Wow...here I was getting ready to spend upwards of $1K on a vocal mic, thinking that would solve all of my problems. Now I'm loving the idea of trying an SM57 and learning better techniques with layering, compression, EQ and saturation. You essentially just proved that a good sounding recorded vocal is more about the performance and production techniques, and has very little to do with the gear. Like many others, I think I fall into the trap of relying on technology to do all of the work for me, rather than putting in the work to make it sound right. In a sea of hacky "tips and tricks" videos on UA-cam, this is an extremely helpful, no-nonsense revelation of truth! Thank you Graham and Chris!
This is probably too late for you now, but I would not even go for the overpriced Shure SM57. The Behringer XM8500 is every bit as good, but at a fraction of the price.
in most of the shows the singer use a 100 dollars dynamic mic. They are called "standard" mics. Most expensive mics are used for fidelity or high fidelity, but you also really need good audio converters and high quality preamp mics.
Back in 1998 I spent £2000 on a Roland vs-880. I thought to myself 'This is it, I'm gonna kill it with this'. :+) In my ignorance I thought 'This is better than anything The Beatles had access to'. :+)) So I recorded my voice (knowing nothing about compression or equalisation). I was ABSOLUTELY horrified. Seriously!. I haven't recorded it since (not quite true!!!). :+) THIS video is a game changer for me. It showed me that what matters is the content and context, not the quality. It gives me confidence to try again. THANKS, SO MUCH!!!. :+) :+) :+) (just in case you were hadn't noticed, I'm smiling a lot). :+) I've still got the vs-880. It's pristine. Virtually unused. Now I intend to wear it out!!. :+) 👍
One of the best instructional videos on this topic in a decade. Presenter is terrific. Pace is perfect. Using real examples make it applicable to everyone. More please. I don't have Waves - does Slate have a Gate/Expander?
@@chrisliepe next time stop recording above -12 dbfs peak level during recording. In all your videos you showed to people the biggest mistake during a recording. Your imput gain is too loud and as a professional mixing engineer I can’t accept advice included this biggest mistake ever WTF
@@Vossflying hey. It still sounded great. It was aiming for a very saturated end result. Thats what matter in the end. "I cant accept yadda yadda" guess what, another engineer will do it and make it sound right. Dogmas are great results worst enemies sometimes
I am really glad that finally someone is pushing the compression and the eq beyond 3 dBs and talks about the importance of saturation. This is a really helpful video, thank you Chris!
holy sh*t. I was about to throw my sm58 in a corner. Now I know: how to mix vocals. But more: how to really doubling/layer/gain stage vocals. This is a lot more than just a "how to use a cheap microphone" tutorial. Thank you so much for giving out so much of information in just one single video.
Great presentation, and most importantly, you're shooting straight, giving away the gold dust required to make your own golden nugget. Listen to this guy, he knows what's up.
The hardest part of this is that you're listening to your own voice. This is why producers are so incredibly helpful. They can help pull out the right performance and know how to color it. My own embarrassment is the biggest hindrance.
This is absolutely spot on and Chris explains it perfectly. Over the years recording, I've come to realize the most critical thing of all is a great performance. 13:30 is that gold nugget. It took years of playing live for me to learn that lesson. Also, that even for the same singer, sometimes you need a different mic for certain songs.
It's almost like you need to experience it for yourself, I've heard that since the very beginning but for some reason only after a certain number of years has it actually sunk in. I think this is more of a problem for people who don't really perform live or with other people, i.e. bedroom type producers / music makers. That's my guess.
I found myself laughing out loud as you described the journey of discovery from cheap microphone to expensive and then back to compression and EQ, great video. These days I call it 'the old triple compression trick' when I'm tracking. Nice breakdown of your process .I'm hitting the studio this afternoon so I'll using your techniques for sure!
Haha... ya it's funny to talk about but not so funny when your stomach sinks with that initial... "Why did I spend all this money"?? Glad you liked the video!
I like people that help undo the salesmen pitch and help to restart creativity. I tuned in because a friend said you did a great job and I can always have room to learn something. I think most people learn loads from you but one thing they learn they might not even realize they are learning it to listen with their ears and not their wallets. The guitar center salesmen is the anti-artist. People need to forget all precepts of what is wrong and right. This is not church. This is art. Thanks
I bought a Rode NT1,I did have a bigger budget but I spent so long deciding I just wanted to get it over with in the end.I paired it with a PSA1. I'm having those delivered tomorrow, I hope now it works out.Interesting video Chris keep them coming dude.
