Gear essentials
Given that you’re reading this magazine, it’s safe to assume that you’ve got a computer and a DAW. So what else are you going to need to facilitate your vocal production endeavours? Let’s start with a run-down of the essentials.
Microphone
You can, in theory, record vocals using pretty much any microphone: from a Neumann U47 that costs more than your car, to the microphone built in to your computer.
However, there are certain mics that are particularly well suited to vocal recording, and by and large, you’ll want to get your mitts on either a large diaphragm condenser mic or a dynamic mic.
Things to consider when shopping for microphones include the frequency response and polar pattern. A cardioid or hypercardioid pattern is usually best for vocal recordings, as it primarily picks up sound from directly in front of the capsule, which can help to reduce the effects of the room acoustics in the recording. Most mics that work well for vocals will have a largely flat frequency response, or will lift the high mid to high frequencies slightly to give the sound more presence.
Quality vocal mics start at around £100, with condenser mics such as the Audio Technica AT-2020 or Aston Origin making a good starting point. Alternatively, if you’re recording rap or hard rock vocals, a dynamic mic such as the stalwart Shure SM58 or Sennheiser MD421 might give better results.
A great tip if you’re recording yourself is to visit your local music shop and try some mics out to see which one suits your voice the best.
Headphones
When it comes to headphones for vocal monitoring, the amount of leakage you – or, more importantly, your mic – hear coming out of the cans is just as important as their sound quality. For this reason, it’s best to use closed back headphones that seal tightly around the ears if at all possible.
The classic recording studio headphones of choice are BeyerDynamic’s DT100, which are excellent at minimising spill and can be bought from around £100. If that’s beyond your budget, though, any half decent headphones above about 20 quid may get the job done. As with microphones, it’s always worth trying a few out if possible, before pulling the trigger.
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’ – see more on these below.
Audio interface
An audio interface enables you to record signals from mics, synths and other studio gear into your DAW, while outputting audio to your speakers or headphones. There are countless interfaces on the market, and most of them offer at least one microphone preamp, for converting a microphone level signal into a line level signal that can be recorded directly into any DAW.
Preamps vary wildly in tone, feel and quality, but there are a few things to think about when shopping for one. First, are you looking for sonic character or transparency? If the former, check out something like Focusrite’s Clarett, with its rather wonderful ‘Air’ high shelving circuit, or the Universal Audio Apollo series, which can host stunningly realistic lowlatency analogue preamp emulation plugins. If transparency is your goal, seek out an interface with a low THD (total harmonic distortion) rating and a wide dynamic range.
Remember too, that if you’re using a condenser mic, your audio interface will need to be able to supply it with phantom power. The vast majority of audio interfaces do.
Pop shield
Readily available for about £10, a pop shield is a must for reducing unwanted noises in vocal recordings. The nylon mesh is designed to let sound pass through, while substantially reducing the audible movement of air created by heavy breathing, and those low frequency thumps and plosives (‘p’s and ‘b’s) that can easily arise when the vocalist is in close proximity to the mic.