Here are ten quick tips to think about the next time you record vocals:
1) Warm Up:
Every vocalist needs to warm up. You wouldn't run a marathon without stretching first, would you? Vocalists should warm up for at least 15 mins. before laying down a great performance.
2) Don't record vocals in the morning:
No vocalist is at their best if they've just rolled out of bed. If possible, try to schedule the vocalist in the mid-afternoon or evening. Use mornings for setting up and testing ideas. Always try to give the vocalist plenty of notice in advance before the recording session.
3) Comfort:
Make it your job to ensure that the vocalist has space to move, the room is at the right temperature, and there's nice ambient lighting to help set the mood.
4) Monitoring:
Spend time getting the balance in the headphones that the vocalist wants. Add reverb to their vocal sound if they want it, and be prepared to adjust levels as the session progresses. Watch out for the vocalist drifting out of tune, this is often because they can't hear themselves but are too polite to mention that!
5) Be extra kind and sensitive:
Vocalists are a very sensitive breed! A lot of pressure rides on them to really deliver - on stage and in the vocal booth. One of the greater skills we can possess is the art of encouragement and support. Being able to coax amazing performances using expert direction is a real plus. Patience and confidence building are also important. The ability to keep the vocalist focused is essential. Always use tact!
6) Phrasing:
Spend time getting the vocal phrasing right. Subtle changes can transform an OK take into something exciting. Make sure the vocalist articulates the end of words as much as the beginning: this is vital for a sense of passion and engagement. Even if some rewriting has to take place, it's better than compromising with an awkward line.
7) Vocal ticks:
It's tempting to edit out breaths and other bits and pieces from the take. These details are an essential component of any vocal performance and can make your track sound more alive, no matter what your style!
8) Choice of microphone:
Condenser microphones are generally a better choice for vocals than dynamics. A Neumann U87 or TLM 103 are good choices if you have the budget. Experienced vocalists will have their own preferences. Accommodate them if you can.
9) Compression:
Some engineers swear by compressing a vocal on the way into the DAW. This can work, but you can't remove compression once it has been recorded. Be sure you have tried this out with good results or you may end up ruining an otherwise perfect take. Another strategy is to set up the vocal mic with lots of headroom and just make sure to avoid any clipping if the vocalist suddenly starts getting loud. You can always add compression during mixing.
10) The room:
I saved the most important one for last! Don't forget that your recording will only sound as good as your room. If you have any nasty resonance build up, reflective surfaces, closets without acoustical treatment, etc., then steps 1 - 9 are kind of pointless. Obviously, this would need to be taken into consideration long before any vocal tracking were to take place. You can always use something like a Reflexion Filter (by sE Electronics) or something similar to improve your space.
I hope this helps and HEY!, make it a great day!
T
Wednesday, July 19, 2017
Saturday, June 17, 2017
Calculating File Sizes (How much hard drive space does it take to record a song?)
So . . . you want to record a song and you're running out of space on the computer's hard drive? Wondering if you have enough room? Here's how to figure out if you do have enough space:
The sample rate and bit depth of the audio you record are directly related to the size of the resulting files. In fact, you can calculate file sizes using these two parameters:
-- Sample Rate x Bit Depth = Bits per second
Or, stated another way:
-- Sample Rate x Bit Depth x 60 = Bits per minute
In the binary world of computers, 8 bits make a byte; 1, 024 bytes make a kilobyte (KB); and 1,024 KB make a megabyte (MB). Therefore, this equation can be restated as follows:
-- (Sample Rate x Bit Depth x 60) / (8 bits per byte x 1,024 bytes per kilobyte x 1, 024 kilobytes per --- megabyte) = Megabytes (MB) per Minute
Reducing terms gives us the following:
-- Sample Rate x Bit Depth / 139, 810 = MB per Minute
A lot of folks are recording these days at 44.1/ 24. That's a sample rate of 44,100 with a bit depth of 24 bits. Here is the calculation:
-- 44,100 x 24 / 139,810 = 7.57 MB per minute.
Here is a basic chart of different sample rates and bit depths:
44.1/16 bit = 5.04 MB/minute
44.1/24 bit = 7.57 MB/minute
48/ 16 bit = 5.49 MB/minute
48/ 24 bit = 8.24 MB/minute
88.2/16 bit = 10.09 MB/minute
88.2/24 bit = 15.14 MB/minute
96/ 16 bit = 10.99 MB/minute
96/ 24 bit = 16.48 MB/minute
If you figure a normal song of 3 1/2 minutes recorded at 44.1 sample rate and 24 bit, you can plan on it taking roughly 26.50 MB of disk space. I am starting to run a lot of my sessions now at 96/24 bit. So a 3 1/2 minute song is costing me 57.68 MB of hard drive space per song.
