Last of the primary tracking items on this record was Vocals.
From an engineers perspective, tracking Vocals is both simple and challenging. It’s one mic positioned in front of the singers face, easy right? Well, not exactly. Vocals are by far the most scrutinised element of a song by the average public listener, and so careful attention should be taken to choose the correct mic for the singer’s voice, and then to make sure that the performance is enthralling and emotional.
This being said I had a limited mic selection and my experience coaching singers through sessions is not the most extensive. Lucky for me, The mic that I tried first, the NT2000, was perfect for Talia’s voice. Bright enough to compete in the tracks without much EQ at all, and not overly S-ey (A common problem when you put a bright mic in front of a singer with a bright voice).
When it came to coaching Talia through the session and making the most of her powerful voice I got outside help. I asked my friend Arno Terblanche to take the lead on the “Vocal Production” of the session while I focused on the recording, tone and the general running of ProTools.
Contrary to what I said in the previous post, I actually used a slightly different setup for tracking vocals. I replaced my interface with Arno’s Focusrite Scarlet 2i2 because it has a USB 3 connection and so it can run with lower latency.
We set up a makeshift vocal booth in the room we were using by standing two mattresses in a corner and placing the mic between them. This helped control the sound of the room (which is very live) and meant that we got a nice dry vocal sound which I was very happy with.
With Arno’s help, Talia’s performance was top notch, totally doing justice to her well-written songs.
We decided not to do any harmonies or doubles, so as to allow her voice to stand tall and strong in the tracks.
Overall I was very happy with how the vocal tracking went and (perhaps for better or for worse) there was no significant mistake that I had to learn from on this session.
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