Your tips for recording vocals

To all the vocal producers out there:
What are your tips for recording vocals? Not necessarily the EQ and compression and that jazz, but how you record it? I'm trying to record my own vocals but naturally I can't sing a verse in one take. Do you guys break each line up? How do you do it so the tone and volume are the same each time? If you've got a different audio segment for each line, do you just chop them up and merge them into one segment? Do you record harmonies the same way or do you have pitch-shift shortcuts?

Maybe I'm just cranky today (apologies in advance), but when I saw this:
but naturally I can't sing a verse in one take
I wanted to throw something. Why the f#7*& not?
My suggestion to you is you work hard on your vocal abilities, maybe with the help of a good vocal coach. Once that's done, learn microphone technique. After that's done, practice, practice, practice.
When you have accomplished the above, test several microphones and find which one suits your voice. Maybe you should book some time at a commercial studio with a helpful engineer for this step. Learn the characteristics of each microphone and preamp, and see which best suit your voice.
Then, and only then, start buying stuff for your home studio: then there will be another few months while you learn how to put it all together.
Meanwhile, this might help:
http://www.tweakheadz.com/howto_recordvocals.htm
And good luck!

Similar Messages

Air or Pro for Recording vocals with GarageBand or PT and Producing

I'm considering buying a MacBook and would like to get a new Air. I will be using it mainly for recording my vocals on beats that I have bought on iTunes. I'm also going to be taking a couple of Coursera classes on music production. Can the new Air's handle GarageBand or Pro Tools well? I've been using my iPhone 4S with GarageBand to record but I would like to do more editting of my vocals with Pro Tools. The reason I like the Air is b/c it is light and easy to transport.

One thing with vocalists, I can think of, is to show them the input device, and have them watch the clip meter. After a few takes, if they are somewhat savvy at singing into a mic, they'll start to back off on strong notes, and moving in on subtle notes. If you watch a pro singer on stage, you'll see them pulling the mic in close for soft stuff, and backing it way off for the strong notes. In the studio, the same techniques can be used, but the person has to back away, rather than a hand held mic pulled away.
Hardware can help this to an extent, but the singer has to take some action to get the best performance recorded. If I were going to use hardware, it'd probably be limiting more so than compression. Limiting can keep your signal under control, without doing too much to the dynamics. I'd prefer to save compression for post, so I can decide what sounds best. I used to have a female vocalist with an amazing voice. i was NEVER able to capture her properly on tape, since I had no pre processing at all. She is still in this area, and I have invited her to come record some vox for me, because I want to see if I can now get a grip on them. If I ever do, she'll be featured on an upcoming CD

Tips for Recording Mesa Boogie Stack

The guitar player I'm working with now has the best rig I've recorded so far, full Mesa Boogie setup, Triple Rectifier head, 2X12 open back cab and 4X12 cab. I typically mic at the standard 45deg off axis, ~1-2" away from the cone with a 57 and a Blue Baby Bottle. The Baby Bottle overloads even with the phantom power off in front of a really loud guitar amp, so I'm just looking for any mic techniques that might help capture the Mesa Boogie sound. The band is going for something like the Mars Volta. Thanks everyone, the holy grail of vocals was great, I figured there are a few of you that know a little about rock guitars too...

usually the best spot for a room mic is wherever it sounds best to your ear. Walk around the room, get down low, point your ear in the direction that the mic would be facing. Put your finger in the other ear so that you are not hearing in stereo. Your ear will pic up the same phase cancellatioins, comb filters, etc. that a mic would in any spot in the room. So where the guitar sounds best to your ear is where it will sound best to the mic.
I'm a big fan of 57's paired with a ribbon mics. If you put the ribbon about 12 inches off of the cone it should be safe. Also, if you use a much shorter cable for a ribbon placed that far away, the two mics should be very close to being in phase. Then you can just play with the distances until they sound right together. You can also expand the waveforms and double check that the peaks all line up. You don't even need to use a sample delay plug-in. Just shift the actual waveform.
Also, in most cases you absolutely don't need to crank the amp all the way up to get a good tone. Usually the amp with the volume and gain backed off a bit (to a lot) from where you think it's right is going to sound best recorded. This is because your ear mixes in all of the room sound which washes out some of the detail and grind in the sound, so you wind up turning up the gain to compensate. However, a close 57 will be picking up all of that extra gain which usually just sound like mush close up. Sometimes you have to put your ear right up to where the mic will be to really get the gain and eq on the amp set well (which of course means turning the master down).
The ribbon mic will definately give you a big smooth low end. The 57 should give you a nice punchy tight top end. I also recently used a Peluso CMEC-6 pencil mic with really great results. About 1/2 way between the center and edge of the speaker, 6" away, and on axis. The SPL on these is around 147 db, so it can take the abuse. Great tone........tight and big.