Considering that terabyte hard drives are now running close to $50 these days, all this math stuff is not nearly as important as it was just a few years ago. But I know a lot of guys who still aren't purchasing a whole lot of TB hard drives! It's still useful information if it's needed in a crunch!
Hope this helps!
HEY!! Make it a great day!!
T
The sample rate and bit depth of the audio you record are directly related to the size of the resulting files. In fact, you can calculate file sizes using these two parameters:
-- Sample Rate x Bit Depth = Bits per second
Or, stated another way:
-- Sample Rate x Bit Depth x 60 = Bits per minute
In the binary world of computers, 8 bits make a byte; 1, 024 bytes make a kilobyte (KB); and 1,024 KB make a megabyte (MB). Therefore, this equation can be restated as follows:
-- (Sample Rate x Bit Depth x 60) / (8 bits per byte x 1,024 bytes per kilobyte x 1, 024 kilobytes per --- megabyte) = Megabytes (MB) per Minute
Reducing terms gives us the following:
-- Sample Rate x Bit Depth / 139, 810 = MB per Minute
A lot of folks are recording these days at 44.1/ 24. That's a sample rate of 44,100 with a bit depth of 24 bits. Here is the calculation:
-- 44,100 x 24 / 139,810 = 7.57 MB per minute.
Here is a basic chart of different sample rates and bit depths:
44.1/16 bit = 5.04 MB/minute
44.1/24 bit = 7.57 MB/minute
48/ 16 bit = 5.49 MB/minute
48/ 24 bit = 8.24 MB/minute
88.2/16 bit = 10.09 MB/minute
88.2/24 bit = 15.14 MB/minute
96/ 16 bit = 10.99 MB/minute
96/ 24 bit = 16.48 MB/minute
If you figure a normal song of 3 1/2 minutes recorded at 44.1 sample rate and 24 bit, you can plan on it taking roughly 26.50 MB of disk space. I am starting to run a lot of my sessions now at 96/24 bit. So a 3 1/2 minute song is costing me 57.68 MB of hard drive space per song.
Considering that terabyte hard drives are now running close to $50 these days, all this math stuff is not nearly as important as it was just a few years ago. But I know a lot of guys who still aren't purchasing a whole lot of TB hard drives! It's still useful information if it's needed in a crunch!
Hope this helps!
HEY!! Make it a great day!!
T
Tuesday, June 6, 2017
Organize Pt. 3 (patchbays)
Patchbays
Having a patchbay helps to optimize your signal routing and organization. Even the most modest of studio setups can benefit from the simple addition of a patchbay. Almost any configuration of cable connection - xlr, 1/4" TRS jack, Cat5, etc. can be connected to a patchbay. And you can make your connections without ever having to leave your seat!
If all your equipment I/O is connected to the patchbay and it is labeled well, it will save you time by not having to go around the back of your gear to connect things. It will save wear and tear on the connections of equipment. It also centralizes the grounding of gear and reduces potential ground loop noise problems.
I use two main types of patchbays in my studio: xlr and 1/4". The [Hosa] xlr patchbay is configurable. That is, the two types of xlr - male and female - can be configured to fit one's needs. You can have the front panel all xlr male, all xlr female, or a mixture. Conversely, you can set the back of the patchbay as well.
The [Neutrik] 1/4" patchbay has a two-row topology and is typically set up with an out-over-in signal flow, or a downward signal flow direction. For instance, outputs on the top row and corresponding inputs below. Or, sends on top and returns on bottom. TRS patch panels have configurable setups called "normalled" and "half-normalled". In patchbays, a normal is an internal connection from the top row of jacks, to the bottom row. Normalling allows connections that are normally in effect to exist without the need for inserting a patch cable in the front of the bay. For example, the stereo outs of a mixer are generally connected to the inputs on a stereo mixdown deck. By connecting the mixer’s outputs to the top back row of a normalled patchbay’s jacks, and the mixdown deck to the bottom back row, a connection is made internally in the bay, and does not require extra patch cables.
When a jack is inserted into the lower plug, however, the normal connection is broken. This provides a convenient way to route signals to multiple destinations. For example, the output of a mixer that is normalled to the input of a DAT on the patch bay can also be simultaneously routed to another patch point. To do this one would simply run a patch cable from the patch point that is the output of the mixer (an upper jack) to the patch point that is the input to the other device (a lower jack). This connection will break the normal of what would normally be feeding that other device in favor of the mixer signal that has been patched in. Signal will now be routed to the DAT and the other device. Another application might be to insert an EQ after a preamp but before the converters. Simply route the output of the EQ (an upper jack) to the normal input jack (a lower jack) for that mic preamp.