Hi, thank you. So I ran an experiment. I have a cheap mic. Room noise etc. I just finished a cover of Chokehold by Sleep Token. The end result was nice, but the thing I didn't like is the distorted cracling here and there. My chain is: 1) Noise Gate 2) EQ (low pass, bit of boost for highs and 1700 for main vocal. No boxing removal) 3) Slight compession 4) OTT (3 compessors in one) 5) Slight compession 6) Slight saturation 7) DSser 8) Reverb (slight) 9) Limiter To a separate Reverb & Delay bus with automation, usually 10-12 db. So after watching the video Chris was so kind to record and show us, I played around with the settings. Idk why but the oposite of the adviced in the video worked better haha. But maybe that's cuz of a lot of compression. Anyways, I found out I'm better off without saturation and expander. Double DSser sounded worse than just one hm. Clight crackling - I think it's not fixible on the plugin level (I mean I can Use Izotop Ozon's RX to resrote the sound but gotta pay for that). So he clackling is just a bad mic thing, which is why I'm buying Rode NT1. But the video was very useful for me to run thw experiment. I advice everyone to have a decent mic, cuz when it comes to uploading to Spotify or something you don't want to be second guessing yourself. It's only so much you can achieve with just plugins.
So I listened to it without saturation and it's worse. Yes, a bit less crackles. But. Less liveliness and drive too. So saturation is there to stay. And it's only at 1% out of 100.
I sure hope you offer vocal lessons because your vocals alone are amazing! Honestly though, I have heard both sides of this. I have heard recordings with high amounts of compression that sound great. I have heard recordings with not much compression at all that sound great. What it all comes down to at the end of the day is personal preference and whether or not you can pull it off. Because the public doesn't care what the heck you do to get something to sound great. 5db of compression or 15db of compression...3 eq cuts or 12 eq cuts...a little saturation or distort the crap out of something....no one cares. Just as long as it sounds great to you and to them (or at least the vast majority of them)...that's all that matters.
Indeed. Often times people get far too dogmatic with certain concepts of "don't do too much of this or that" when in reality, as you mentioned, do WHATEVER you need to do to get it sounding right, even if it goes against "conventional wisdom." I mean hell, that's the beauty of music to me, regardless of the genre. Being able to do a multitude of different things and get creative to get your vision to come to fruition. I only record my own vocals now on a modest home set up after downgrading quite a bit, so I don't have the same gear, the same DAW, or all the fancy plugins. (I went from quality gear, pro tools, tons of great plugs in like waves etc, to a decent mic, interface, reaper and ok plugs-in ) and I've enjoyed the hell out of having to learn little tricks to get my recording where I think they should be, and if that's doing something that is taboo, then by god I'm going to do it. As you stated, listeners couldn't care less what you did to get to the final result. So with that said, if anyone reads this, EXPERIMENT, push the boundaries of what is considered "acceptable" and have fun! Isn't that the point of all of this?
@@commonsense5188 no opposite is the case. ppl stick to rules bc the rules follow a concept that aims to the method that is the mostly right way to get a goal. of course you can do EVERYTHING but guess what, before they try to synthesize sounds with their asshole they sing with their mouth bc chances are much higher, they end up with something that sounds good. and if you Eq the shit out of something, chances are high, the sound you are aiming for is much easier and to obtain in another way. yes you can pitch the wave of a kick till you got a pluck synthesizer. chances are, a dedicated synthesizer tool will sound better and be better for the workflow. if you need to Eq 15 db, risking phase issues for example is just a good sign to realize, it doesnt sound as you want it, to begin with. of course, there was a case or two in the musicproductionworld where that move was exactly THAT right thing. but for each of them there are million and billion cases where a better source is the smarter way and that crazy eq curve can give you a hint, that you did something wrong somewhere other in the signalchain. thats why ppl tend to stick to such rules. they are not allways right but so often, that the cases where they are not are something thats called non-significant. in those rare cases WHERE such moves are usefull you can also bet, it´s done by somebody very skilled who knows what he does. for everybody who isnt one of the top ten producers ever, knowing that crazy eq curves are a hint for problems and maybe retracking with a different mic or using another sample also is very helpfull for all ppl that are not godlike producers to not screw it father and loose time. but you are soooo original. it´s not about being snobish, opposite is the case, with such a good practice you can rock with stock plugins free samples and audacity without loosing orientation and getting decent sound. maybe if you would have stuck to good practice you still would be in a situation where you have the pro gear and stuff. bc ppl would listen to your stuff and even be willing to pay for it. but keep being a snowflake. those dogmas and taboos are the reason that ppl who stick to them can make great music without the hiend plugins or DAW´s. there is a big difference between being original and creativ, not afraid of experiments and just fuckin it up bc of lacking knowledge.
I have a c214 900$ condenser mic (or it was that much when I bought it) and that same dynamic mic and I have recorded excellent vocals on both 👌 the aftertouch work done is the most important part , it's hard to hear yourself Even as a great singer , it's easy to get discouraged , but like he explains , it takes a lot of work to fix vocals , compression is extremely important , and most of my best vocals had the same technique--lots of effects placed in a little bit for each, listen to him who's a great singer , and his voice still sounds iffy at first , microphones are out to make you cry , so don't let it beat you up, work through it ! Great advice in this video! , I needed a refresher since it's been a bit since ive recorded vocals and recently I've been working on adding vocals into my work again. It's an art, don't feel like you're cheating and can't sing, microphones just like to talk sht haha
Chris, I have a tascam 24sd mixer. My mic is a shure dynamic 58. My gain is back about 3 notches from full. Basic volume singing is fine without clipping. But when I get some energy into the chorus it clips slightly. Even if I back up. Would a sensivity mic help with clipping and still give me enough recording volume? Thanks!!