Recording vocals seperate from main music Mac

I do most of my music on a Mac Pro, running Logic Studio 9, but the location of the computer really isn't a suitable space for recording vocals in.
I can't keep lugging the Mac Pro about, so ideally I'd like to record the vocals in a suitable (different) space on to a laptop, then import the resulting audio files to the main project on my Mac Pro.
The idea is that I'd do a stereo reference mix of the music in Logic Pro, bounce it and copy that audio file to a project on the laptop (using Garageband or Logic Express to save cost).
With that project set up at the same tempo and sampling rate, I'd then record the vocals using the laptop. From there I'd copy the vocal audio file(s) and drop them into the music project on the Mac Pro, where I'd add any effects, processing and do the final mix.
First question - would this work? As long as I recorded the vocals in a project set to the same tempo and sampling rate as the music, would I have any timing or sync problems when adding the vocal audio files to the original music project?
Second question - if so, can anyone recommend any portable, Firewire 800 audio interfaces which would be suitable for recording the vocals on to the laptop? It would ony need to be 2 input channels maximum, but with at least one XLR input and phantom power.
Any advice gratefully received!

but the location of the computer really isn't a suitable space for recording vocals in.
Is there any other room that would work better at your location? If so, consider buying a snake.
The idea is that I'd do a stereo reference mix of the music in Logic Pro, bounce it and copy that audio file to a project on the laptop (using Garageband or Logic Express to save cost).
Or reinstall Logic Pro on your laptop, but without all the content. Your license permits this, as you're not using two copies at the same time.
First question - would this work?
Yes. I do this often. Just be sure that both files begin at 1 1 1 1. Additionally, as I usually have many takes tracking o'dubs, I always record to WAV (BWF) files so I can use the 'move to original record position' command to align less than complete audio files.
Second question - if so, can anyone recommend any portable, Firewire 800 audio interfaces
Most FW interfaces are FW400. Just get an [adapter.|http://www.sonnettech.com/product/fw_adapter.html] and buy an interface which can be separately powered. There are dozens of suitable FW interfaces: one inexpensive box which I like is the [AudioFire4|http://www.echoaudio.com/Products/FireWire/AudioFire4/index.php] which is 6in/6out - they make an Audiofire2 but that doesn't have XLRs. Apogee, Focusrite, Presonus etc. all have small interfaces which you might like - just [search around|http://www.sweetwater.com/c683--FireWireAudioInterfaces/low2high]. Personally, I would avoid M-Audio.
Good luck.

How do you setup adobe audition 3.0 to record vocal?

hi,
I just bought some equipment for recording vocal but have no idea how to setup adobe audition 3.0 to actually pickup sound from my mic.
So i have my microphone connecting to the interface which connects to my computer.
Microphone: Audio Technica AT2020 XLR cord
Interface: M-Audio Fast Track Pro USB connection
The M-Audio fast track pro CD was useless, it said it wouldnt install on my Vista 32bit so I just downloaded the vista 32bit driver which worked perfect. I also downloaded the ASIO4ALL v2 driver since my computer only has an intergrated soundcard. (Realtek High Definition Audio, Screaming Bee Audio) I dont know why there is 2. But i have no idea how to get audition working and pick up sound. I went into audio hardware setup and clicked the ASIO4ALL v2 driver in Edit view tab, multitrack view and surround encoder but still no sound picked up. Ill post up some pictures of how it looks. Any help would be appreciated thanks.
Sound card setting:
http://i51.tinypic.com/fn92fa.jpg
Adobe Audition driver setup (Edit view, Multitrack View, Surround Encoder):
http://i56.tinypic.com/167w60i.jpg
http://i54.tinypic.com/28ml011.jpg
http://i51.tinypic.com/2rdw6sh.jpg
I also tried choosing the M-Audio USB ASIO option but it wont let me
sorry for being so stupid, I'm a beginner to all this and is still learning so please don't be too harsh on me.

