Vocals Again

I know you're probably thinking I spend too much time writing up tips on vocal recording and you might be right.  However, since the vocal is just about the most important element in contemporary music today, I think it's justified. 

The thing about singers is that they all sound really different.  Obviously that can be a good thing but in the studio it may mean that a mic that works great for one may sound terrible with another.  Most of us project studio owner/operators don't have huge mic closets and 2 dozen mic preamps to choose among when recording.  It is possible however to build a mic collection without mortgaging your house.  Variety is the key so if you're thinking about another piece of gear, consider a new mic to expand your collection and to add some further options to what you already have. 

When you're working a session with a vocalist, spend some time with them as they warm up and try 2 or 3 different mics.  Record the warm-ups or run-throughs and take a listen back.  You're almost certain to hear differences between the mics and depending on what you're going for sonically, one will likely fit the bill over the others.  As far as mic types and choices, you should have at least one of each following type in your mic locker:  large-diaphragm condenser, small-diaphragm condenser, dynamic and optionally a ribbon mic.

Large-diaphragm condensers are good starting points.  Use a pop-filter in front to help deal with plosives.  If you have sibilance issues you can try banding a pencil vertically against the mic directly in the middle of grill.  You can also try placing the mic a bit above or perhaps below the singer's mouth level.  There are many models available  and AKG, Shure, Audio-Technica, Studio Projects, Rode and one of my faves, Cascade Microphones all have very good mid-level offerings that won't break your wallet.

Small-diaphragm condensers are more associated in use with instruments like piano, acoustic guitar and drum overheads but they can also work with vocalists.  Placement is important, you want some air between the singer and the mic and a pop-filter is also a good idea.  You might be surprised at the sounds you can obtain when the singer is slightly off-axis on a small diaphragm condenser.  You can find some good offerings in the budget range from Shure and Audio Technica. 

Dynamic mics are ubiquitous and can be worked more closely by the singer.  They often don't require a pop-filter (since most have some sort of windscreen already).  You can't go wrong with a Shure SM57 or SM58 however and a mic like the Shure SM7 or the Electro Voice RE20 can sound fantastic on some voices.

Ribbons are more delicate and don't like air blasts but used with a pop -filter/windscreen, they can sound great on vocals.  They're noted for a smooth top-end and often provide some nice body to a voice.  They've come down in price as more companies make ribbons as part of their mic lines now.

The summary here is to a) build a modest mic collection composed of different types of mics and b) take time to try the different mics on a singer.  It may make your job easier when it comes time to mix.