The world needs a video where a track is recorded entirely with budget end gear - instruments through to daw and plugins - and the 'meh' sounding track is then done again using topend gear, using the exact same placements/settings/etc., to prove that the gear won't fix lack of knowhow.
Great. I will hold my hand on that new mic for now till I start making some $$. Thanks! You and Graham are selfless and brilliant in sharing your info.
I'm really glad I chose the Dynamic mic I have( AT 2005) very good at rejecting surrounding sounds and nice clean sound. With your tips it's going to be great for my next rock track recordings. Thank you very much. Where's Graham??
When I was mic shopping at American Music in Seattle they had a nice little rig to A-B different mics. I tried quite a few, including the entire Shure line at all price points. I wound up with the Beta 57A which I thought sounded better with my voice, while picking up less extraneous noise, at a reasonable price. I use it at home with Apogee Duet and Garageband, and also had fun at open mic nights pre pandemic. Stay Safe! cb
First time I have seen any videos of Chris. Awesome video and great contributor to the channel. This was really great. I’m going to check out more of his content after watching this.
Thank you for making taking the time to make this video and explain these things. I was feeling pretty discouraged earlier, but I think these techniques are just what I was missing.
I was just struggling with my SM58 Beta to get a good sound. Rationale for buying it in the first place was the fact that since I’m recording at home without any special room arrangements, having a mike that is capturing less room noise is better. But this also means that it is capturing less of me. I found your video really clear and instructional, and I’m not going to cut my veins to get a condenser mike. I also found very interesting your doubling techniques, you should make a video focused on that! Thank you and please go on!
Chris, brilliant video, you've touched on so many important issues for those expanding their recording setups for vocals. I've been using a Shure KSM8 for awhile with very good results in a less than perfect acoustic environment. Most know that you need a mic pre with a fair amount of gain for a dynamic mic, I have an Apogee Element and the built in mic pres have 75dB of gain along with some other outboard pres in the 70dB range. I've always gotten good results, the KSM8 does a great job at rejecting the room, has a reduced proximity effect, and a smooth overall vibe, especially for a dynamic. Fast forward a few years and my ever growing 'need' for a 'better' mic. I bought the Neumann TLM49 and was anticipating the silkiest, most beautiful vocal recording I've ever made. Well over $1700 later I was devastated when my first recording was picking up nasty resonances in the room highlighted with a very dynamically inconsistent performance and a plethora of mouth sounds lol I've since treated my room and learned how to perform with that mic, the sweet spot etc. It is a phenomenal microphone, but if you're in an untreated bedroom I truly believe a quality dynamic by Shure, Beyerdynamic, Telefunken, or Sennheiser, just to name a few, is the way to go. Honestly I've never heard a good singer sound bad on an SM7. A 57 or 58 can also produce great results especially with the approach to layering and performance you described. One cannot discount the importance of just being comfortable when performing, thanks Graham, Chris' videos are a great addition to the channel!
Lol. I do main vocal on an expensive condenser. Back ups and doubles using my 30 year old sm57 through a 6176..its money. serial compression alone will up your game big time Great video. Some of the best advise I have seen out there for the tye novice .this is what the pros do..
@@riktascale4 nice... I've always had better luck in the studio with the 57 for some reason. Lots of times, I'll take the outer pop filter off the 58 in the studio and give it a bit more space, and it airs it out a little more :)
Genius video Chris - inspiring. I switched to an SM58 a year ago and it was a revelation for me - just let me focus on the performance ... thx for the tips and walk through... great reminder on supporting the performance with solid production & arrangement planning.
Sounds like finally someone is telling some truth. Modern vocals are so processed and compressed that having the perfect super expensive microphone doesn’t even matter (as long as your microphone is decent). This is not even a thing about modern vocals. Listen closely to Beatles vocal recording. They sound so compressed and saturated. So go and stack compressors and eq in your vocal chain until you’ll be happy with your sound
Thank you for the video!!! and with this new found wisdom I can now start pumping out block buster hits with the 15$ karaoke mic that I just bought off amazon and even that was pushing the budget.
I loved my Rode 1 but it went kaputzen so now I'm using a Samson CO1 - thanks for the informative video - the stuff I'm recording this weekend is more country/folk style and perhaps I can use many of the principles you've demonstrated but scaled back somewhat
Rockin' a Shure SM58 and an MXL 990! Better results with the Shure SO FAR, because I have a VERY loud voice and haven't yet learned to curb the volume enough not to overdrive the MXL. These techniques will almost certainly help.
This is awesome! I recorded a song a few months ago but have been dreading mixing the vocals because I didn’t want to mess them up. This tutorial has helped to clear up a lot of the mystery regarding that process.