I use a different model of M-Audio interface so I don't know if this applies to the Fast Track Pro, but...
I've noticed that mine can be fussy about the order of power up and if I boot the computer then connect the interface, Windows doesn't always detect it's presence. I now have a switch on procedure that I follow without thinking: I turn on the audio interface, make sure it's connected to the PC and only then boot the PC. This seems to make sure the M-Audio device is always detected.
Although I have Asio4All installed, I just use the M-Audio drivers. Make sure the drivers you want are selected in the Audio Hardware setup window, then go through and then select your inputs in Edit and Multitrack windows.
Bob

Recording Vocals 10.0.3 - Missing Live Performance Feature?!

Hey Guys,
I bought a new MacBook Pro, trying to record vocals on the updated version of GarageBand and the sound quality is less than ideal.
I used to use (LIVE PERFORMANCE) Vocal feature on version 6.0.5 which sounded great. Now with this update it has less then relevant options for a person trying to record demos and audition pieces...
Options like "Bright Vocal" or "Natural Vocal" sound poor next to backing tracks and live instruments.
Does anyone know of a recording setting on the latest version that mimics the 'Live Performance' setting of the old version... or maybe just a good setting in general for recording vocals in the latest version.... Kinda annoyed.

Make a backup, before you start to modify the Instrument library. You will need to move system files around.
All instruments are stored in the Instrument library - search for a folder "Library" at the top-level of your Macintosh HD.
/Library/Application Support/GarageBand/Instrument Library/
Your "Live Performance" should be here:
/Library/Application Support/GarageBand/Instrument Library/Track Settings/Real/Vocals/
Or
Copy all files over to the corresponding folder on your new mac, that are missing on the new Mac.
You may also want to transfer the old loops from /Library/Audio/Apple Loops/
Then restart the mac.
In your hidden User Library are corresponding folders.
~/Library/Application Support/GarageBand/Instrument Library/Track Settings/Real/Vocals/
That is where your custom instruments will be saved.
After restarting your Mac and opening GarageBand again you need to reindex the loops, if you installed the old loops as well. At the top of the Lopp browser is a pop-up menu to select a loop library. At the bottom of the panel you can select to rebuild the Loop Index.

ASIO Buffer Size for Records

Hello!!!
Please, help me to set up the ASIO buffer latency to make recordings made by Audition is clean and without cracklings and etc. When I had a value 1 ms of latency, after I've recorded a sample from any source by Audition, I've got some crackling when I playback this sample (in real-time in Audition, and in the recorded file). When I set up 5 ms - it's better. Maybe there is a standard to set up the ASIO buffer latency for Audition? I have a "Creative ASIO" driver and a device "Creative X-Fi Elite Pro".
I just wanna using Audition to make records instead using the Creative audio recording software, which make records without crackling. I think Audition just have to make records without any cracklings too or might be better!!!
Thank you!!!

There's no quick answer. In reality, it's a matter of turning it up until you get reliable recording and playback. How much latency you need will depend on the spec of your computer, how well your computer is optimised for recording, how much other rubbish is running in background and the quality of the ASIO drivers provided with your sound card.
The first thing I have to say is that the Creative X-Fi series of sound cards are NOT well thought of in the recording community. They're aimed far more at gamers and people who want to watch videos than at serious sound recordists. I've also heard a lot of horror stories about the poor quality of their drivers.
Beyond that, I'd suggest that you optimise your computer for recording--exactly how to do this will depend on what operating system your have. However, a Google search on "optimising computer for sound recording" including your Windows version will find you lots of suggestions. There will likely be some pages from Presonus near the top of your results--those are very good ones.
Another point: shut down anything and everything running in background when you record. Pay special attention to networking, Wifi and any anti virus software you have--all those are bad news when recording and mixing.
Finally, depending on how/what you're recording, there may or may not be issues with cranking the ASIO latency up really high. The problem with high latency only really comes into play when you're multi tracking along to pre recorded tracks AND you are monitoring your new track via the computer rather than directly on the sound card. Proper interfaces for multitrack recording feature "direct hardware monitoring" which allows you to monitor via the interface rather than having to go via your software. If you're serious about recording, you'll eventually need to ditch the X-Fi and get a specialist audio interface.
So, optimise your computer, shut down anything unnecessary (especially wifi and anti virus) and just turn up the latency until it's reliable. I know of some people who use a relatively low latency for recording and turn it up for mixing when they use lots of real time effects.

