Being a vocalist is an highly enjoyable job, but it doesn’t come without it’s challenges. The pressure of capturing and recording vocals as perfectly as possible can be a lot, which is why choosing the right microphone is very important.
Sound engineers have the task of trying to identify the perfect microphone, signal path, and level for recording and headphone balance in order to achieve a harmonious blend of all components.
Here are some tips to capturing the best vocal recording possible.
Choosing the Right Microphone
Although there are all sorts of different microphones available, they all operate fundamentally in the same basic manner. It’s important to understand this when selecting the right microphone for you.
They all feature a diaphragm that responds to air pressure changes. An electrical signal is then generated from the vibration that is then amplified into a sound.
Here are three main types of microphones out there:
For a vocal mic, the frequency response should be looked at. It’s important to determine whether the sound will be natural, flat, or will even boost specific frequencies. For vocals, it’s usually preferable to have a microphone that emphasizes certain frequencies that suit specific singers.
Sound Pressure Level
How much dynamic range the microphone can tolerate is the range of usable volume without being distorted at high level, or noise at low level. When it comes to this factor, dynamic mics are usually best.
The amount of noise in the background that’s actually created by the microphone is what’s considered the noise level. In general, capacitor microphones are usually better able to capture subtleties as compared to dynamic microphones.
This involves measuring the microphone’s efficiency at converting changes in sound pressure to control electrical signals. In essence, this is how loud the mic can be.
The Polar Pattern is basically the pickup pattern. When looking at the polar pattern on a circular graph, this represents in which direction a microphone can pick up sound. The following are the three fundamental polar patterns to consider:
Having a pop shield is a good idea if the singer happens to be standing too close to the microphone, which would otherwise create unwanted noise from puffs of air like ‘p’ and ‘f’. Pop shields can help prevent these unwanted sounds.
The Proximity Effect
The bass frequency increases as the singer gets closer to the mic, and vice versa. Cardiod microphones tend to increase or decrease frequencies around the 100Hz mark by anywhere between 10 to 15 dB if we move from 25cm to 5cm and back. This is known as the ‘Proximity Effect’.
This is a good thing if the vocalist’s microphone technique is skilled, which can create a richer, more powerful sound. In order to use this effect appropriately, the singer has to maintain a steady distance from the microphone, which is why getting a mic with less of a proximity effect might be more desirable.
The Tube Effect
A ‘tube’ mic makes use of a valve as the pre-amplifier for gain. The tone that this effect creates tends to be more pleasing to listen to. However, the sound can often be colored, and therefore not necessarily ideal for every vocalist. In essence, the ‘tubing effect’ tends to add some sound distortion if it’s overused.
Many people do not take the recording environment into consideration when looking for the right microphone. You could have the best microphone in the world, and it can still sound terrible in an environment that’s not conducive to a nice sound. Many times we have to improvise in our recording environment in order to make the sound come out pleasing to the ear.
The Bottom Line
Having a solid understanding of the basics of how microphones work, the different types out there, and how you plan on using it can help to make your renting decision much more informative.