# Sound Guy
Juno AWARD winner...
Email to/from Mr. M.
. YOU ARE MOST welcome sir, and thank you for the Excellent - TIPS. I'll share with my students
. I don't teach the audio course, but do have a wee bit of audio in all my courses...
I'm learning audio....
My good mic (although <$200) is from HEIL, PR 20
Be glad to have a coffee sometime, if you wish,
Maybe you could do some freelance work for my company sometime,
it might be great fun.
This is the guy that has been helping me with the basics of audio,
and done work for my company...
Take care, good luck...
Rob McCormack, P. Eng. ☏ (807) 475-6180
On 2013-10-08, at 2:05 PM, Denis Tougas wrote:
Wow that's so kind of you, thank you.
It was a pleasure meeting you as well. It's nice to see others excited about audio recording the way I do.
As for BASIC vocal recording, there's a few steps to consider.
As most of us as engineers have learned through the years is that the source (your vocalist) is the most important part of the sound. The better the singer is, the better you sound.
Now I've seen engineers with little experience distort and ruin a perfectly good vocal even when the source was very good.
Step one : a tight (acoustic) sounding room. If you're in a large room be sure to place baffles in a semi circle to absorb reflections from the room. Otherwise the room spills into the mic. Try not to record in a tiny booth - there's usually a build up of unpleasant frequencies if the booth is not tuned properly. A little "air" in the room is best.
Step two: a good large diaphragm condenser microphone (Neumann, AKG, etc). Spend a little extra for a good mic (better frequency response) It'll save you in the end.
Try placing 2-3 mics up for the singer to try. Everyone's voice is different and sometimes a dynamic Shure SM7b (approx. $700) may sound better for that person's voice than a large diaphragm condenser Neumann M149 tube mic priced at $5,500.
Step three : Good mic pre and compressor. I'm a little spoiled with NEVE, API etc for mic pres but there are plenty of choices out there. I'm not a fan of built in mic pres from AVID (protools) or other DAW's but they get the job done.
I often tell new engineers with a tight budget to start with a Universal Audio 6176 mic pre/compressor channel strip (or something equivalent). It works like a charm.
If you follow those three steps and the voice doesn't sound great, then it's safe to say it has nothing to do with you. NEVER tell the singer that ;)
I hope that helps Rob!
Noise In The Attic Inc
Recording / Mix Engineer
SSL, Neve, Pro Tools
On Tue, Oct 8, 2013 at 12:23 PM, mccormac (Rob Mccormack) <Rob.Mccormack@confederationc.on.ca> wrote:
It was a pleasure to meet you.
I'm gonna show your website to all my classes. EXTREMELY impressive...
If you have time, what would be the TOP three BASIC tips, for recording
a vocal, in a studio.
The challenge in our program is learning the basics,
to be proficient at a basic level.
I'm just learning about audio... but find it a lot of fun.
# Sound Guy
= = = = = = = =
Question on High Pass (low cut) Filter while recording
|Subject:||Re: LOW CUT / High Pass -- Filter -- Quick Question|
|Date:||Tue, 14 Jan 2014 12:03:17 -0800 (PST)|
On Mon, Jan 13, 2014 at 3:21 PM, Rob McCormack <email@example.com> wrote:
A quick Question if I may ?
I've known for a while now,to take out
low frequencies in my audio recordings in POST (equalizer)
(Scott Koue helped me - the Titanic Sound engineer)
and I've showed my students. I do the same for higher frequencies too.
BUT, I never used to turn on the LOW CUT switch
on my portable recorders (they ALL have this switch),
but when I play with the Mackie Mixer,
and when I read the manual, I think I should be
doing this at the time I record, all the time.
What is your opinion?
I have been playing with recording,
and I think the recording sounds better
(maybe not as "full", but better)
When I record me walking around my house,
I notice some very low frequencies caused by my steps
on the floor, which LOW CUT seems to get rid of.
From Mackie manual
Ref: from page 9 of manual
Note: I'm learning a lot from just this manual.
3.LOW CUT (Channels 1–6)Each LOW CUT switch, often referred to as a HighPass Filter (all depends on how you look at it), cuts bassfrequencies below 75 Hz at a rate of 18 dB per octave.We recommend that you use LOW CUT oneverymicrophone application except kick drum, bass guitar,or bassy synth patches. These aside, there isn’t muchdown there that you want to hear, and filtering it outmakes the low stuff you do want much more crisp andtasty. Not only that, but LOW CUT can help reduce thepossibility of feedback in live situations and it helps toconserve the amplifier power.
Another way to consider LOW CUT’s function is that itactually adds flexibility during live performances. Withthe addition of LOW CUT, you can safely use LOW equal-ization on vocals. Many times, bass shelving EQ canreally benefit voices. Trouble is, adding LOW EQ alsoboosts stage rumble, mic handling clunks and breathpops. LOW CUTremoves all those problems so you canadd low EQ without losing a woofer.Here’s what the combination of LOW EQ and LOWCUT looks like in terms offrequency curves:
SEE attache image for switch
-- Rob McCormack, ⓘ https://signaturr.com/-robmcc<Screen shot 2014-01-13 at 3.10.35 PM.png>