Recording vocals for so-so singers

I'm trying to write R&B music myself, but will have to rely on singing on my own tracks until I find myself a "real" singer. My voice isn't terrible and I am certainly not tone deaf, but the workpace I have requires that I don't spend all day trying to get vocals perfect. I'd much rather work on the song. That said, what do you guys think the best way is to record vocals fo a so-so singer, so that it sounds decent on playback? What effects to use while recording and post-recording? Throw on some compression and reverb while recording and then compress, EQ and more reverb after? Ultiamtely I will have to record harmonies, so I just want things to sound thick anyway. Any help is appreciated, thanks!

Hey,
First off, everyone and their next door neighbour wants to be a singer - try your local (music) colleges, the internet (there will be someone in your area, trust me), local talent nights (I know these happen, for example, in London), local press, music shops, your friends, your friends sister, your friends sister's friends... you'll be surprised what you can get.
I had a singer come down Spring 04, and I knew nothing about compression. Did a few mixes, vocals sounded a bit thin, a bit uncontrolled - when compared to anyone elses vocals sounded RUBBISH : 0 ( . I spend some time playing with stuff, thinking about stuff and reading some stuff. I take a look at the session a year later, and with
- Hi pass filter (as a standard on every track except bass and kick drum) to filter any hums or stray frequencies
- Space Designer (Vocal Reverbs>Extra Body)
- Silver compressor to get body and to rein in the loudest parts
- Touch of Multiband compression to catch certain frequency bands and compress them ("in your face" presence)
- touch of delay to add to 3D presence if needed (choruses/ad libs etc)
- Pinch of eq (they say the human voice benefits from boosts around 4k - try playing subtly with eq around this area
- Space designer (Vocal Reverbs>Golden) - adjust wetness to taste
I get pretty close to a nice sounding vocal... and I used a pretty (less than £50) cheap microphone - to be honest the difference is in the "last 5%" of the sound - if you play a track to your mum or your sister or 10,000 ravers in a field they won't stop dancing and go "man that mic sounds cheap" (guess my point is not to worry so much about it - if you do get something signed, you can always re-record it - whilst wanting your stuff to sound as good as it can, very few record labels (IMHO) listen to records with a "frequency" ear on). Obviously if your song has an "acccapella" section then people may notice the difference. Experiment with a cheap mic and maybe rent/borrow a good one for the final mix would be my advice....
I'd record them all dry (no need to affect signal chain when recording, if you apply effects post recording the effect will be the same) and then cut 'em up, pick the best bits and try variations of the above, try chorus effects, odd eqs, hi pass filters, even things like reverse reverb...
Harmonies - most important thing is being in tune and in exact time. Make a few different ones and play around with them, cut them up, compress them more than any others to get that tight "backing vocal" that's so warm and sits perfectly with your lead vocal.
My best advice would be to search the net for tips on making "professional sounding vocal", read and re-read the articles and experiment from there. I know a few producers who think they have a grasp on compression but don't really understand it... read and re-read until you get it!
Good luck with 'em!
Best,
Mickey.

Question about interface for recording electric guitar and vocals

Ok, I've been messing around with Garageband all day, totally stoked and I'm ready to get into it. Right now I'm using a First Act quarter inch plug to USB cord to hook up my guitar and start recording and after some messing around I got it to work.
Here's my question... to really make quality recordings, what's the best way to hook up the guitar? Is the way I'm doing it now fine with the USB cord or is some sort of interface better? Can someone recommend one that's on the cheap side? Also, I haven't tried yet, but what's the best way to record vocals? Should I invest in a USB mic? Can anyone recommend one? I have a Shure SM58 already, what's the best way to hook that up?
Really excited about this, can't wait to start cranking out some songs!
PS: When I use the USB cord, I don't see any way to control the recording level, and sometimes I get a Feedback control warning. How can I lower the level so I don't get that? Thanks!
Message was edited by: xSlamx

