Composers Canada Website for Songwriters and Info about Composers
 

Legacy Recording Tips

Back when tape was still used to record vocals, a certain warm sound was achieved by hitting the tape hard and relying on compression that occurred due to the process.

Although a digital compressor can help even out a vocal line, having a good preamp is essential to getting the sound character of certain voices to pop.

 


A front end for recording voice can be a good quality condenser microphone, a quality preamp and a compressor/limiter.

Vocal Performance & Singing Recording Tips

VOCAL PERFORMANCE

Capturing the best vocal performance is one of the most important tasks of completing a successful recording or demo. There are many considerations and careful listening is paramount.

Pitch::

Is the song in the best key for the singer (and not the keyboard player). Sorry, but although it is much easier to lay the track down in C major, this may not bring out the best range of the vocalist. If you have a sequencer, try notching the tune up or down and have the vocalist sing along.

At least this may introduce the concept of a half step modulation at some point in the song, but above all else it should become clear where the vocalist feels most comfortable singing the song.

This will translate into a better vocal sound right off the bat, and each vocalists range will be different. Case in point was the hit song Boys of Summer. The song had already been completed when David Paich of Toto fame decided to let Don Henley try the song up a half step.

The key change made all the difference in the world and the entire song had to be re-cut. This happens all too often in the music industry, so audition the key of the song first with the final vocalist before committing to a master recording.

Also note, that headphone volume can affect the pitch which a singer sings. If the phones are too loud, the vocalist will tend to sing flat and ahead of the beat, if the headphones are too soft, the singer may sing sharp. Adjusting the headphone monitoring volume can subtly adjust the pitch. It is also a good idea to not overdue the effects or reverb on the lead vocal track in the headphones. And never print reverb with the lead vocal, but on an extra track if it is to be committed to at the time of recording.

Tempo:

The old adage, "How slow can you go" has brought out the "groove" in many a tune. Experiment with modification of tempo and even modification of genre and style (try to make a ballad or country tune or other style out of a standard up-tempo rock tune and see which version better expresses the song and lyrics.) Experimentation will at least solidify the composition into a final form.

Testing:

Playing the song for live audiences is a great way to gauge popularity of the song's elements. Huey Lewis and the News was famous for taking the songs out on the road for several months before cutting the final versions in the studio. Playing the demo versions to various people will also help shape the final version.

By doing a lot of preproduction, one can eliminate much of the trial and error that occurs during recording and focus on the elements that need to stand out.

Production:

Capturing the vocal in it's best light will require the vocalist to be "fit". If the tracks are not going down well, take a break or reschedule the recording when the atmosphere is more relaxed and condusive to capturing the best vocal performance. If the vocalist has warmed up and is laying down good tracks, keep the process rolling along by cutting several good tracks where best pieces can later be edited together. Some vocalists prefer to work on one line at a time, but the best method for working is to do the complete tune several times, recording the entire song from front to back. Even during the setup phase, when the vocalist may not be aware that the tape is "rolling" and in record mode, the engineer on the session should ALWAYS have the record mode enabled, because some of the best vocal performances have occurred on first or second takes when the material is fresh and emotional content is high. Sometimes after the thirtieth take, the pitch may be clean, but the emotion has left. Expression is something that cannot be measured, but can be identified. So keep the recorder in record mode and help the vocalist deliver a confident vocal performance. In the end, the mechanics of taking the third word from the second line off of the sixth take should not interfere with the vocalist's ability to lay down the emotional content of the song.

Compression:

Putting a compressor on the lead vocal can help the vocal cut through the track. There are many different types of compressors to chose from and each can add a certain tonality to the vocal. Many vocals benefit from a good tube compressor, but the overall objective is to limit the dynamic range of the vocal as a whole so that it cuts through the track. Overcompression yields a crunched sound that can actually appear thin, so discretion and a softer ratio usually yields better results.

Microphone selection is also important, and generally preferred mics are either tube or large diaphragm condenser mics. Since the vocalist is usually close to the mic, a pop filter (wind sock) is also used to avoid the pops (low frequency energy burst).

