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Avoiding mic spills

Discussion in 'Recording' started by BUZAIN, Oct 10, 2003.

  1. BUZAIN

    BUZAIN Guest

    I will be recording an accapella group of 4 singers at the same time in my small studio space and am wondering what I can do to avoid mic spills to other mics. Any tips will be appreciated.
     
  2. BUZAIN

    BUZAIN Guest

    ???? help
     
  3. danfor-2

    danfor-2 Guest

    If you plan on close miking all four, then make them stand in a "cross" kind of way facing the middle of it. Then they should hear each other really well and the mics (cardoid) will face their dead ends at the other singers.

    Remember that the farther away the miks are - the less bleed, but also greater differences in time/delay of the bleed. You decide what is worse.

    Try stereo miking them to, with an A/B pair or maybe a blumlein (if you got eights).

    Good luck!
     
  4. BUZAIN

    BUZAIN Guest

    Thanks,

    I was kind of thinking of making them face the same direction and put the mic's on cardiod.
     
  5. missilanious

    missilanious Guest

    if their tight try using a good mic in omni, placing it in the middle with the singers around it, just possition the singers the same distance away from the mic. What style of music though?
     
  6. white swan

    white swan Guest

    If you want to completely eliminate bleed, the only way is to either set the mics up in four different rooms, or record the parts one voice at a time.

    Which leads to the next question:

    Why do you want to eliminate bleed?
     
  7. BUZAIN

    BUZAIN Guest

    I would like to have a clear signal in the track(one voice per track) when I am doing the mix, without having to use much gating and expansion.
     
  8. white swan

    white swan Guest

    Bleed can be your friend, but if you are determined to eliminate it my two previous options seem like your only choices.
     
  9. BUZAIN

    BUZAIN Guest

    Thanks,

    I shall hid your advice. Could you please tell me how bleed can be my best friend. My problem is that the pitch corrector I am using (ANTARES AVP-1) works better with one clear voice than many things in the same signal.
     
  10. AudioGaff

    AudioGaff Well-Known Member

    Your problem is not mic spill or how to isolate for best use of the Antares, Your problem is the lack of talent and pre-production work of your clients. You would be doing your clients a service by recording them as is and letting them listen to how they really sound so that they can practice and learn to sing correctly in tune before you try to do any serious recording that you'll need to attempt to fix latter.
     
  11. Rod Gervais

    Rod Gervais Active Member

    I have to agree with AudioGaff on this 110%..( :tu: ) if you are recording an "A Cappella" foursome - they better not need pitch correction - if they do - they are gonna sound like hell in a public performance........

    Record em just they way they sound and let them listen to themselves......... they need some work.

    Rod
     
  12. missilanious

    missilanious Guest

    Acappella's should not need pitch correction, If one needs pitch correction in an acappella group that meens they cannot harmonize togather properly, which meens they need more practice before they hit your studio.
     
  13. white swan

    white swan Guest

    Well, it's not if you know you will need autotune.

    But otherwise it can provide a little bit of mud and glue to make the performance sound more organic and natural and not too sterile. Kind of like having a bunch of room mics.

    Same logic for not gating the hell out of all your drum mics. Bleed can be your friend there too.
     
  14. BUZAIN

    BUZAIN Guest

    I agree with you guys on this. I guess we live in the real world where some people are good singers and others not so much good singers. I cannot make a bad singer sound good, but I can somehow help wherever I can to make things sound slightly better. When people hit the studio they think that they are ready and well rehearsed. After ecording them, I can offer them a suggestion to go improve and come back again if I hear that they need more work. Their coming back depends very much on them. Still I will be reluctant to give them a mix with full of errors even if it is theirs. Since my reputation depends on this, should I give them their money back and delete the take? In that case I will loose. Or should I charge them and keep the take? They will sue me and spoil my reputation.
     
  15. AudioGaff

    AudioGaff Well-Known Member

    I think you should explain to them something like this...

    Please understand and don't be offended with my cander but in order obtain and pursue a professional sounding recording, it will require more pre-production work on your part. If you would like to do some basic demo or test recordings of what you currently sound like, I can do that for you but it would be a dis-service to you as a client and me as a professional to not make you aware of this before you get your expectations to high and possible regret the recording experience and the money you spent on it. By being better prepared you will save time and money because things will go easier, quicker and flow much better.

    Then make a them a demo deal so that they can use those recordings as a reference. Mabe even listen to it back with them and point out what they may not be aware of. Encourage them and let them know that they can come back when they are really ready and you'll both make some real magical recordings.
     
  16. hollywood_steve

    hollywood_steve Active Member

    I think you should explain to them something like this... [..cut..]
    *************************************

    Excellent response!

    Life is too short for us to spend time correcting pitch problems. There is certainly work to be had by recording anyone with a dollar in their pocket, but then you are very close to having a "real job". And audio recording doesn't pay well enough to qualify as a job; we do it because we want to. The lack of money is only bearable due to the great projects we get to work on.

    I was shocked the first time I sat in on a Pro Tools session and watched the engineer and producer spend hours cleaning up the timing of individual drum beats. Is this really how we want to spend our days?
     
  17. realdynamix

    realdynamix Well-Known Member

    :) Gaff, HORST JANKOWSKI said the exact same thing to me in Stuttgart in 1972. I went to his studio to see about the production of my first LP. He emphasized the value of preparation.

    --Rick
     
  18. BUZAIN

    BUZAIN Guest

    I think the advice suggested is very good and considerate. The only problem is that the lastdecision will be theirs whether they listen to me or not. If they listen that is aright. In case they don't what do I do?
     
  19. AudioGaff

    AudioGaff Well-Known Member

    You can't control if they decide to not come back so why worry about that. If they want to go ahead knowing they suck but want to do it anyway, then record them and take their money. If you feel this is going to tarnish your reputation and/or affect any future business, then tell them your sorry, but you decline their business. Send them to someone else. This is the balance you need to contemplate for each client you decide to work with. Sometimes doing the right thing for you as a recording artist with morals and ethics, is in conflict with you the business person that needs to pay for the bills and put food on the table.
     
  20. by

    by Guest

    I don't know though, out of tune vocals have soul. Have you gone to a elementry school choir? My son sang in one the other night. A tear dropped from my eye. It's not the tune of the singer that's most important. And I'm sure their parents (the ones paying for it?) will be hearing it afterwards, and it will mean the world to them. Think of how proud they'll be!
     

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