What's there to mess up? Starting mixing those vocals and if you don't like the outcome, start from scratch and give it another go Jesse! Nothin to it, but to do it. Good luck bud.
also keep in mind genera of music. A soft ballad with breathy detail vocals just dont come across the same on cheap condensors and most dynamics. You can always work around this, but something that allows you to sing with more strong mid frequencies helps ❤
Hey Chris, I strive to record vocals in the style of Darius Rucker, specifically from the album “cracked rear view.” Could you make a video reacting to it, and, explaining how to get a vocal sound like that?
This song should be hitting the charts any day now! 🎤 🎵 I’ve been searching.... I iiiiiiiiii’ve been searching for soooo loooonng... ... For a microphone! 🎙 🎶
Wow I like how the standard dry track sounded blah but you turned it into a pro sound. I have a mxl $80 condenser and and sm57. I usually do one or two vocal tracks for leads and record -18db dry and it sounds so lost in the mix and is hard to hear even when cranked up and compressed. I am excited to try this now and not be afraid to add more tracks and focus on the compression and positioning of each track. If it still doesn’t turn out then I need to focus on my placement during performance. Thank you for the video.
There's alot of elitism in the recording community, particularly about having the perfect (most expensive) gear as the only way to get pure, studio-quality recordings. As a guy on a shoestring budget and and vision, I thank Chris every day for proving that passion and knowledge matters way more than cash and gear. A passionate person with a good song and a little know-how is worth way more than a millionaire who's hoping their cash can make their song better.
![[ARCHIVED] How To Record & Mix Vocals Like A Pro (Start To Finish)](/img/n.gif)
Wow...here I was getting ready to spend upwards of $1K on a vocal mic, thinking that would solve all of my problems. Now I'm loving the idea of trying an SM57 and learning better techniques with layering, compression, EQ and saturation. You essentially just proved that a good sounding recorded vocal is more about the performance and production techniques, and has very little to do with the gear. Like many others, I think I fall into the trap of relying on technology to do all of the work for me, rather than putting in the work to make it sound right. In a sea of hacky "tips and tricks" videos on UA-cam, this is an extremely helpful, no-nonsense revelation of truth! Thank you Graham and Chris!
You're so welcome!
Same EXACT scenario for me! Thank God I saw this in time - love this guy :)
This is probably too late for you now, but I would not even go for the overpriced Shure SM57. The Behringer XM8500 is every bit as good, but at a fraction of the price.
Spend it. I just finished a vocal cover and it's good. But the mic is not good. And it kinda ruins the fun.
in most of the shows the singer use a 100 dollars dynamic mic. They are called "standard" mics. Most expensive mics are used for fidelity or high fidelity, but you also really need good audio converters and high quality preamp mics.
Back in 1998 I spent £2000 on a Roland vs-880. I thought to myself 'This is it, I'm gonna kill it with this'. :+) In my ignorance I thought 'This is better than anything The Beatles had access to'. :+))
So I recorded my voice (knowing nothing about compression or equalisation). I was ABSOLUTELY horrified. Seriously!. I haven't recorded it since (not quite true!!!). :+)
THIS video is a game changer for me. It showed me that what matters is the content and context, not the quality. It gives me confidence to try again.
THANKS, SO MUCH!!!. :+) :+) :+) (just in case you were hadn't noticed, I'm smiling a lot). :+)
I've still got the vs-880. It's pristine. Virtually unused. Now I intend to wear it out!!. :+) 👍
"Shit in, shit out" is one of the greatest lessons I ever heard from a producer.
'I've Been Searching For A Microphone' is legit WAY better than 99% of the stuff I've heard recently 😂
Breh 😭😭
I didn't hear the lyrics at first😂😂😂😂💔
😂
ELA-M251
It's right up there with "I'm singing a song and tapping on a mic." Modern classics.
“Searchin’ for a Microphone” is the new hot banger of 2021
hehe
I can't get it out of my head , I'm working on some verses .
the fact that this guy can sing like a god makes this explaination videos 10 times better !!!!
It brings true joy to me when I see other people who love this technical side of music the same way I do. Thanks gram for another great video. 🍻😎
One of the best instructional videos on this topic in a decade. Presenter is terrific. Pace is perfect. Using real examples make it applicable to everyone. More please. I don't have Waves - does Slate have a Gate/Expander?
Thanks for watching! Glad you liked! Slate's "Gates Bundle" is awesome... it'll do the trick!
@@chrisliepe next time stop recording above -12 dbfs peak level during recording.
In all your videos you showed to people the biggest mistake during a recording.
Your imput gain is too loud and as a professional mixing engineer I can’t accept advice included this biggest mistake ever
WTF
@@Vossflying hey. It still sounded great. It was aiming for a very saturated end result. Thats what matter in the end. "I cant accept yadda yadda" guess what, another engineer will do it and make it sound right. Dogmas are great results worst enemies sometimes
It's nice to hear it's "okay" to compress a lot. I think that is a big thing that my tracks miss out on, I'm afraid to over do it.
RIGHT... It seems so extreme, but when you go to the pros... and examine what they are doing, they compress like CRAZY over and over again!!
