Don’t let the vocalist move around too much So the moral is, whenever you’ve got a choice, always let your ears be the ultimate guide.Ĥ. I remember one vocalist who just sounded too thin and edgy on that mic, but ended up sounding perfect-warmer and fuller-with a much more inexpensive condenser from a less-well-known brand (which cost about a tenth of the price of the Neumann!). I’ve used my U87 on the majority of vocal tracks I’ve recorded, but with some singers it can be a bit bright or harsh. Just because you have access to a Neumann U87 (or some other classic vocal condenser), doesn’t mean it’s automatically the best choice in every instance. That’s why, in bigger studios, you’ll often see engineers set up a forest of half a dozen mics around the vocalist and do a test recording to see which is better for that singer in that room on that day. While those criteria will get you an excellent mic for vocals-no question-the choice (when there is a choice) of a particular mic should always be governed by how it sounds with the particular vocalist you’re about to record. Don’t choose the mic strictly based on brand-name or $$$ costĭespite my recommendation above, you shouldn’t choose your (condenser) mic based solely on its pedigree-a well-respected brand name or a high price tag. That’s why most recordists use a studio-standard large-diaphragm condenser for vocals-not only do these mics have the desired open-ness, but their tonal balance is often optimized to help the vocal float effortlessly above the mix, with a minimum of fuss or EQ needed.Ģ. You can EQ for tone, but you can’t add clarity and air after the fact. While stage dynamics sound ok in a busy mix, if the vocal is more isolated, or accompanied (even in parts) by a more minimal arrangement (solo acoustic guitar or piano, for example), the dynamic’s lack of clarity and air (openness) will be a limitation, and their often-slightly nasal quality will be more apparent. But despite this, the SM58 and its ilk won’t really provide the best sound quality for a studio recording, up against other carefully-recorded instrument tracks. And it’s probably true, at times-certainly many live mixes have vocal tracks that were taken in with this (or another equivalent) workhorse dynamic mic-I’ve mixed quite a few myself, and I thought they came out fine. If you’re not sure what you need out of your system, it’s best to call us to discuss your needs.Now, recording lore is full of stories of how this-or-that famous singer always records with his trusty SM58 (the classic $99 hand-held standard club mic), and still manages to sound great. Thirdly it’s safe to say that a water cooled pro audio PC will always run cooler than an air cooled one, but keep in mind, this is all dependent on your configuration. It all depends on what you need to do, and that is a good reason to give us a call to talk about your needs when configuring your Pro Audio PC. If you’re going to be working on some large sessions but won’t be pushing the limit too often, you probably don’t need to water cool your pro audio PC. If you’re going to be rendering massive videos or audio sessions, water cooling your CPU could certainly help your workflow. Secondly water cooling is not necessarily better than air cooling, as it all depends on the system and how you’re going to use it. The clock speed (which affects the number of operations per second, number of tracks in your session, latency, and other factors) of your CPU will be optimized to give you the most power from your CPU based on the PCAudioLabs Pro Audio PC configuration that you choose. ![]() We tweak every PCAL pro audio PC for the maximum performance so you get the most bang for your buck. This, along with the question of, will it increase performance, are the most common questions that clients ask when configuring a pro audio PC.įirstly, no, you don’t have to water cool your PC to get great performance. I (Brian) get this question a lot here at PCAudioLabs “Should I overclock my pro audio PC?”
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