感谢史版的资料,给大家提供一点延伸阅读,Ross Hogarth关于录人声的访谈:Whatever works!
Blue: Can you pinpoint what's most important in getting a good vocal sound?
Ross: Well, a few elements come into play, the first of which being that you understand the result intended. As an engineer/producer I have to know the sound I’m going for, and I must also assess the type of singer I’m recording. This will dictate my choice of microphone, pre-amp and compressor.
In most cases a traditional large diaphragm microphone will be the choice, but not always. In general, tube mics will give a wonderful 3D quality over a normal FET, although sometimes they can’t take extremely loud vocal level. So in some cases I’ve found that a cheap dynamic works well for the louder singers.
The acoustic space in which you’re tracking a vocal will come into play once a vocal chain has been picked. I tend to stay away from small vocal booths – they very often have a boxy sound that will not compliment the overall sound of the vocals.
Blue: What kinds of things do you listen for in the microphone you choose?
Ross: I look for realism, and maybe even a sense of a sound that is larger than life. A mic needs to flatter the vocalist, “flatter” meaning embellish. Sometimes I want just a flat sound, but most often I want the mic to do some of the work for me…a warm, bright, sensitive, 3-dimensional sound is a great start.
Blue: What's the most unconventional technique you've ever used?
Ross: I’ve used three mics all placed together and recorded at once to get three different sounds. I had an AKG C24 tube mic for a wide, warm stereo signal, a Shure SM7 for the crunchy rock vocal sound, and an old World War II radio/broadcast mic for a really distressed radio signal sound. This gave me options and created a very cool sound when all blended together.
Blue: Do you record the voice dry without compression?
Ross: I will almost always record with some amount of compression on a vocal, not only for the technical side of level management but also because I love the sound of well-used compression – especially on vocals. I find that the more I build my sonic vision every step of the way in the recording process, the easier it is to realize that vision in the mix.
Blue: Describe your audio chain for us.
My vocal chain on a normal vocal will be a tube mic of some sort into a Neve or a Neve-like mic pre into a compressor. As far as mic pre's, I love the Neve 1084, the Telefunken V72 tube pre is huge, and Chandler LTD has a great new EMI channel from the old Abbey Road design. Compressors range from an LA3a or LA2a to an 1176, a Manley ELOP and sometimes an Empirical Labs Distressor.
Blue: Do you prefer cutting vocals to analog or digital?
Ross: I am working these days quite exclusively in ProTools. I was always a big analog guy, but now with better converters and the awesome software they have now, it’s so much easier to exist in the digital domain. It helps in the record-making process.
Blue: How does your approach change when you record lead vocals versus back up vocals?
Ross: Background vocals are just that, background vocals. They need to fit with the lead vocal and the track. I find myself looking at making microphone and sonic changes when it comes to background vocals. I’ll switch out mics and compressors, and maybe look at EQ changes.
Blue: Tell us about one of you most memorable experiences recording vocals.
Ross: There have been many! On one record, the singer was having a rough time getting his tracks and felt isolated in the booth, so he took my dog in the booth with him to sing to. He enjoyed singing to Buddah so much that after that he couldn’t sing another vocal unless Buddah was in there with him. On another record we ended up tracking the vocals in the lounge with the singer laying down on the couch, singing up into the mic since that was where he was most comfortable. Whatever works.
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