Members Palaver Posted July 15, 2009 Members Share Posted July 15, 2009 Hey Guys, I am an avid musician, and I love recording my work and writing. However, as I am learning more and more about the mixing/mastering process, I'm running into a problem. When I record my vocals, they're extremely simbilant. I'm a male vocalist, and I find the problem is at it's worst when I am doing softer, 'breathy' vocal lines. Currently, I'm recording my vocals with a Rode NTK running straight into my Apogee Ensemble. I like the Rode a lot (in terms of detail), but it's just so hyped. I've been playing with multi-band compressors/de-essers, and trying to do a slight (Hi-Q) scoop (@ about 7000Hz where the 'esss' problem is at it's worst). Currently, I'm not happy with my solution(s), and I'd prefer it to just go in thick and smooth. BTW, I've been working with many different mic positions, and I do have a good pop-filter. I also have limited experience with the Neumann U87. It's gorgeous and detailed, but not quite so hyped or harsh. Altho, it still seems like a 'bright' mic to me. So, in short, I guess I am asking the following questions: 1) Should I experiment with a decent outboard compressor/pre-amp like Universal Audio's LA-610 MKII? 2) Grab another mic? I'm looking for recommendations on a flat, not-so hyped condensor... 3) Find some literature on correcting the problems via plugins? And if so, what should I try? Any advice would be truely appreciated! Thanks for all the help in the past. Cheers,Phil B Link to comment Share on other sites More sharing options...
Members WRGKMC Posted July 15, 2009 Members Share Posted July 15, 2009 Simbilant vocals is a singing/micing placement issue pure and simple. Using a DeEsser is a band aid. Are you using a windscreen would be my first questionand have you exhausted your micing positions to eliminate the problem. It can also come down to a room issue. Having good room room resonance would be my first thing to tackel because everything else is dependant on that including distance and angle. Next is micing too close to the mic because the reflective room sound is offensive and you're trying to capture the full mics warmth too closely. Changing the angle of the mic so its slightly off axis can do a whole lot for the sound and what it captures. A studio mic is words different from a live dynamic mic PA situation. Using some kind of makeshift vocal booth may be able to help fix much of the resonance issues. Next is headphones. If your headphones suck so will your singing. If the headphone gain is weak you may be trying to get too close to the mic tracking, if the frequency responce is lacking in the sibilance frequency, guess what, you're going to have all kinds of sibilance as a final result. As a counter measure, you could actually use an EQ between the daw and headphone amp to boost the sibilance frequenies when tracking. When singing you'll use your voice to minimise them and also naturally back off the mic to prevent it. Then play the music back flat through monitors and it will be gone. I do something simular to this using a HiFi stereo amp headphone jack for a monitor system. I dont recomend this to all because I have no idea what the results would be for others being that every voice is unique. I do have normal flat headphone amps and can use them, bit I used Hi Fi stuff for so long I know how to track with them to get specific results with my voice. HiFi stereos have a hyped high and low end. I usually run the bass as low as I can and still have some low end weight, then pump a littel trebble so The high end is hot. I then put a stereo reverb unit in the tape send return loop for some room effect on the headphone monitor. (My room is so dry I do need something there to counter balance the dead room I have) When all is said and done I need less manipulation mixing than I would otherwise. Other than that, developing the voice, breathing techniques and pronunciation can take a lifetime for some. In the meantime, using a DeEsser plugin, or EQing out the offending frequency with a notch can do wonders. You can also try using the pencil trick some speak of but I never tried using it myself. Link to comment Share on other sites More sharing options...
Members Palaver Posted July 15, 2009 Author Members Share Posted July 15, 2009 WRGKMC: Thanks for such a great reply. The room could certainly be a factor, and it's the only thing I haven't really messed around with. But I've used the mic in multiple settings in different rooms, and those 'essses' are harsh. I've also done different distances. I haven't tried the pencil trick... but certainly off axis, and I have a windscreen. The problem seems to be at its worst with deeper/softer breathy singing, with the pre-amps up quite high. Link to comment Share on other sites More sharing options...
Members WRGKMC Posted July 16, 2009 Members Share Posted July 16, 2009 Thats a singing technique problem. Tru singing in front of a candel so you can get the note out without blowing out a candel. Its a technique taught in vocal classes. Link to comment Share on other sites More sharing options...
Phil O'Keefe Posted July 17, 2009 Share Posted July 17, 2009 Simbilant vocals is a singing/micing placement issue pure and simple. Yes, but mic choice can definitely exacerbate the problem, so if changing the placement doesn't resolve your issues, I'd recommend trying a different microphone. The NTK IS a nice mic IMHO, but its bright, "enhanced" sounding top end can definitely make sibilance more pronounced. It's wicked cool on upright bass though. Link to comment Share on other sites More sharing options...
Members Palaver Posted July 17, 2009 Author Members Share Posted July 17, 2009 Simbilant vocals is a singing/micing placement issue pure and simple. Yes, but mic choice can definitely exacerbate the problem, so if changing the placement doesn't resolve your issues, I'd recommend trying a different microphone. The NTK IS a nice mic IMHO, but its bright, "enhanced" sounding top end can definitely make sibilance more pronounced. It's wicked cool on upright bass though. I will be checking out an SM57b over the weekend. A good friend of mine owns the mic... perhaps it will yield different results. I find the NTK to be a wonderful mic on guitars... I didn't expect it to be anything special, but I absolutely loved the results I got from tracking a friend's playing (he uses a Marshall 100w 30th anniversary head w/4x10 Marshall can & Les Paul)... it just sounds thick and gorgeous. So I am going to try the Shure. I will post my findings with that mic... and I find the Neumann to be a bit more pleasant, but it still has a brightness to it. Are there any specific mics that are great for picking out articulation but not so bright? Thanks for the replies guys, I'll keep you posted on some experimentation over the weekend. Cheers, PB Link to comment Share on other sites More sharing options...
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