![]() This technique gives natural depth of narration and applies to scenes where the vocal artist is not "in your face". By getting a little room tone in with the voice, a more natural and comparatively rare sound will emerge. Be careful not to get too roomy because it is hard to reduce later. By working with your assistant move the mic in and out while the performer is rehearsing and listen to the voice-to-room tonal balance. A good starting point for this technique is around 12 inches from the mouth. Listen for a short (0.9 ms or less) reverberant quality. Each room has its good spots and we hope you can find your own in your room. The balance between voice and room is set by the distance to the mouth and the placement of the performer in the room. The first advantage, if you can learn to use it in your recording, is a natural room tone. ![]() However a microphone with smooth off axis response can excel at this placement technique if the recording room is of a certain acoustic merit. Most microphones cannot be used this way due to the unevenness of the off axis response. The pop filter should always be employed when close miking the mouth.Ī less common technique is the loose placement in front of the mouth. Have your assistant move the mic in and out from the voice, about 2 inches to 6 inches while the performer is rehearsing and listen for the proximity warmth boost as it balances to consonant brightness. The microphone design must be very clear in its off axis response for this to work. You may even angle it by up to 90° to help smooth out the offending sound component. The starting point can be about 4 inches from the mouth directly on axis. Listen for the balance of attributes versus disadvantages and move the mic accordingly. It can also have a number of disadvantages the need to de-ess, plosive popping, the lack of depth and lack of natural room tone.Įxactly how close the mic is to the mouth should be set for each vocal artist. It has a number of advantages intimate sound, good articulation of consonants, up front or leading sound and proximity warmth. Producers/engineers commonly call this "in your face". The most common method of recording a human voice for any purpose is the direct on axis close proximity placement technique. Sound engineer and producer Gary Baldassari from Florida has spent a lifetime in the recording room and behind the faders recording famous talking heads for the Disney empire, but also artists like Whitney Houston, Manhattan Transfer and other renowned vocalists have been through Gary's capable hands. ![]() "Untie yourself from the belief that there is only one way to record a human voice".
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