July 31st 2018: Site development on hold until Autumn. Following last week's unwelcome hacker attack, the Cambridge-MT site seems now to be back in a reasonably stable and usable condition, although we can't guarantee we've completely removed all malicious scripts from the server. However, I was already planning to completely redevelop the site in September/October to accompany the forthcoming second edition of Mixing Secrets For The Small Studio, during which process the server will be totally cleaned out and reinitialised. Until then, though, I won't be adding any new resources, so as to avoid destabilising the current site in the short term. If you'd like to support my ongoing development of this site, please consider joining the Cambridge-MT Patrons. Thanks for your understanding. Mike S.

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Chapter 4: Basic Vocal Recording

AUDIO FILES (To download all WAV examples at once: 78MB ZIP)

  • Vertical Vocal Dispersion: Although the dispersion characteristics of any singer are complex, there is a trend for high-frequencies to bounce off the palate in a downwards direction, such that miking positions below the nose are brighter and more forward-sounding. You can hear this for yourself in the following recordings simultaneously captured with three identical Avantone CK1 microphones (with their cardioid capsules fitted) all placed roughly 20cm from the singer's mouth: the first mic was roughly 45 degrees above the line of sight (Ex04.01:WAV/MP3 bp), the second mic was directly in front of the nose (Ex04.02:WAV/MP3 bp), and the third mic was roughly 30 degrees below the line of sight (Ex04.03:WAV/MP3 bp).

  • Horizontal Vocal Dispersion: Because of natural physiological asymmetry, most vocalists don't put out the same frequency balance on both sides of their face. You can hear this in the following audio examples, simultaneously recorded with three identical Avantone CK1 microphones (using their cardioid capsules) all placed roughly 20cm from the singer's mouth: the first mic was roughly 30 degrees to the left of centre (Ex04.04:WAV/MP3 bp), the second mic was centrally placed (Ex04.05:WAV/MP3 bp), and the third mic was 30 degrees right of centre (Ex04.06:WAV/MP3 bp).

  • Sibilance & Mic Technique: Overbearing sibilance is an ever-present concern when recording vocals, so mic positions directly on the level of the mouth (Ex04.07:WAV/MP3 bp) are usually ill-advised. Some engineers assert that the 'pencil trick' is an effective remedy (Ex04.08:WAV/MP3 bp), but in my experience repositioning the microphone above the plane of the lips (Ex04.09:WAV/MP3 bp) is equally, if not more, effective.

  • Plosives & Mic Technique: Mic positions directly on-axis to the singer's mouth (Ex04.10:WAV/MP3 bp) tend to suffer from plosive blasts, something the 'pencil trick' is all but powerless to protect against (Ex04.11:WAV/MP3 bp). A more effective solution is to use a pop shield (Ex04.12:WAV/MP3 bp), although some engineers feel that this negatively impacts the rest of the vocal timbre.

  • The Timbral Effects Of Miking Distance: The biggest timbral changes when changing miking distance with a cardioid microphone are connected with microphone's proximity-effect bass boost, but more subtle tonal shifts also occur in the midrange, as you can hear in the following examples, which were all simultaneously recorded from slightly above the line of the singer's nose using three identical Avantone CK1 microphones with their cardioid capsules fitted: the closest mic was 12cm away from the singer's mouth (Ex04.13:WAV/MP3 bp), the middle-distance mic was 20cm away (Ex04.14:WAV/MP3 bp), and the farthest mic was 28cm away (Ex04.15:WAV/MP3 bp).