Do what you are afraid to do and then A/B it after you take a break for a moment and come back to it.
dude i put like 3 compressors on my vocals and it makes it sound so much nicer lol
i´ve been searching IIIIIIIIIIIIIIIIII´VE
I am really glad that finally someone is pushing the compression and the eq beyond 3 dBs and talks about the importance of saturation. This is a really helpful video, thank you Chris!
You're so welcome!
I think I need you to mix all My tracks now .. When I watch videos like these it brings me back from when I’ve given up .. Thanks ..
Sometimes it feels a bit complicated with all the STUFF out there. Simple is inspiring!
holy sh*t. I was about to throw my sm58 in a corner. Now I know: how to mix vocals. But more: how to really doubling/layer/gain stage vocals. This is a lot more than just a "how to use a cheap microphone" tutorial. Thank you so much for giving out so much of information in just one single video.
Great presentation, and most importantly, you're shooting straight, giving away the gold dust required to make your own golden nugget. Listen to this guy, he knows what's up.
Fantastic! Just what I needed.
God Bless You!
The hardest part of this is that you're listening to your own voice. This is why producers are so incredibly helpful. They can help pull out the right performance and know how to color it. My own embarrassment is the biggest hindrance.
Hi Chris. Long time fan. Can I just say THANK YOU: videos like this save us little guys so much money. Helping us unlock our voices: you total legend!
This is absolutely spot on and Chris explains it perfectly. Over the years recording, I've come to realize the most critical thing of all is a great performance. 13:30 is that gold nugget. It took years of playing live for me to learn that lesson. Also, that even for the same singer, sometimes you need a different mic for certain songs.
It's almost like you need to experience it for yourself, I've heard that since the very beginning but for some reason only after a certain number of years has it actually sunk in. I think this is more of a problem for people who don't really perform live or with other people, i.e. bedroom type producers / music makers. That's my guess.
Huge performance in the song in the beginning!
Glad you liked!
this is one of the best tutorial videos i’ve ever seen. thank you so much!!
Glad you liked it!
I know this video is two years old but you have me so much with my recording process. It’s been so much better. Thank you.
Your videos are so HELPFUL!! You have a great set of pipes. I wish I could see even sing like 1/64th of you.
this was so dope! defiantly going to apply to my chain! going to experiment with this!
Thanks for watching! Best of luck with your experimenting!
I found myself laughing out loud as you described the journey of discovery from cheap microphone to expensive and then back to compression and EQ, great video. These days I call it 'the old triple compression trick' when I'm tracking. Nice breakdown of your process .I'm hitting the studio this afternoon so I'll using your techniques for sure!
Haha... ya it's funny to talk about but not so funny when your stomach sinks with that initial... "Why did I spend all this money"?? Glad you liked the video!
I just want to appreciate you for making this video and showing your process toward the end. It's real affirming. Your voice is incredible
This is the most useful thing I’ve gotten from this channel
That's great to hear!
I like people that help undo the salesmen pitch and help to restart creativity. I tuned in because a friend said you did a great job and I can always have room to learn something. I think most people learn loads from you but one thing they learn they might not even realize they are learning it to listen with their ears and not their wallets. The guitar center salesmen is the anti-artist. People need to forget all precepts of what is wrong and right. This is not church. This is art. Thanks
I bought a Rode NT1,I did have a bigger budget but I spent so long deciding I just wanted to get it over with in the end.I paired it with a PSA1. I'm having those delivered tomorrow, I hope now it works out.Interesting video Chris keep them coming dude.
What a great voice and performance. Combined with his treatment of materiel it is unbeatable.
Hi, thank you.
So I ran an experiment.
I have a cheap mic. Room noise etc.
I just finished a cover of Chokehold by Sleep Token. The end result was nice, but the thing I didn't like is the distorted cracling here and there.
My chain is:
1) Noise Gate
2) EQ (low pass, bit of boost for highs and 1700 for main vocal. No boxing removal)
3) Slight compession
4) OTT (3 compessors in one)
5) Slight compession
6) Slight saturation
7) DSser
8) Reverb (slight)
9) Limiter
To a separate Reverb & Delay bus with automation, usually 10-12 db.
So after watching the video Chris was so kind to record and show us, I played around with the settings.
Idk why but the oposite of the adviced in the video worked better haha. But maybe that's cuz of a lot of compression. Anyways, I found out I'm better off without saturation and expander. Double DSser sounded worse than just one hm.
Clight crackling - I think it's not fixible on the plugin level (I mean I can Use Izotop Ozon's RX to resrote the sound but gotta pay for that). So he clackling is just a bad mic thing, which is why I'm buying Rode NT1.
But the video was very useful for me to run thw experiment. I advice everyone to have a decent mic, cuz when it comes to uploading to Spotify or something you don't want to be second guessing yourself. It's only so much you can achieve with just plugins.
So I listened to it without saturation and it's worse. Yes, a bit less crackles. But. Less liveliness and drive too. So saturation is there to stay. And it's only at 1% out of 100.