As a final note - label, label, label!! In a previous post I mentioned owning a digital label maker. This is when it comes in handy! Also, write all the routing options down on paper first to help figure out organization.
Having a patchbay will simplify your studio life and make routing an easy task!
Peace - and HEY! make it a great day!!
T
Having a patchbay helps to optimize your signal routing and organization. Even the most modest of studio setups can benefit from the simple addition of a patchbay. Almost any configuration of cable connection - xlr, 1/4" TRS jack, Cat5, etc. can be connected to a patchbay. And you can make your connections without ever having to leave your seat!
If all your equipment I/O is connected to the patchbay and it is labeled well, it will save you time by not having to go around the back of your gear to connect things. It will save wear and tear on the connections of equipment. It also centralizes the grounding of gear and reduces potential ground loop noise problems.
I use two main types of patchbays in my studio: xlr and 1/4". The [Hosa] xlr patchbay is configurable. That is, the two types of xlr - male and female - can be configured to fit one's needs. You can have the front panel all xlr male, all xlr female, or a mixture. Conversely, you can set the back of the patchbay as well.
The [Neutrik] 1/4" patchbay has a two-row topology and is typically set up with an out-over-in signal flow, or a downward signal flow direction. For instance, outputs on the top row and corresponding inputs below. Or, sends on top and returns on bottom. TRS patch panels have configurable setups called "normalled" and "half-normalled". In patchbays, a normal is an internal connection from the top row of jacks, to the bottom row. Normalling allows connections that are normally in effect to exist without the need for inserting a patch cable in the front of the bay. For example, the stereo outs of a mixer are generally connected to the inputs on a stereo mixdown deck. By connecting the mixer’s outputs to the top back row of a normalled patchbay’s jacks, and the mixdown deck to the bottom back row, a connection is made internally in the bay, and does not require extra patch cables.
When a jack is inserted into the lower plug, however, the normal connection is broken. This provides a convenient way to route signals to multiple destinations. For example, the output of a mixer that is normalled to the input of a DAT on the patch bay can also be simultaneously routed to another patch point. To do this one would simply run a patch cable from the patch point that is the output of the mixer (an upper jack) to the patch point that is the input to the other device (a lower jack). This connection will break the normal of what would normally be feeding that other device in favor of the mixer signal that has been patched in. Signal will now be routed to the DAT and the other device. Another application might be to insert an EQ after a preamp but before the converters. Simply route the output of the EQ (an upper jack) to the normal input jack (a lower jack) for that mic preamp.
As a final note - label, label, label!! In a previous post I mentioned owning a digital label maker. This is when it comes in handy! Also, write all the routing options down on paper first to help figure out organization.
Having a patchbay will simplify your studio life and make routing an easy task!
Peace - and HEY! make it a great day!!
T
Thursday, March 2, 2017
Organize Pt. 2
Group Cabling
Keep cables grouped together by type (audio, MIDI, mains, etc.). This makes it easier to find faulty cables, patch equipment quicker and easier, and help reduce cable-borne noise problems. Putting a little distance between different types will reduce the potential for EMI (electromagnetic interference) problems, because mains cables can induce a 50Hz hum on audio cables. Always try to keep power cords of any kind separate from audio cables. If they do have to cross, try to do it at a 90° angle to minimize hum induction.
Use Cable Wraps
Using cable ties of some sort are definitely in order! Use Velcro or easy-release plastic ties. DO NOT use the infamous rock-n-roll duct tape! It will leave sticky residue once removed!
Label
Label Everything! I used to use the little string tags (and if I was to be honest, there are still some being used). But I did finally invest in a digital label maker. Good Investment! I now have 2 different tape sizes and label everything - patch bays, monitor control, hard drives, cables, wires, boxes, etc. You get the point!
'Faulty' Box
Get a large plastic box and label it "Faulty", "Not Working", "Needs Repair", "Bad" or something like this. You will end up with equipment that needs repair, faulty wires or cables, stomp boxes not working correctly, or just components that you can use later for recycling of parts. Almost everything in our studio can be repaired or used for parts. This helps keep unusable equipment from getting mixed up with the good. How many times have you reached for that cable that doesn't work or needs a wiggle when you use it! Throw it in the faulty box! When you have some time, get into the box and pick a project! Or better yet, sell the lot on eBay under 'needing repair' and get them out of your hair.
I now have initiated all of this in my own studio. I am much better organized, I have better workflow, waste less time and can focus more on my tracking or mixing. I hope this helps you too!
As always-
Make it a great day!
Tim
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