I have a total now of 4 interfaces - I recently purchased a FOCUSRITE SAPPHIRE 6 USB - it's amazing quality and I only paid $149 for it at my local Guitar Center. I use it with my Guitar and everything sounds fantastic - they say the preamps are really high-quality for Mics too... I recommend it. I have a firewire interface too but the Sapphire is my man baby now - don't let the USB 1.1 fool you - it works flawlessly with my Mac and my Windows 7 machine too. It also comes with a selection of software including Ableton Live Lite and 4 really nice Focusrite plug-ins too.

Can you block your number for texting, so dont show in ppls phone record?

usually in the phone record show the number who is text you and the phone you sent a message. But since a week a go don't show the number of the person, and I received tons of messages everyday, but on my phone record of text messages don't reflect the phone number. Is a way you can block your number??? so dont registrer in the phone record?

I understand the importance of viewing numbers in your message details hmaldonado. There is an option for individuals to block their number if it is restricted. What do you see on your phone for these messages you are referring to? Is this a number that is stored in your phonebook? Have you checked My Verizon online? Can you see calls from this person? What specific task are you trying to accomplish with this number? Here's how to access My Verizon. Select My Usage, then Usage details. http://bit.ly/xB4iTc
JonathanK_VZW
VZW Support
Follow Us on Twitter@VZWSupport

Tips for when your webcam is not detected

EDIT: If you have recently upgraded to Windows 8 and are experiencing this issue please read this document.
Here are some tips for resolving a webcam not detected problem. I see this question get asked a lot so here are the steps you should take to resolve the issue.
To begin you should make sure the device is being detected by Windows. The following instructions are for Windows 7, but should be very similar for Windows Vista and Windows 8.
Option 1: Check Device Manager to make sure it is working properly.
Click your Start button, type “Device Manager,” and press Enter.
Once Device Manager loads click “View” and then “Show Hidden Devices.”
Locate the “Imaging Devices” section.
Note whether you see the webcam here.
If the webcam is listed, right click it and verify that it is not “Disabled.”
If webcam is listed and not disabled, move onto Option 2. If the webcam is not listed you will move onto Option 4.
Option 2: Allow Windows to Re-install the device.
While still in Device Manager right click on your webcam and select “Uninstall”
If prompted select “remove driver and driver package.”
Reboot your notebook and allow Windows to attempt to reinstall the webcam.
If Windows detects the webcam verify the functionality of the webcam.
If Windows does not detect the webcam and install it move onto Option 3.
Option 3: Manually install the drivers for your webcam.
Use this website to determine your product/model number.
Visit the HP Support Page and use this product number to visit your product’s specific page.
Go to “Drivers and Software” and locate the driver for your webcam. NOTE: the drivers for the webcam are sometimes bundled with the YouCam software.
Download and install this driver.
Reboot the PC.
Verify functionality.
Option 4: Manually re-detecting the hardware.
Disconnect all external devices.
Shut down the notebook.
Remove the battery and AC power.
Press and hold the power button for 10-15 seconds.
Reinstall the battery and AC power. Then turn the notebook on.
Once Windows is loaded go back to Device Manager.
Selection “Action” and then “Scan for hardware changes.”
If Device Manager detects the hardware allow it to install.
If Device Manager does not detect the hardware see Option 5.
Option 5: System Restore and System Recovery.
This is outlined very well in this document. Note that any data that is not backed up prior to a recovery will be lost.
Options 6: Repair or replacement.
If none of these solutions have worked for you it is likely that you are experiencing a hardware failure. It is possible to replace the webcam or reseat a loose ribbon cable. However, this is one of the more difficult repairs on the notebook. If you would like to attempt this repair you can visit your notebook’s support page and navigate to the “Manuals” section. There is normally a “Maintenance and Service Guide” for the notebooks, this will cover the disassembly of the notebook. You can then use HP Parts Surfer to locate the part for your notebook.
If you do not wish to attempt a repair yourself you can inquire with HP about a repair. For customers in the US/Canada you can call 1-800-474-6836. If you’re not in this region you’ll need to visit HP’s Support Site to get your area’s contact information.
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Quick Tips For Speed Your Digital Publishing WorkFlow

