[DeeAa[_4_]]

Hey, please comment on this if you will...

Does anybody here often use 2 mics for recording vocal tracks, like is
more common on guitar recording?

I'm used to just sticking my 414 in front of the vox, but the other
day I recorded an ex tempore acoustic tune :

http://deeaa.pp.fi/clips/ibelieve.mp3

I used the 414 in front of me and a cheap Samson overhead condenser a
few feet to the side...and when I played it back on the laptop, I
realized that if I only add FX to that distant mic, not the main vocal
mic, the 'immediacy' of the vocal is much better preserved and not
masked by the effect of course, but it also maybe sounds more natural
than duplicating the track for FX etc.

On this there is no mixing/EQ/anything at all; I did it on Cubase LE
on my laptop, and all I've done is I applied 'Reverb B' and 'delay'
from cubase's own effects to the backing mic track.

I'm now wondering if this is standard practice I've somehow just
overlooked...hell, I get the urge to re-record all my current project
vox employing a distance mic for effects. But would that be asking for
phase issues?

OR is it just the same just to duplicate the near vox and apply the
effects on the duplicate, which I routinely do to preserve the dry
original in the front area? Which is the better method in your view?

Cheers,

Dee

[Ty Ford]

On Wed, 26 Nov 2008 00:28:52 -0500, DeeAa wrote
(in article
):

Hey, please comment on this if you will...

Does anybody here often use 2 mics for recording vocal tracks, like is more
common on guitar recording?

I've been double tracking vocals with a U 89 and AEA R84 ribbon/TRP Preamp
recently. Very interesting. With a little EQ, the two complement each other
very well.

Regards,

Ty Ford


--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[DeeAa[_4_]]

On 26 marras, 22:24, Ty Ford wrote:
On Wed, 26 Nov 2008 00:28:52 -0500, DeeAa wrote
(in article
):

Hey, please comment on this if you will...

Does anybody here often use 2 mics for recording vocal tracks, like is more
common on guitar recording?

I've been double tracking vocals with a U 89 and AEA R84 ribbon/TRP Preamp
recently. Very interesting. With a little EQ, the two complement each other
very well.

Regards,

Ty Ford

Thanks Ty...how about placement? Do you place them right next to each
other, or do you try to catch a little more air with the ribbon?

Cheers,

Dee

[Fletch]

On Nov 25, 9:28*pm, DeeAa wrote:
Hey, please comment on this if you will...

Does anybody here often use 2 mics for recording vocal tracks, like is
more common on guitar recording?

I'm used to just sticking my 414 in front of the vox, but the other
day I recorded an ex tempore acoustic tune :

http://deeaa.pp.fi/clips/ibelieve.mp3

I used the 414 in front of me and a cheap Samson overhead condenser a
few feet to the side...and when I played it back on the laptop, I
realized that if I only add FX to that distant mic, not the main vocal
mic, the 'immediacy' of the vocal is much better preserved and not
masked by the effect of course, but it also maybe sounds more natural
than duplicating the track for FX etc.

On this there is no mixing/EQ/anything at all; I did it on Cubase LE
on my laptop, and all I've done is I applied 'Reverb B' and 'delay'
from cubase's own effects to the backing mic track.

I'm now wondering if this is standard practice I've somehow just
overlooked...hell, I get the urge to re-record all my current project
vox employing a distance mic for effects. But would that be asking for
phase issues?

OR is it just the same just to duplicate the near vox and apply the
effects on the duplicate, which I routinely do to preserve the dry
original in the front area? Which is the better method in your view?

Cheers,

Dee

A trick I have used is to put a LDC in the usual spot, a foot or so in
front of the vocal talent and then a SDC about another foot or so
further out front. The net effect is that the LDC gets the BIG breathy
sounds and the SDC gets the sibilance and some higher frequencies and
adds a bit of space to the vocal when blended in. EQ to taste.

--Fletch

[Federico]

Do you adjust phase?
F.

