In a musical context, the vocoder often starts with an analog sound and crossbreeds it, in real time, with synthesized textures to create some powerful and versatile musical elements. Read More.
These simple tips will help you get the best results when you’re recording vocals in your home studio. Read More.
If you’re looking for inspiration on how to integrate this inventive effects pedal into your own work, check out the following performances of the Talk Box done right. Read More.
The Talk Box lets you use your mouth to shape sounds, in real time, in crazy and creative ways. Here are tips on how to use the effect to amplify your own creative efforts. Read More.
We take a look at the University of the Pacific’s efforts to find a signature vocal mic for the campus recording studio. What they learned might help you choose your next great studio mic. Read More.
Mixing vocals in your home studio can be one of the more exciting stages in the recording process, and it can also be a complex challenge. Work to construct the instruments around the vocal so that everything gets to shine. Read More.
For any given song, the specific approach to producing background vocals is dependent on the production style and genre, but when listening to any modern song on the charts, you can quickly pick up that there is a lot going on. Serious thought has been put in to the arrangement and presentation of these parts, which usually means quite a bit of editing work. Luckily for us, this type of work and associated workflow is what Pro Tools does best. Read more.
Anyone shopping for a new podcasting microphone, or a voiceover microphone, or even a studio vocal microphone should know that the broadcast industry has relied on a very small handful of mics for the past 30 years. Broadcasters know something that you might not: how to get a great vocal sound. Read more…
Basic tracks are the initial recordings of the rhythm section that are done prior to any overdubbing. Basics are the foundation for the music being recorded and for any other parts that come afterward. If there’s something faulty in the foundation, it will either be impossible or very costly in time and money to fix things later. That’s why it’s essential to make each basic track the best it can be.
Regardless of whether you spend a little or a lot of time in preproduction, recording basic tracks is where you either make the project or break it. Even if you had a great preproduction, you never really know how things will record or what unforeseen circumstances will pop up until you get there. Read more…
There’s been no shortage of products designed to help musicians get their musical ideas into their computers. While at the Winter 2010 NAMM show in Anaheim, I saw the then-new Shure X2u XLR-to-USB signal adapter. It’s a compact, affordable single channel palm-sized adapter that promises to help solve the problem of how to interface a recording mic with your home computer. Read more…
No one was closer to Michael Jackson at the height of his creative powers than Bruce Swedien, the five-time Grammy winner who, with Jackson and producer Quincy Jones, formed the trio responsible for the sound of Jackson’s records. Excerpted from Swedien’s book, In The Studio With Michael Jackson, published by Hal Leonard. Read more.
In the last lesson we covered a few different strategies for starting to train your ears. This included singing with your instrument, singing over a drone, and singing intervals in all the keys. Now we’re going to take it a few steps further and work to really develop our ears ability to pick out notes and relationships. Remember that these exercises take time – developing your ears is a long process. I would practice the exercises from the first lesson and this lesson over the next several months and you’ll start to see development. It’s not a forced thing, more of a gradual opening of your ears. Read more…
Fast Forward’s Pro Studio guru puts four mics through their paces
One of the key elements in any popular song is the vocal performance, and an essential part of capturing a vocal performance accurately is the microphone used in the recording. Top recording engineers know how important it is to match each singer’s particular vocal qualities and timbre to the microphone that will best capture the power and subtleties of that voice. This month, Fast Forward brought four high-quality vocal microphones (i.e. list price of $1,000 or more) into the studio and ran each through its paces, recording male and female vocal tracks and some narration. By the end of the session, you’ll have a good idea of which of these mics may be worth the investment for your home recording studio and what you might want to look for in studios near you. The four contenders include: the Kiwi, from BLUE Microphones; the TLM 103 from Neumann; the Black Hole BH-2 from JZ Mics; and the KSM 44 from Shure. I invited my colleague Jeff Crawford, a local producer and engineer over to provide a second set of ears for the evaluation. Two singers were asked to help with the testing, each one bringing a backing track of a song that they were familiar with to use for the test session. Read more…
Paste Magazine’s Kate Kiefer put together a top 10 list of the best voices in indie rock. Who did she miss?
Brandi Carlile inspired this list. I’ve been listening to her fantastic new record nonstop lately—mainly because I’m addicted to her voice. But some folks prefer a calmer and steadier voice like Mark Kozelek’s, and others are partial to Neko Case’s clear-as-a-bell-ness or Chan Marshall’s sultriness. Here are my picks for the best voices in indie rock. Who did I miss?
Don’t have a dedicated recording studio? Recording in your house? Check out these tips and tricks from Audiotuts+ to get the most out of your sound in an imperfect setting.
The number one factor in vocal recording is the room. You might’ve thought it was the mic you’re using or the pre-amp you’re running it through, but the truth is if you’ve got a U87 and an Avalon but the room you’re recording in is crap, you won’t be much farther ahead than a guy using a Behringer mic through an Mbox.
You could buy one of those (often rather expensive) reflection shields that attach to the stand and sit behind the microphone, and this will do you some good, particularly if your mic is omnidirectional. However, most common vocal microphones for both home and studio users are cardioid, so the shield will still help to an extent but the majority of problem reflections will come from the front — that is, the surfaces behind the vocalist’s head.
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