I think that we have a great problem with our Digital Publishing Workflow's speed . I talk about, for example, of set up State Objets Sliedshows for multiple page, and I mean, there are another similar examples about that. Do you know if does exist more tips for speed our workflow in InDesign for Digital Publishing Output?
Thanks a lot!
Sorry for my bad english.
Bye!
Marco Toscano

Muito abrigado my friend! Seriously thanks a million, but I was curious to know about my situation regarding replacing my first shot multiple times... In another words there's a clip already in the storyline which won't allow me to replace edit since it just moves out of the way. Would you just go back into the browser and add the original selection to the first clip? Because I kept having to move my connected music and solid I just gave up and would wait until the end to add the music and solid (I add the solid to give the background a different color when I want to create the letterbox effect).
I just watched a music video tutorial where someone created a 3 minute solid, made like a hundred cuts with the blade tool and manually dragged each clip from his browser to replace from start for each of those cuts in the solid...
What is your workflow for music-based edits? Do you place the song in the primary story line and use the video as connected clips? Do you use a solid or gap clip and dissect it with cuts and replace the segments with clips? I really hate not being able to add markers to the timeline and must make those marks on a clip/generator/music track of some kind. Also if you have a project that has the same settings with fps, crop size, solid as a background is there a way to make template so I don't have to do that each and every time?
Thanks again my friend!!!
Anthony

HT201303 every time i try to write my credit card info to pay for an application, this "Apple Support: Tips for Protecting Your Info" page comes up and I cannot purchase anything. I can just download the free ones. This is really annoying! How do I stop t

every time i try to type in my credit card info to pay for an application, this "Apple Support: Tips for Protecting Your Info" internet page comes up and I cannot purchase anything. I can just download the free ones. This is really annoying! How do I stop this?

Contact iTunes Customer Service and request assistance
Use this Link > Apple Support iTunes Store Contact

TIPS for UPGRADING SUCCESSFULLY the FIRMWARE of your ROUTER

WARNING, before doing the UPGRADE, it is highly recommended to back-up the configurations of your router so that no matter what happened, you router configuration wouldn't be messed up and you can just automatically restore it (the firmware version upgraded to it will just retain).
Here's how to:
>open http://192.168.1.1
>username: blank, password: admin
>go to ADMINISTRATION TAB
>under the managerment subtab or config management subtab, you will see BACK-UP & RESTORE
let me give you a very useful tips guys,
when updating the firmware of the router and prevent the firmware from bricking or being corrupted and get a very successful results you will need to set a static IP adress ( so you won't lose connection to the router when updating the firmware) and force the card to 10 half duplex (so your router won't reply unless all the packets when updating firmware has already ben set thoroughly to the router) of your PC prior to updating the firmware. then after the firmware, push the reset of your router for 10 sec. then redo the set-up.
You will also need to shut down the computers that are running wirelessly and disable antiviruses and firewalls that are running currently...
here are the instructions:
ASSIGN A STATIC IP ADRESS ON YOUR PC:
go to your control panel [select classic view (click the option on the left side right below control panel title)]. select network connections...
under LAN or high speed internet, you will see local area connection. right click on it then select properties
under local area connection properties, look for internet protocol TCP/IP. high light it and click properties.
once on the internet protocol TCP/IP properties, set it to use the following IP adress.
IP adress: 192.168.1.5 ( it must be same range of your default gateway: 192.168.x.x)
Subnet Mask: 255.255.255.0
Default Gateway: 192.168.1.1 (that is the default one. if not then enter the IP adress of your router, to check it, open command prompt, then type in "ipconfig" [no qoutes] the dafault gateway is equivalent to router's IP adress)
click ok and click the close button on the local area connectipn properties window (not the common "x" button when exiting out a window).
BRUTE FORCE THE CARD TO 10 Mbps half duplex mode
go to the same window (local area connection properties), once there, you will see a configure button. click it.
you will be lead to fast ethernet card 10/100 properties (depending on the type of etherenet card you have)
once there, click on the advance tab
under property, highlight link speed and duplex or media type or connection type (it varies, but these are one of those variations).
under value, select 10 Mbps/ Tx half mode/ duplex
click ok and click close on the local area connection window.
Then proceed with upgrading the firmware of your router. after updating the firmware of your router, reverse what you have done on your PC. by setting back the internet protocol TCP/IP to obtain an IP adress automatically and DNS server automatically (don't forget to click ok and close for the windows opened before opening a new one, okay?). then set back the speed and duplex mode back to auto-negotiation.
You should be able to get a successful results already after updating it. click on this link to reconfigure the router (but you must be online first to the modem since when the router is resetted, the configuration of your your router will be lost) http://www.linksysfix.com/check/HomePage/index.htm?CallerID=CC to reconfigure the router
Message Edited by 14firewall on 10-25-200607:25 AM
"a helping hand in a community makes the world a universe"

