Recording the voice (02) The microphone(Letto 44 volte)

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Microphone selection.

Choosing the right type of microphone is an important element for good vocal recording results.

CONDENSER OR DYNAMIC

For good vocal recording in the studio, a condenser microphone will generally prove more suitable due to its greater overall fidelity and greater sensitivity (which will allow it to capture a greater amount of tonal and dynamic detail).

If chosen well, a good microphone will have a mechanical strength high enough to withstand even the exaggerated dynamics of “screamers”.

WIDE OR NARROW DIAPHRAGM

A large-diaphragm condenser microphone will generally be preferable for a lead vocal, as it will offer greater resistance to the stress of popping and blowing consonants (especially at close range) and because it will produce a warmer, smoother result (although in some respects it will be a little less “faithful” than a small-diaphragm one).

Even a high-quality narrow-diaphragm (stylus) condenser, used at distances greater than 30 cm, with the correct tilt and protected by a pop-proof sock, will still be able to produce highly precise results, characterised by a very neutral colouration.

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On the left are some large-diaphragm condenser microphones and on the right are some small-diaphragm models. The former are generally more suitable for recording lead vocals.

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TO VALVE OR NOT

The tube microphone or, alternatively, the tube preamplifier, are capable of giving the sound some additional harmonics, resulting from a slight non-linear saturation.

This could give the sound an adaptable tonal enrichment, variable according to the different tonal and dynamic stimuli determined by the singer at each performance moment.

Generally this choice is considered positive, thanks to the “warmer” and “richer” sound it generates.

Sometimes, however, it can be perceived negatively, as it causes "sound dirt", resulting from the overlapping of the harmonics generated by the valves, which in some cases can appear as a slight distortion.

It will therefore be necessary to evaluate on a case-by-case basis (and from voice to voice) which solution to adopt.

To avoid the overlapping of multiple “layers” of harmonic saturation, it is generally inadvisable to use a tube microphone together with a tube preamplifier.

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Here are three excellent tube microphones from Neumann, AKG, and Rode; the first two have made recording history and are very expensive. The third, more modern, boasts an excellent quality-price ratio.

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POLAR FIGURE

The polar pattern of the microphone describes its directional ability.

For a solo vocal recording, a directional microphone with figure cardioid.

For close-up shooting (up to 20 cm), a standard cardioid with a usual shooting angle of around 120° is generally preferable.

For less close-up recording, a narrow cardioid microphone (pickup angle of around 80-90°) may be a better choice in order to limit the incidence of room resonance.

The narrow cardioid is also recommended for closer monitoring, where you want to greatly limit the pickup of the aforementioned resonance.

At close range, however, the narrow cardioid will be more sensitive to the singer's head movements, thus risking losing some "details" that may accidentally be "out of focus"; in this case, it is best to advise the singer to always direct their mouth towards the capsule.

If you use an unshielded hypercardioid on the rear side, it is advisable to place a sound-absorbing screen behind it to avoid the return of ambient reverberation to the rear side.

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A diagram with various microphone polar patterns

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TONAL AND DYNAMIC CHARACTERISTICS

It's about getting the best possible match between different microphones and different vocal types.

Obviously, in a small studio equipped with a single large-diaphragm condenser microphone, this distinction cannot be considered since each voice will have to be recorded with the same microphone; but where possible, it may be important to make a careful choice.

Just as a personal example, having a Neumann U87, an Akg 414 ULS and a Rode K2 tube at my disposal, I would generally lean towards:

• the Neumann for timbre-clear male voices, especially if low range
• the AKG for high and/or thin female voices
• the Rode K2 for all other standard applications

The above is obviously a general guideline based on my personal experience; in reality, each voice is a universe unto itself, so it may be useful to attempt a comparison, if not even use a simultaneous recording with two microphones (in which case, the microphones should be properly phased to assess the possibility of using both simultaneously).

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Using the microphone

Many singers are experienced in using dynamic stage microphones, and know how to vary their distance and inclination at any moment during the performance, in order to compensate for different vocal emissions, homogenizing the result.

Some, however, are not able to handle the above with the same expertise, while others don't even try.

Microphone interaction, if managed with more moderation than in live performance, is also a good thing to observe in the recording studio.

When shooting at a long distance (30 cm or more), it is better to avoid any compensatory movements, except for a slight move closer for singing the vocal parts in a low voice.

At a certain distance, in fact, it will be easier to attenuate excess volume, rather than giving gain to parts that are too low in volume due to the singer being too far away.