If you guys didn't know, Chris Liepe is hands down THE BEST vocal teacher on UA-cam
Aw, thanks!! (and HEY DAVID!!)
He sure is. I watched a video of mixed voice training and I while watching and training, I got a tone I never thought I had.
@@agirotto1 that’s great to hear!
You're over here too! Cool! Spreading the Love around. What up Chris?!
I have an ML-1 but I'm still going to watch this
Not a moment wasted. 18 minutes of useful content in 18 minutes. Great work!
I have a vocal recording session in the morning. This is perfect timing :)
Great! Thanks for watching!
Chris Liepe it's good to remember exactly what's important in the recording process.
I sure hope you offer vocal lessons because your vocals alone are amazing! Honestly though, I have heard both sides of this. I have heard recordings with high amounts of compression that sound great. I have heard recordings with not much compression at all that sound great. What it all comes down to at the end of the day is personal preference and whether or not you can pull it off. Because the public doesn't care what the heck you do to get something to sound great. 5db of compression or 15db of compression...3 eq cuts or 12 eq cuts...a little saturation or distort the crap out of something....no one cares. Just as long as it sounds great to you and to them (or at least the vast majority of them)...that's all that matters.
Indeed. Often times people get far too dogmatic with certain concepts of "don't do too much of this or that" when in reality, as you mentioned, do WHATEVER you need to do to get it sounding right, even if it goes against "conventional wisdom." I mean hell, that's the beauty of music to me, regardless of the genre. Being able to do a multitude of different things and get creative to get your vision to come to fruition. I only record my own vocals now on a modest home set up after downgrading quite a bit, so I don't have the same gear, the same DAW, or all the fancy plugins. (I went from quality gear, pro tools, tons of great plugs in like waves etc, to a decent mic, interface, reaper and ok plugs-in ) and I've enjoyed the hell out of having to learn little tricks to get my recording where I think they should be, and if that's doing something that is taboo, then by god I'm going to do it. As you stated, listeners couldn't care less what you did to get to the final result. So with that said, if anyone reads this, EXPERIMENT, push the boundaries of what is considered "acceptable" and have fun! Isn't that the point of all of this?
@@commonsense5188 no opposite is the case. ppl stick to rules bc the rules follow a concept that aims to the method that is the mostly right way to get a goal. of course you can do EVERYTHING but guess what, before they try to synthesize sounds with their asshole they sing with their mouth bc chances are much higher, they end up with something that sounds good. and if you Eq the shit out of something, chances are high, the sound you are aiming for is much easier and to obtain in another way. yes you can pitch the wave of a kick till you got a pluck synthesizer. chances are, a dedicated synthesizer tool will sound better and be better for the workflow. if you need to Eq 15 db, risking phase issues for example is just a good sign to realize, it doesnt sound as you want it, to begin with. of course, there was a case or two in the musicproductionworld where that move was exactly THAT right thing. but for each of them there are million and billion cases where a better source is the smarter way and that crazy eq curve can give you a hint, that you did something wrong somewhere other in the signalchain. thats why ppl tend to stick to such rules. they are not allways right but so often, that the cases where they are not are something thats called non-significant. in those rare cases WHERE such moves are usefull you can also bet, it´s done by somebody very skilled who knows what he does. for everybody who isnt one of the top ten producers ever, knowing that crazy eq curves are a hint for problems and maybe retracking with a different mic or using another sample also is very helpfull for all ppl that are not godlike producers to not screw it father and loose time. but you are soooo original. it´s not about being snobish, opposite is the case, with such a good practice you can rock with stock plugins free samples and audacity without loosing orientation and getting decent sound. maybe if you would have stuck to good practice you still would be in a situation where you have the pro gear and stuff. bc ppl would listen to your stuff and even be willing to pay for it. but keep being a snowflake. those dogmas and taboos are the reason that ppl who stick to them can make great music without the hiend plugins or DAW´s. there is a big difference between being original and creativ, not afraid of experiments and just fuckin it up bc of lacking knowledge.
Great video! Am looking forward to the next...
Thanks! Stay tuned!
thanks man, this will help me a lot. Subcribed and looking forward to watch more content from you 😍
Very informative and educational! I think the processing that is used in conjuction with the mic is more important than the mic itself.
I have a c214 900$ condenser mic (or it was that much when I bought it) and that same dynamic mic and I have recorded excellent vocals on both 👌 the aftertouch work done is the most important part , it's hard to hear yourself Even as a great singer , it's easy to get discouraged , but like he explains , it takes a lot of work to fix vocals , compression is extremely important , and most of my best vocals had the same technique--lots of effects placed in a little bit for each, listen to him who's a great singer , and his voice still sounds iffy at first , microphones are out to make you cry , so don't let it beat you up, work through it !