Eh...
My routers GUI doesn't have the option to back up config so that doesn't help. Can't see why that would mater much anyway for home networking.
Also, I upgraded the firmware on my router multiple times and never had to force 10MB half duplex speeds. So, that doesn't help much either.

Holy Grail Of Recording Vocals

So Guys, Pros, Amateurs, Hobbiests etc....Let's here how y'all record your vocals, favorit Plugs on Vox - How to DeEss - Spill All your secrets Trix N Tips:-))
Here's How We do it:
Mic - Neumann M149 plugged in to a Manley SLAM(PreAmp+Limiter) which is set to render light limiting to control peaks. From the SLAM the signals enters a Manley Vari-MU compressor that evens out the signal - Ratio: 4:1, Attack: Medium, Release: Medium, Threshold: According to Signal....These setting may vari, depending on the vocal recording: if ballad is being sung the settings are set to slower attack/release - if RAP everything is faster....
From the Vari-Mu the signal enters the DAW - conversion is being done with an Apogee Rosetta 800 - The level entering the apogee is set to medium hot in order to gain as many digital bits a s possible, and still leave about 3 - 6 db. headroom so there's room for some plugs.
After the "perfect" take we do 3-5 overdubs again depending on the musical genre. In hip hop we mainly do 3. The Main Vox will be set in the mix accordingly panned in the center. Dub one will be set 4-6 db. lower than the main panned to -5. Dub 2 will be set 9-12 db. lower than the main and panned to +5 or 7.... This makes the voice fuller without making it sound like 3 people singing....If the dubs are not tight (lying excactly in sync on one another) we use the Plug-In : VocAling from Synchroarts.com - there you will specify the Guide (the mainVox) and the the dub(dub 1 or 2) then you hit align and booom the vox are perfectly in sync...
Given that the vocals are sounding good in the mix we'll bounce our 3 vocals into 1 vocal. After that we'll do a little smoothing with and EQ - in our case an outboard Manley Massive Passive (very good for the highs). if we need to kill certain frequencies to compensate for mic technique we use plug-ins - the waves RenEQ or Q10 are amazing for killing freqs. with these plugs one can achive very steep Q curves and single out any annoying freq.
Given that we like the vocal sound we'll apply a DeEsser (almost needed in any case when close mic'ing a neumann mic) so unnessesary sibilance will be reduced...(A Deesser is a compressor set to only apply compression within a certain frequency Range - one can build his own deesser should he not own one with a comp. set to side chain*se below)
Now, if needed, a little compression will be applied along with some reverb or chamber depending on what the rest of the mix is set to...
Personally I hardly ever work with reverb in hip hop music but with short delays: Open a mono bus - set a delay plug to 13 millisecs(or any prime below 29ms but above 9ms) and feed the main voc in there. That sort of "*****" the vocal inside the mix... Should I choose to use a "room" on the vox I'll open a mono rev. plug-in and set the decay time to about 600-900 milliseconds....
* setting a compressor up as a deesser.... the easiest way is to choose a plug-in compressor with a build-in side chain eq... then turn on the side chain EQ and boost the frequencies you want the compressor to become sensitive to...sibilance of a male is typicall about 4-5 KHZ...boost the side chain eq about 12-24 db (u wont hear it on your vocal but the compressor will become more sensitive to those frequencies and reduce them.
If you dont have a compressor with a build in side chain eq u can do the following:
copy your main vox track to a new audio track and name it e.g side chain! Then open a plug and boost the frequencies u want the compressor to become sensitive to. Boost em alot. now go to your main vox track and open a coompressor - set it to side chain - in the side chain drop down menu choose the newly created side chain track and now the compressor will "Overreact" to the frequencies u specified on the side chain track.
DONT 4GET TO mute the side chain track as u will here it if you dont!!!!
Instead of above - one could also feed the main vox to a bus and open the eq that is to act as the sidechain input there..Then set the compressor side chain input to that particular bus:-)
This is how we do it - Now lets hear how you do it:-))))