Planning and preparation will definitely contribute to getting the best possible vocal track. On a last note, cigarettes should be avoided during tracking since they can immediately change the vocal sound (usually for the worse).

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VOCAL PERFORMANCE

Capturing the best vocal performance is one of the most important tasks of completing a successful recording or demo. There are many considerations and careful listening is paramount.

Pitch::

Is the song in the best key for the singer (and not the keyboard player). Sorry, but although it is much easier to lay the track down in C major, this may not bring out the best range of the vocalist. If you have a sequencer, try notching the tune up or down and have the vocalist sing along. At least this may introduce the concept of a half step modulation at some point in the song, but above all else it should become clear where the vocalist feels most comfortable singing the song. This will translate into a better vocal sound right off the bat, and each vocalists range will be different. Case in point was the hit song Boys of Summer. The song had already been completed when David Paich of Toto fame decided to let Don Henley try the song up a half step. The key change made all the difference in the world and the entire song had to be re-cut. This happens all too often in the music industry, so audition the key of the song first with the final vocalist before committing to a master recording.

Also note, that headphone volume can affect the pitch which a singer sings. If the phones are too loud, the vocalist will tend to sing flat and ahead of the beat, if the headphones are too soft, the singer may sing sharp. Adjusting the headphone monitoring volume can subtly adjust the pitch. It is also a good idea to not overdue the effects or reverb on the lead vocal track in the headphones. And never print reverb with the lead vocal, but on an extra track if it is to be committed to at the time of recording.

Tempo:

The old adage, "How slow can you go" has brought out the "groove" in many a tune. Experiment with modification of tempo and even modification of genre and style (try to make a ballad or country tune or other style out of a standard up-tempo rock tune and see which version better expresses the song and lyrics.) Experimentation will at least solidify the composition into a final form.

Testing:

Playing the song for live audiences is a great way to gauge popularity of the song's elements. Huey Lewis and the News was famous for taking the songs out on the road for several months before cutting the final versions in the studio. Playing the demo versions to various people will also help shape the final version.

By doing a lot of preproduction, one can eliminate much of the trial and error that occurs during recording and focus on the elements that need to stand out.

Production:

Capturing the vocal in it's best light will require the vocalist to be "fit". If the tracks are not going down well, take a break or reschedule the recording when the atmosphere is more relaxed and condusive to capturing the best vocal performance. If the vocalist has warmed up and is laying down good tracks, keep the process rolling along by cutting several good tracks where best pieces can later be edited together. Some vocalists prefer to work on one line at a time, but the best method for working is to do the complete tune several times, recording the entire song from front to back. Even during the setup phase, when the vocalist may not be aware that the tape is "rolling" and in record mode, the engineer on the session should ALWAYS have the record mode enabled, because some of the best vocal performances have occurred on first or second takes when the material is fresh and emotional content is high. Sometimes after the thirtieth take, the pitch may be clean, but the emotion has left. Expression is something that cannot be measured, but can be identified. So keep the recorder in record mode and help the vocalist deliver a confident vocal performance. In the end, the mechanics of taking the third word from the second line off of the sixth take should not interfere with the vocalist's ability to lay down the emotional content of the song.

Compression:

Putting a compressor on the lead vocal can help the vocal cut through the track. There are many different types of compressors to chose from and each can add a certain tonality to the vocal. Many vocals benefit from a good tube compressor, but the overall objective is to limit the dynamic range of the vocal as a whole so that it cuts through the track. Overcompression yields a crunched sound that can actually appear thin, so discretion and a softer ratio usually yields better results.

Microphone selection is also important, and generally preferred mics are either tube or large diaphragm condenser mics. Since the vocalist is usually close to the mic, a pop filter (wind sock) is also used to avoid the pops (low frequency energy burst).

Planning and preparation will definitely contribute to getting the best possible vocal track. On a last note, cigarettes should be avoided during tracking since they can immediately change the vocal sound (usually for the worse).

back