Can anyone tell me the best way to record `vocals` so I do not over record-go in the red...Thought maybe through a limiter?
HELP!!!!

you've opened big topic. there's tons of discussions on the web about this, but here's my quick two cents, based on the assumption that you're new to this process.
set your input level low. so low that you're not going to go into the red. digital recording is forgiving, and if you're considering using a compressor or limiter to bring the level up, use it as you mix, not as you track.
do multiple takes. you may want to do a take with a hotter level, or even lower. you've got plenty of hard disk space, so go for it.
piece together an ideal vocal take from the multiple takes. that's 'comping' the track. if one phrase is distorted because it's too hot, replace it with the same phrase from another take.
i've said enough for now.
good vocal recording is a lifelong pursuit. good luck.

Sorry. Ive been gone for a while damn Army and the deployments! Anyways, its kids of hard to know how to answer without knowing exactly what your working with equipment wise? But in general, I think you have your EQ set to high, you need to limit the volume control on the channels that are busting into the red. But again, without knowing what you working with I can't get specific at all, sorry!

PEACE!

forget the limiter ! You kill the dynamics only. Only place to use limiter is in the final mix,s you can get more volume without clipping.

How can Your vocals go to red ?

First thing to do (if you record anything) is to set the correct input levelt, so the singnal is not too low, but also not too loud and leave you enough headroom.
The level of microphone depends on the level you set on your soundcard or mixing board and also on the "input sensitivity" level - different mics hve different singnal strength, so first you have to set the input sensitivity and then the overall level.

Golden rule in digital recording is to record as loud as you can without clipping. In mix you set Vocal levels to 0dB.
Record without any FX. Best way is, if you hear some reverb while recording, but record a dry signal. This way you can fine tune all the FX-s and levels later.

Only add reverb (plate is best, also hall) and a slight compression (ratio 1.5:1 - 3:1; attack between 5-20 and decay about 100-250)

Mic is very important, also the placement of the mic. Good mic hardly need any EQ. If, then only to slightly "fine tune" the sound.

Prefere a cardioid condenser mic positioned 22,5 cm from the singer.
• A pop shield will reduce explosive ‘p’ and ‘t’ sounds.
• If sibilance is a problem, change to a dynamic mic or move the singer back


Tommy

Thanks so much you`ve been really helpful.
Richard]

Thanks...really informative.



Thanks really helpful.




Thanks for your input.

Yo, Tommy!!! You Got It A-OK 100%:

QUOTE (manchoa @ Tue 8 May 2012, 05:55)
forget the limiter ! You kill the dynamics only. Only place to use limiter is in the final mix,s you can get more volume without clipping.

How can Your vocals go to red ?

First thing to do (if you record anything) is to set the correct input levelt, so the singnal is not too low, but also not too loud and leave you enough headroom.
The level of microphone depends on the level you set on your soundcard or mixing board and also on the "input sensitivity" level - different mics hve different singnal strength, so first you have to set the input sensitivity and then the overall level.

Golden rule in digital recording is to record as loud as you can without clipping. In mix you set Vocal levels to 0dB.
Record without any FX. Best way is, if you hear some reverb while recording, but record a dry signal. This way you can fine tune all the FX-s and levels later.

Only add reverb (plate is best, also hall) and a slight compression (ratio 1.5:1 - 3:1; attack between 5-20 and decay about 100-250)

Mic is very important, also the placement of the mic. Good mic hardly need any EQ. If, then only to slightly "fine tune" the sound.

Prefere a cardioid condenser mic positioned 22,5 cm from the singer.
• A pop shield will reduce explosive ‘p’ and ‘t’ sounds.
• If sibilance is a problem, change to a dynamic mic or move the singer back


Tommy

PS: Often Member Questions can be answered by: Googling... This way you can get questions answered both quickly and one can acquire vast information...

I don't know of a single engineer worth his salt who doesn't compress on the way in while recording vocals. Having said that, vocals are a tricky thing to compress. The voice is EXTREMELY dynamic and just using a plug in on them in your virtual recording chain is NOT recommended. You want to do it right? Break down and spend a little money on a good mic pre-amp, a good mic, and a GOOD transparent compressor. There are several to choose from. Universal Audio's LA 610 is a GREAT channel strip with both a preamp, eq and compressor. It runs around 1400 bucks. Focusrite makes good preamps and Presonus even makes a decent channel strip. Your interfaces preamp is probably alright and hopefully it has an INSERT point to put a compressor in your signal chain. If that is the case, find a compressor/limiter. I had FANTASTIC results with a Distressor at one point. THAT is about 1100 bucks. However, you can get good results with a DBX 160a which is MUCH, MUCH less expensive...maybe around 200 to 250 bucks. The trick is to set your attack and release times correctly as well as ratio. You want the compression to be transparent and it takes a bit of practice (actually, many good engineers spend years refining their vocal and instrument compression techniques so don't get discouraged but, don't let it intimidate you either). You really have to do a bit of trial and error. Also, Googling may help with some hard and fast rules regarding compression in a vocal/instrument chain. Another good resource is www.gearslutz.com. There are many professional engineers who sit up on that forum regularly. Good luck... and most of all, HAVE FUN!

Ce message a été modifié par mortalengines - sam. 12 mai 2012, 22:57.

Thank you so much...all very enthusing. Snudge.