his uniqueness. Start with a couple of likely mics to shoot out. What I mean by 'at ease' is that I am 100% ready with my end of things. should be a go to for cash strapped producers.įeeling like he is part of your "experiments" may well have the opposite effect of putting the artist at ease. you can paint overtones or or graphically delete bad undertones. There are numerous tips and tricks I use - one of them is using an image sound player like ANS - where I get a real good vocal phrase and I take a picture of the spectrum analysis - I change it with a photo shop program and reconvert the image back into. I have a painters as well as film background - so I love exploiting the graphic analyzer - a great tool use the crud out of it.
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In my spare time I will take horrible sounding voices to make them as great as I can as workshop exercises. I basically I throw the kitchen sink at a vocal and just look for that SWEETSPOT. often I will muffle or tape the low frequency strings if I just want the highs etc. I use many low tech ideas such as the 'chips trick' of having the singer sing right next to a very resonant instrument so the 'guitar' will vibrate to the singers voice creating low tech fx to be used as colored delay/reverb etc. From there I try to get that real food take. I also make use of home made ambient reflecting or dampening boards Again I look for that magic in the graphic analyzers.Īt this point I try to see how thin I want the vocals or how fat/stereo sounding and adjust for the song. I also try what ever different spaces or recording rooms I have access to - not throwing away any crazy possibilities including bathrooms or concrete garages or kitchens or living rooms.
MOST CREATIVE VOCAL RECORDING SOFTWARE FOR SINGERS HOW TO
I start zeroing on where that magic sound is on the 'graphics' test and how to emphasize it or give it space (or whatever) within the voice spectrum. I really check the tests on a graphic analyzer to see where that sound in the voice has that magic. For a vocals I try to have absolutely no preconceived idea of how the vocal should sound.
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Lately, always go the far opposite way - because I do not have access to a list equipment right now. Vocals are a special cup of tea and can be real tricky without access to big studios with the big equipment.