Recording Vocals
Aug 1, 2011 9:00 AM, By Mike Levine
From the breathy smoothness of Diana Krall to the growl of Tom Waits to the screams of Linkin Park’s Chester Bennington, no two singing voices are quite alike. For producers and engineers, the challenge is to find the most flattering way to capture a particular singer’s sound. But successful vocal recording requires more than engineering skill; you also need psychological chops. Coaxing the best performance from a singer is often a lot trickier than selecting the right vocal chain.
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Jul 1, 2006 4:47 PM, By David Weiss
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Nov 2, 2005 7:11 PM, By Kevin Becka
We all know that voice is king. Of the six instrument categories we've explored in our “Recording the Band” series, the voice is arguably the most powerful. It's how we communicate. ...
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Recording Instruments
Jan 1, 2006 3:13 PM, By Blair Jackson
The conceit of these sorts of periodic articles, which are designed to fill readers in on the latest recording techniques, is that there is great new information to be imparted......
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From the Pros
Jul 30, 2008 2:05 PM, By Janice Brown
It’s a fact that lower budgets mean shorter production cycles and, ultimately, more no-nonsense mixing, but engineers working with experimentally inclined artists find ample opportunity in the mixing process...
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May 1, 2006 7:50 PM, By Eddie Ciletti
Shop life might be predictable in the service department of an equipment manufacturer or major retailer. But in my reality, what may arrive at any given time can defy all expectations. Even with notes, there are times when gear I thought I knew tests my skills. Here's a blog of the highs, the lows and the midrange.
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Live Sound
Jul 1, 2011 9:00 AM, By Eddie Mapp
Reproducing the human voice in a concert situation can range from extremely easy (throw up the fader and go) to quite complex, depending on a number of situations surrounding the vocal. Are you mixing a soft-spoken singer, an aggressive rock group with multiple lead vocalists, or a pop artist whose crowd comprises 20,000 young teenage girls screaming at SPL levels higher than anything you’d ever want to compete with mixing-wise? In all of these environments, getting the vocal out there and on top is key to your mix.
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Jul 1, 2011 9:00 AM, By Steve La Cerra
Ask an engineer if they’ve used a ribbon microphone in a live setting, and you’re likely to get a reaction that goes something like “Are you out of your mind? ! ?” Old school. “Too delicate!” Hogwash. “Figure-8 patterns are impossible to deal with on a stage with loud instruments!” Poppycock. “Phantom power will blow it up!” Um, maybe if your cables aren’t up to spec. It was only a matter of time until the studio ribbon revival that started in the late 1990s would reach the stage. But is it really possible to use ribbons on a tour? Can they survive? Is their meek output level a problem? Read on.
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NAMM 2011: Fairlight CMI
State of NAMM 2011