sometimes over doing ( EQ, de-esser, compress, limit, slapping the singer ) kills the mood or the feel of the song
not every thing have to be EQ or use De-esser on em
Most Hip Hop Producers don't even know what that is
For Hip Hop, try not to make it sound like Orchestra or RnB because it kills the the performance abit
many rappers from south don't even EQ their whole song or de-esser any vocals
because they want their people to hear how raw they are
Most from West ( Dre and Eminem and such ) Use De-esser on alot of their vocals where you can actually hear it, especially you can Hear the Enhancer brightens up their vocals that you can hear lil bit of weird sound when you put the volume low
Many Use Double Pop stopper and get the artists to get close to the mic and rap soft so they can get more of the vocals and less room verb
then go on to add reverb when mixing, no de-esser needed
For Me:
I've got a small Booth , about 2m x 2m and height is 3.5m and mic is hanging so there is no vibration from the floor when my people wanna move around abit like on stage
the Pop stopper has its own stand ( don't attach the pop stopper to the mic stand, not a good idea ) so only the pop stopper's stand shakes when it vibrates abit
MIC (Rode NTK)--->RODE POWER SUPPLY---->SAMSON C-VALVE (tube mic pre)---->ALTO COMPRESSOR / LIMITER / GATE (for controlling the levels and gating unwanted sounds before it hits the drive )----->LOGIC
so before it gets to logic i have to do a test or mic check 1-2 1-2 first for about 5 mins and set up the artist position and mic position and ratio and threshold on the compressor before we even start recording
you gotta make sure the artist is comfortable then you fix things around them not the other way around
when thats done all they need to do is sing or rap like they do normally and you just watch the compressor and logic do the work
now this is only good for one vocal at a time
after recording many vocals, especially on top of each other, more bass or trebble starts to build up
thats when the EQ and Compressor in logic comes in to control few of the tracks
most of the times i live the main vocal free and then i side chain the rest of the vocals on to the main vocal
so the main vocals always stands out
the side chain is the Compressor, and i make sure it has a slow attach and slow release so it doesn't full drop fast like a voice over
then i pick 4 Bus channels
Long Vocal Reverb
Short Vocal Reverb
Delay
Chorus / Flanger
all this is only for vocals
alot of people inserts reverb on each channel, with different settings
now we all know if we go to a hall to record you only get two kinds of reveb
long or short, depend on where people are standing
so the main vocals usually has short reverb bring that person closer to the audience and long for the backups so it makes them sound like they are behind the main vocal just like on stage
there no point of given the main vocal church reverb and each backup different reverbs ( it mess up the pic when you listen to it )
also
this is what i do most times
if some one sings a hook, i record 1 for the main and have it sit in the middle
then i record 4 more tracks of the same thing, and i try to get the artist to try and match the first one
now this is the catch
its impossible to match the first one but they can get close ( its better than recording one then duplicating it ) because you get phase sometimes when you do
so now mixing
Main Vocal---> CENTRE
back up 1 ---> Hard Left
back up 2 ---> Hard Right
back up 3 ---> left -30
back up 4 ---> right +30
then i put the back ups about -3db below the main track
listen to how it sounds in Head phones and in Cars
and Home stereos
its not the as good in the club because of the space between the speakers so back ups 1-2 will sound abit far out
but on headphones sounds like the people are around you
front, Back left, back right,front left and front right
thats how you can get surround sound with stereo
there is more ways to mess with vocals but basically it depends what type of song, style, and feel
but the best thing i can say is
<<< Less Is More >>>>
just because something is there doesn't mean it should be use
oh this ain't going to just SteveDjokes
this is my trick for people to pick up as well
stash
by the way check out ma songs on my space, i loaded up 11 songs, i'm loading up 9 more 2night
http://www.myspace.com/stash_productionz

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