Wind is the big enemy of sound – Marcel discusses pop shields in depth, using an SM58 and Neumann U87.
Before choosing a mic, he listens to the voice acoustically first, then through each mic in his arsenal.
After choosing the vintage Sony C37A he demonstrates the proximity effect, and considers the ideal position for the mic, which also depends on how much of the proximity effect you want to use in context of the rest of the music.
Sibilance is also under discussion – why it a likely problem on large diaphragm microphones and how to deal with it without resorting to de-essers.
A good recording also needs a good headphone mix which should make the vocalist as comfortable as possible to get the best performance.
And then there’s the question of tracking with EQ and compression. Find out why you probably wouldn’t (but nevertheless might) use signal processing during tracking.

Featuring the music and delightful voice of Sarah Moss, and filmed at SSR London.

Tag: 
marcel van limbeek, sound engineering, recording, masterclass, vocal recording, recording vocals, Shure SM58, neumann u87, sony c37a, studio sound, studio engineering, using a pop shield, pop shield, sibilance, proximity effect, headphone mix, foldback, sarah moss