VOCAL BASICS
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Most computers have a built-in microphone, and if you just want to get a feel for the wonderful things the human voice can do for your music, this is a totally acceptable place to start. Your smartphone also makes a super-handy, always-ready vocal recorder. These devices won’t give pro results, but their lo-fi character can be useful in its own right, and you can certainly use such raw material for wild transformations and bold FX. A massive increase in quality can be had with a proper microphone and a few basic bits of kit, though, so let’s look at how to get a top-notch vocal setup for bottom dollar.
Dynamic vs. condenser
There are two main types of microphone: dynamic and condenser. Generally speaking, dynamics are more affordable, easier to mount or hold, more hard-wearing, and do not require phantom power (which we’ll explain shortly). Sound-wise, condensers capture more ‘detail’ (eg, fast transients) and tend to reproduce the full dynamic range more faithfully, whereas dynamics can compress a little at higher volumes. So condensers give ‘better’ sound, right? Well, not really – they’re just different. Sometimes the clarity of a condenser is way too much! And for high-volume situations, a dynamic mic’s compression can be helpful.
Which to buy?
If you’re buying your first mic, we say keep it simple and bag a dynamic – they’re foolproof to set up, more forgiving sonically, and you can bag one of the two industry standards, the Shure SM57 and SM58, for just £85 new. These robust workhorses are very similar, but the SM58 is specifically for vocals, with an integrated pop filter. Be sure to buy from a reputable dealer, as there are quite a few fakes floating around.
If you can’t stretch to the real thing, there are plenty of lower-priced dynamics, and even insanely cheap Shure-alikes such as the Pyle PDMIC78 and PDMIC58, which while not being particularly sturdy don’t sound half bad. On the condenser side, you’ll need a ‘large-diaphragm’ one for vocals – affordable options are produced by companies such as Rode, sE Electronics, and Audio Technica.
Accessorise
If you’re using a condenser, you’ll need an interface with a mic input that supplies 48 volts of ‘phantom power’ in order for it to work. By the way, phantom power won’t damage a dynamic mic, as the 48V circuit is not completed. Mics use a connection called XLR rather than the jacks used by musical instruments, so you’ll need an XLR cable too. Get a simple desktop mic stand to start with, and a pop filter, which prevents plosives (P and B sounds) producing bassy ‘pops’.
All the gear…
So you’ve got your mic, interface, stand, pop filter, and even a jazzy bright pink cable to hook it all up with. Don’t just plug it in and start spitting bars, though, as optimising the recording environment will dramatically improve the results. Move around the room clapping and snapping your fingers to find a spot where ‘springy’ room reverb/echoes are minimised – place the mic here. Keep away from walls and corners, as their reflections will cause comb filtering. If you’re still getting too much room sound, move closer to the mic, to make your voice louder in relation to the ambience. Still not enough? Hang soft furnishings like blankets to deaden the sound – try one right behind the mic, to ‘catch’ your voice and absorb it before it starts bouncing around the room.
Pickup artist
Every microphone has a pickup pattern. The three main types are: unidirectional, designed to pick up sounds directly in front of the mic; omnidirectional, picking up sound from all directions equally; and cardioid, where sounds in front are picked up the most, and other sounds gradually taper off towards the rear, where they are rejected. Cardioid and unidirectional are typical for vocal recording. Many condenser mics are ‘side address’, so you should speak into the side rather than the ‘top’ of the mic. Check you’re speaking into the correct side, too!
Experiment with mic angle – pointing it above/below your mouth, or a little to the side. This can help alleviate vocal pops, for example, as the air blast will not be directed straight at the mic. Finally, proximity effect: when you get very close to the mic, the recording sounds bassier and thicker – an effect often desirable in vocal recordings.
“A massive increase in quality can be had with a proper microphone”