For my current project I want to experiment with home recording. This is partially due to COVID-19 and partially due to me wanting to be able to do small jobs at home. I have in the last year invested in multiple recording gear to expand my setup. This means my setup now consists of KRK 4” monitors, a Focusrite Scarlett Solo, a Launchkey 48, Rode NTK, a Neewer NW-5, Ableton for composition, Pro Tools for mixing and Windows.
This setup works well for me as it is adaptable to my workflow. For the current project I want to record some vocals for the second and third track to further enhance the storytelling. The first thing to consider is the microphone. Now I don’t have a choice, I only own an NTK which I chose due to my love of the tonality and versatility. However, in a hypothetical world where I have a choice most pop vocals are recorded with a large diaphragm condenser in a cardioid polar pattern (White, 2006). This is usually for a recording studio. Other choices can include a small diaphragm condenser which is brighter and airy (Mayzes, 2018). This microphone will pick up less low end which is a problem in most home recordings (Mayzes, 2018). A dynamic mic can sound warmer but also aggressive (Mayzes, 2018). With microphones also comes polar patterns. Cardioid is the most common as it rejects reflection and spill from behind (White, 2006). Omnidirectional is good in dead spaces as is lowers the proximity effect (bass boost when too close) and slight movement won’t be as noticeable (White, 2006). However, omnidirectional should be avoided in home recordings as the lack of acoustic treatment will increase the amount of reflection (Mayzes, 2018).
One type of mic that I have avoided talking about until now is a ribbon mic. All ribbon mics are in the polar pattern figure-of-eight so an absorbent screen behind help however, it has a strong proximity effect (White, 2006). The last few mic elements to consider is a pop filter and a shock mount. A pop filter helps with plosives (a stocking over a hoop is an alternative) however, a foam topper will compromise the high end (White, 2006). A shock mount will be important depending on the flooring as wooden floors can vibrate low end which will be cancelled by this (White, 2006).
Acoustic treatment is important for recording rooms. It is suggested that if you can have a 6-inch sound proofing to minimise the low end (White, 2006). This is however is not possible in temporary home recording places. For this worse case situation having a ‘V’ shape duvet/blanket behind will help with reflections, carpet below and avoiding ceiling fans (White, 2006). This triangle shape is reiterated in other articles with suggestions of mattresses and curtains also (Mayzes, 2018). The room choice is also important as it should be small to medium in size with soft things such as beds, rugs, and pillows as they absorb (Mayzes, 2018). With the idea of small spaces, you may consider a closet. This is not a great choice as it is not acoustically treated so the reverb will be too close in the recording (Mayzes, 2018). The final thing to consider is the position in the room. It should be away from a wall but not in the direct centre (Mayzes, 2018). Mayzes suggests positioning the mic towards the diagonal corner as it will be the longest distance in the room (2018).
My plan for the recordings is now to set up my microphone in my bedroom in the corner near the closet. As I have a Neewer NW-5 I don’t have to worry about reflections from behind the same. My main problem is mirror doors on my closet and windows on the other side. However, my other space is open plan with tiling and a glass wall making it extremely reflective. I don’t have a pop filter but, I have stockings that I never wear and a plastic embroidery hoop which will hopefully help. One benefit is that the recordings are not meant to be in the foreground but more ambient. I will include my initial recordings in my second tracks reflection as it will make more sense in context.
Resources
Henshall, M. (2015). Mic Polar Patterns [Image]. Retrieved 3 August 2020, from https://www.shure.com/en-US/performance-production/louder/microphone-directionality-polar-pattern-basics.
Mayzes, R. (2018). Recording Vocals at Home: 9 Big Mistakes and How to Avoid Them [Blog]. Retrieved 3 August 2020, from https://blog.landr.com/recording-vocals-mistakes/.
White, P. (2006). Vocal Recording & Production Masterclass. Sound On Sound. Retrieved 3 August 2020, from https://www.soundonsound.com/techniques/vocal-recording-production-masterclass.
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