[DeeAa[_4_]]

On 27 marras, 12:17, Fletch wrote:
On Nov 25, 9:28*pm, DeeAa wrote:



Hey, please comment on this if you will...

Does anybody here often use 2 mics for recording vocal tracks, like is
more common on guitar recording?

I'm used to just sticking my 414 in front of the vox, but the other
day I recorded an ex tempore acoustic tune :

http://deeaa.pp.fi/clips/ibelieve.mp3

I used the 414 in front of me and a cheap Samson overhead condenser a
few feet to the side...and when I played it back on the laptop, I
realized that if I only add FX to that distant mic, not the main vocal
mic, the 'immediacy' of the vocal is much better preserved and not
masked by the effect of course, but it also maybe sounds more natural
than duplicating the track for FX etc.

On this there is no mixing/EQ/anything at all; I did it on Cubase LE
on my laptop, and all I've done is I applied 'Reverb B' and 'delay'
from cubase's own effects to the backing mic track.

I'm now wondering if this is standard practice I've somehow just
overlooked...hell, I get the urge to re-record all my current project
vox employing a distance mic for effects. But would that be asking for
phase issues?

OR is it just the same just to duplicate the near vox and apply the
effects on the duplicate, which I routinely do to preserve the dry
original in the front area? Which is the better method in your view?

Cheers,

Dee

A trick I have used is to put a LDC in the usual spot, a foot or so in
front of the vocal talent and then a SDC about another foot or so
further out front. The net effect is that the LDC gets the BIG breathy
sounds and the SDC gets the sibilance and some higher frequencies and
adds a bit of space to the vocal when blended in. EQ to taste.

--Fletch

Well yeah, this is pretty much exactly what I did. The SDC was a bit
to the side too, though.

As for phasing, it seems it just happened to be quite a suitable
distance in my case, reversing phase made it worse.

Cheers,

Dee

[Ty Ford]

On Wed, 26 Nov 2008 23:42:22 -0500, DeeAa wrote
(in article
):

On 26 marras, 22:24, Ty Ford wrote:
On Wed, 26 Nov 2008 00:28:52 -0500, DeeAa wrote
(in article
):

Hey, please comment on this if you will...

Does anybody here often use 2 mics for recording vocal tracks, like is more
common on guitar recording?

I've been double tracking vocals with a U 89 and AEA R84 ribbon/TRP Preamp
recently. Very interesting. With a little EQ, the two complement each other
very well.

Regards,

Ty Ford

Thanks Ty...how about placement? Do you place them right next to each
other, or do you try to catch a little more air with the ribbon?

Cheers,

Dee

Bout the same, but pushing the vocalist back to 14-16 inches from them.
Figure of eight, oriented parallel to the floor with nulls pointed up and
down so I don't hear the ceiling bounce.

Wes may be using some of my tracks at Winter NAMM this year

Regards,

Ty Ford


--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[Ty Ford]

On Fri, 28 Nov 2008 01:30:25 -0500, DeeAa wrote
(in article
):

Well yeah, this is pretty much exactly what I did. The SDC was a bit
to the side too, though.

As for phasing, it seems it just happened to be quite a suitable
distance in my case, reversing phase made it worse.

Cheers,

Dee

I'm guessing that he meant correcting millisecond or so time alignment
difference due to the different singer to mic distances.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=yWaPRHMGhGA

[Federico]

I'm guessing that he meant correcting millisecond or so time alignment
difference due to the different singer to mic distances.

Yes, usually digital time shifting.
F.

[genericaudioperson]

The vocals sound cool when they kick in and you hear the echo effect.
Try mixing that background mic with even more effects and more level.
This sounds like it would be a good vocal to have space-age Cure/
Smashing Pumpkins sounds.

The song sounds like it needs to be placed in a dreamscape of delays
and ambience. Also, the usual modern filter effects. This song
definitely wants effects.

The harmonies sound weird, though. The should be recut/replaced/
removed.

This song could be great when it's all finished.