  • Vocal Microphone Shootouts: Here are the audio files from one of many microphone shootouts I've carried out during CMT recording workshops. In this case, a single vocalist tried out 11 different microphones, each mic recorded as a separate pass, capturing the singer from the same miking position. The mics were: an AKG C414B-XLS large-diaphragm condenser mic operating in cardioid mode (Ex04.16:WAV/MP3 bp); a Brauner Valvet large-diaphragm valve mic operating in subcardioid mode (Ex04.17:WAV/MP3 bp); a CAD M179 large-diaphragm condenser mic operating in cardioid mode (Ex04.18:WAV/MP3 bp); an MXL V77S large-diaphragm cardioid valve mic (Ex04.19:WAV/MP3 bp); a Rode NT1 large-diaphragm cardioid condenser mic (Ex04.20:WAV/MP3 bp); a Rode NT1A large-diaphragm cardioid condenser mic (Ex04.21:WAV/MP3 bp); a Samson C03 large-diaphragm cardioid condenser mic (Ex04.22:WAV/MP3 bp); an SE Electronics SE1A small-diaphragm cardioid condenser mic (Ex04.23:WAV/MP3 bp); an SE Electronics Z3300A large-diarphragm condenser microphone operating in cardioid mode (Ex04.24:WAV/MP3 bp); a Shure SM58 cardioid dynamic mic (Ex04.25:WAV/MP3 bp); and a Shure KSM137 small-diaphragm cardioid condenser mic (Ex04.26:WAV/MP3 bp). For another good vocal-mic shootout, check out this Sound On Sound magazine article: 'Vocal Mics: Matching Mics & Voices'. I also highly recommend the 3D Audio mic shootout compilations: 3D Mic CD and Ribbon Roundup CD.

  • Backing-track Stems For Overdubbing Practice: If you don't have a project in progress suitable for the overdubbing Assignments in this chapter, then check out the 'Recording Secrets' Free Backing Stems Download Library for a range of projects in different styles, complete with accompanying cue/comp/lyric sheets and vocal guide parts.


  • Polarity & Phase Adjustments For Headphone Foldback: On page 136, I mention that the bone-conducted sound of a singer will comb-filter against their headphone foldback signal if there's any monitoring latency, and that this can cause all sorts of pitching and performance difficulties. As such, I recommended using true zero-latency (ie. analogue or acoustic) monitoring wherever possible. However, what I didn't point out was that if you're in a situation where some monitoring latency is unavoidable, you can still improve the singer's listening experience by finessing the nature of the comb-filtering. The simplest method is to hit the polarity-inversion switch on your mic preamp (or on the vocal channel in your recording software), which will change the nature of the comb-filtering, quite possibly making it more benign in practice. Alternatively, if you wanted further control over the comb-filtering sound, you could use a variable phase adjuster instead.


  • Some Mic-mounting Hardware Recommendations: Although they're far from being the cheapest option, I've personally invested in K&M mic stands, because they're extremely solidly built and there's a full range of spare parts available if something breaks. They also do all manner of related widgets, such as these 3/8-inch-to-5/8-inch and 5/8-inch-to-3/8-inch mic-stand thread adaptors, swivel-joints, and a neat retro-fit drop-arm. If you need better shockmounting for your choice of vocal mic, then check out Rycote's InVision series of universal suspension shockmounts, which are extremely effective.

  • DIY Mic-mounts From PVC Plumbing Fittings: A very neat and budget-friendly trick from the LFR Studio blog is to build custom mic-mounting devices from cheap PVC plumbing supplies. To get a better idea how it works, check out the supplied example-project video.

  • Mini-mixers For Zero-latency Monitoring With Comfort Effects: If you already have a hardware effects unit, then check out the Alesis MultiMix 4 USB and the Behringer Xenyx 802. Alternatively, both companies also have models with built-in effects processing for added convenience: the Alesis MultiMix 4 USB FX and the Behringer Xenyx 1002FX.

  • Acoustics Products: Auralex sell all manner of tried-and-tested acoustic foam products for reducing the problems of early reflections. GIK Acoustics and Real Traps sell a variety of ready-made mineral-fibre bass traps for dealing with lower-frequency room resonances, but if you fancy saving some money by making your own, then check out the DIY wooden frames available from ATS Acoustics and Acoustimac -- the latter also do 'DIY EZ Wraps', which are bags prefabricated from acoustic fabric to fit standard 2x4-foot mineral-wool slabs.


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