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
Soulsound Tutor