vocal mic techniques, followup

[badperson]

Is it the way I'm placing it, or my preamp, or the way I'm singing?

Hi,

my vocal tracks (when looking at the waveform) are usually pretty soft with peaks that clip or come close to it. (don't have any preamps or outboard compressors now)

So, when I'm done recording my vocal track is too low, I have to compress it (I don't have any plugs yet, so I'm just using the compressor that comes with the 001).

The result isn't necessarily bad, but I'm wondering if I should be doing something different.

thanks. [img]images/icons/wink.gif[/img]

[badperson]

also,

will a good preamp help with this, is that what's referred to as "headroom?"

[O.G. Killa]

nope...it doesn't sound like you're doing anything wrong. That's the way it should be. That is also why it's important to try and record at 24-bit instead fo 16bit. When you compress a signal, you are bringing the noise floor up in volume as well as squashing the peaks...24bit files have more "headroom" (can handle a higher SPL before clipping occurs) so you can turn up your mic and get a hotter signal to PT. You'll still have the spikes and valleys in the waveform the same as before, it's just that instead of maxing out at 96dB SPL, you'll probably be able to get up around 120dB SPL (with 24-bit files) before clipping.

Compression...All good singers are dynamic, meaning they vary the volume and intensity with which they sing to create emotion. This is normal. The better the singer, usually the more dynamic they will be. Hence the need for compression in limiting.

When I track I usually use A LITTLE BIT OF COMPRESSION or NO COMPRESSION AT ALL. Compression is like salt or pepper...you need it to make the food taste good, but once you've added too much the food tastes like crap and you can't undo it.

If you do ever get a good compressor (note: I said good compressor, an Alesis 3630 or similar, while ok, doesn't do a very good job on vocals compared to something like a 1176 or a LA2A). You don't want to be able to hear the compressor...so the more expensive compressors are usually (and unfortunately, because they are hard to afford) more transparent.

A good starting place when tracking is either go dry into protools without any compression, or ad subtle compression. Something like a 2:1 or a 2.5:1 compression ratio. Maybe a 10 to 20 millisecond attack time and an 80 to 150 millisecond release time. For the threshold, adjust it so that when you are singing at your loudest the compressor is only reducing the volume by about 2 or 3 dB, never more than that. What should happen is the compressor won't do anything through most of the recording but on the one or two spots where you really belt it out, it will kick in a little. You can always add more compression later, but it's harder to uncompress (called expanding) an overcompressed track.

Then, when mixing (or monitoring), Add a compressor (plugin or external) and set the settings roughly the same (2.5:1 ratio) but turn the threshold down a little more so it compresses the signal a little more and make the attack and release a little longer (so maybe 20-50ms attack and 150-250 release). I usually adjust the threshold so that it compresses another 3 or 5dB at the loudest point in the track. And then I put a limiter on it. An external tube limiter is the best (like an LA2A or a TLA100) but even if you use the DigiRack limiter or a Waves L2 plugin (one of my favorites by the way!!) it will really bring your vocals up front and in your face without sounding too squashed. Adjust the threshold and release times of the limiter to taste. I usually have a fast attack and release because I already have a compressor going with a slower attack and release...

It's really all about using your ears and adjusting the settings until you find the sound your looking for. But hopefully this will at least get you started and you can tweak from there.

Hope this helps.

Peace,

-OGK