Great advice in this video! , I needed a refresher since it's been a bit since ive recorded vocals and recently I've been working on adding vocals into my work again. It's an art, don't feel like you're cheating and can't sing, microphones just like to talk sht haha
Chris, I have a tascam 24sd mixer. My mic is a shure dynamic 58. My gain is back about 3 notches from full. Basic volume singing is fine without clipping. But when I get some energy into the chorus it clips slightly. Even if I back up. Would a sensivity mic help with clipping and still give me enough recording volume? Thanks!!
You should do more videos like these ( vocal recording / editing vocals etc ) They are fantastic .
The world needs a video where a track is recorded entirely with budget end gear - instruments through to
daw and plugins - and the 'meh' sounding track is then done again using topend gear, using the exact same placements/settings/etc., to prove that the gear won't fix lack of knowhow.
Here it is ua-cam.com/video/Qkh3LYlwaFo/v-deo.html
Your Vocal harmonies are on point.. I mean WOW..
Very impressive vocals in the final mix..
Just WOW!!
Good Vid,, Thank You sir...
Respect \m/
you're a legend Chris
That was really useful. Loved the dble tracking and stacking of multiple takes.
I would like to see a video that expanded on that.
Oh there will be :)
WHAT A BEATIFUL RECORDING SESSION
I've watched 100 recording tutorial clips but this one is pulse-raisingly helpful! 💥 Thank you immensely⚡🎤⚡
Great. I will hold my hand on that new mic for now till I start making some $$. Thanks! You and Graham are selfless and brilliant in sharing your info.
Yeah!! Dig into what you've got!! Make the most of it!
Nice demonstration - Good luck
Thanks!
I'm really glad I chose the Dynamic mic I have( AT 2005) very good at rejecting surrounding sounds and nice clean sound. With your tips it's going to be great for my next rock track recordings. Thank you very much. Where's Graham??
Graham has opened up the channel for other guys to share their recording revolution ideas! He's still around tho!
Thank you for the information. Have a nice day
Saturation is the key to good mixes.
Absolutely right. And so often overlooked!
Loved it. Brilliant video
When I was mic shopping at American Music in Seattle they had a nice little rig to A-B different mics. I tried quite a few, including the entire Shure line at all price points. I wound up with the Beta 57A which I thought sounded better with my voice, while picking up less extraneous noise, at a reasonable price. I use it at home with Apogee Duet and Garageband, and also had fun at open mic nights pre pandemic. Stay Safe! cb
Betas are really great for a lot of apps!
Thank you. This is exactly the tutorial I needed
So glad!
this guy's phenomenal
I don't record music vocals yet but sometimes I like my voiceovers more when I double compress than when I do a compressor and Limiter
somebody just give him the microphone he's been searching for so long!
Lol ~ good one
Excellent ! Many thanks for all your great advice Chris :) M
You're so welcome!
I love this guy. Always a fun time.
First time I have seen any videos of Chris. Awesome video and great contributor to the channel. This was really great. I’m going to check out more of his content after watching this.
So glad you enjoyed the video! And thanks for checking out more of my content!! :)
Your lessons helped me a lot Chris, thanks a lot!
Great new Name! Just noticed, that it was you. Very engaging.
Thank you for making taking the time to make this video and explain these things. I was feeling pretty discouraged earlier, but I think these techniques are just what I was missing.
I was just struggling with my SM58 Beta to get a good sound. Rationale for buying it in the first place was the fact that since I’m recording at home without any special room arrangements, having a mike that is capturing less room noise is better. But this also means that it is capturing less of me. I found your video really clear and instructional, and I’m not going to cut my veins to get a condenser mike. I also found very interesting your doubling techniques, you should make a video focused on that! Thank you and please go on!
i've been searching for so long, to be able to sing like you :P
Wow, what a great vocal range & singing ability, very impressive!
Thanks!
Damn it!!! Guess what I’m going to be singing all day?? Yup you guessed it. 🎶 🎤 I’ve been searching I’ve been searching for so long for a microphone 🎶
hehe :) Me too
LOL
me too
@@GB-zk8tq 😂
@@chrisliepe 😂
Chris, brilliant video, you've touched on so many important issues for those expanding their recording setups for vocals. I've been using a Shure KSM8 for awhile with very good results in a less than perfect acoustic environment. Most know that you need a mic pre with a fair amount of gain for a dynamic mic, I have an Apogee Element and the built in mic pres have 75dB of gain along with some other outboard pres in the 70dB range. I've always gotten good results, the KSM8 does a great job at rejecting the room, has a reduced proximity effect, and a smooth overall vibe, especially for a dynamic.
Fast forward a few years and my ever growing 'need' for a 'better' mic. I bought the Neumann TLM49 and was anticipating the silkiest, most beautiful vocal recording I've ever made. Well over $1700 later I was devastated when my first recording was picking up nasty resonances in the room highlighted with a very dynamically inconsistent performance and a plethora of mouth sounds lol I've since treated my room and learned how to perform with that mic, the sweet spot etc. It is a phenomenal microphone, but if you're in an untreated bedroom I truly believe a quality dynamic by Shure, Beyerdynamic, Telefunken, or Sennheiser, just to name a few, is the way to go. Honestly I've never heard a good singer sound bad on an SM7. A 57 or 58 can also produce great results especially with the approach to layering and performance you described. One cannot discount the importance of just being comfortable when performing, thanks Graham, Chris' videos are a great addition to the channel!
