2nd sample is recorded in the dead room; the same U87 microphone had an anti-popping filter on it.
For the 3rd example, using U87 again, I changed the angel of the sound source (my mouth) towards the microphone. Apparently hip-hop singers need this technique because they move while they are singing. The mic was set to its omni-directional pattern.
I used two U87 microphones set in the dead room for the 4th sample. One basically recorded my voice and the second one recorded the sound affected by the reverberation of the room. I combined both tracks together for the final result.
For the last sample, I used an NT3 condenser microphone and placed it in between my hands; then I whispered a sentence and recorded it. I wanted to see how to record a whisper (like Massive Attack and few others).
This experiment (at least in this way) showed me that I have done -almost completely- the wrong thing. I couldn’t even realise what I said when I was listening to the sample again at home. Apparently I say: “This is just a test to see how a particular technique affects the sound. The microphone is in my closed hands; and I’m whispering in the small volume between my hands.”
This is how my final Protools file looked like:
References:
- Rich (the TweakMeister): ‘How to get great sounding vocal tracks in your mixes’, TWEAKHEADZ LAB (Accessed [27.04.2007]), <http://www.tweakheadz.com/how_to_record_vocals.htm>
- Alldrin, Loren: ‘Vocal Recording: IN THEIR OWN WORDS’, Mix Magazine Website (Accessed [27.04.2007]), <http://mixonline.com/mag/audio_vocal_recording_own/>
- Johns, Rob. 1997.'Voxing Clever: Capturing a Good Vocal Performance' Sound on Sound, March 1997
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