Lol. I do main vocal on an expensive condenser. Back ups and doubles using my 30 year old sm57 through a 6176..its money. serial compression alone will up your game big time
Great video. Some of the best advise I have seen out there for the tye novice .this is what the pros do..
Made me love my SM57 again.
I'm curious...What mics are you guys using for your recordings?
Neumann 102, Shure 57/8
@@riktascale4 nice... I've always had better luck in the studio with the 57 for some reason. Lots of times, I'll take the outer pop filter off the 58 in the studio and give it a bit more space, and it airs it out a little more :)
@@chrisliepe l will explore techniques more with what l have especially with the shure mica which l hardly use.
@@riktascale4 Neumann 102 is great
@@jasonfanclub4267 Yes it is
absolute amazing class
Genius video Chris - inspiring. I switched to an SM58 a year ago and it was a revelation for me - just let me focus on the performance ... thx for the tips and walk through... great reminder on supporting the performance with solid production & arrangement planning.
You're so welcome!
Great video, So much information! Thanks, Graham and Chris.
You're very welcome!
Sounds like finally someone is telling some truth. Modern vocals are so processed and compressed that having the perfect super expensive microphone doesn’t even matter (as long as your microphone is decent).
This is not even a thing about modern vocals. Listen closely to Beatles vocal recording. They sound so compressed and saturated. So go and stack compressors and eq in your vocal chain until you’ll be happy with your sound
Lots more going on that meets the ear for SURE!
Thank you for the video!!! and with this new found wisdom I can now start pumping out block buster hits with the 15$ karaoke mic that I just bought off amazon and even that was pushing the budget.
I loved my Rode 1 but it went kaputzen so now I'm using a Samson CO1 - thanks for the informative video - the stuff I'm recording this weekend is more country/folk style and perhaps I can use many of the principles you've demonstrated but scaled back somewhat
Nice!
Wonderfully explained! Thank you very much for this knowledge.
Glad you liked it!
Rockin' a Shure SM58 and an MXL 990! Better results with the Shure SO FAR, because I have a VERY loud voice and haven't yet learned to curb the volume enough not to overdrive the MXL. These techniques will almost certainly help.
YES
This is awesome!
I recorded a song a few months ago but have been dreading mixing the vocals because I didn’t want to mess them up. This tutorial has helped to clear up a lot of the mystery regarding that process.
What's there to mess up? Starting mixing those vocals and if you don't like the outcome, start from scratch and give it another go Jesse! Nothin to it, but to do it. Good luck bud.
Man... You just gave me some inspiration and ideas!! Thank you, oh s much!! Love the channel dude!!
You're so welcome!
also keep in mind genera of music. A soft ballad with breathy detail vocals just dont come across the same on cheap condensors and most dynamics. You can always work around this, but something that allows you to sing with more strong mid frequencies helps ❤
Hey Chris, I strive to record vocals in the style of Darius Rucker, specifically from the album “cracked rear view.” Could you make a video reacting to it, and, explaining how to get a vocal sound like that?
Wow, this was great! Thanks!
You’re welcome!
Is anyone else having trouble downloading the PDF? I have tried multiple times and never receive the email.
Thanks for the information, it's very helpful.
Your perspective and way to explain it is amazing. Great videos.
Thanks fo much! Glad you liked!
Awesome video and I love that you used the Scheps OmniChannel!
Thank you really needed this video. Very well explained.
Man is speaking the truth for real
Came back to this video to say this song is now stuck in my head - awesome content though thank you for the help!
Now I can sound great! I still can’t sing LOLbut it will be compressed perfectly ! Thanks to Graham and Chris!
I’ll help you sing :)
Great details and description! Thanks for this!
Great presentation
Excellent and great instruction Chris! thanks!
This song should be hitting the charts any day now!
🎤 🎵
I’ve been searching....
I iiiiiiiiii’ve been searching for soooo loooonng...
... For a microphone! 🎙 🎶
haha!
Seriously. This is a great vocal hook!. 👍
Great stuff, thx a ton, guys
You're welcome!!
Wow I like how the standard dry track sounded blah but you turned it into a pro sound. I have a mxl $80 condenser and and sm57. I usually do one or two vocal tracks for leads and record -18db dry and it sounds so lost in the mix and is hard to hear even when cranked up and compressed. I am excited to try this now and not be afraid to add more tracks and focus on the compression and positioning of each track. If it still doesn’t turn out then I need to focus on my placement during performance. Thank you for the video.
There's alot of elitism in the recording community, particularly about having the perfect (most expensive) gear as the only way to get pure, studio-quality recordings. As a guy on a shoestring budget and and vision, I thank Chris every day for proving that passion and knowledge matters way more than cash and gear. A passionate person with a good song and a little know-how is worth way more than a millionaire who's hoping their cash can make their song better.