The Neve 1073, like all old Neve modules, doesn’t sound good in clip and is a little unforgiving with regard to getting an exact gain setting so I set it a little low for the additional headroom.

After compression, I made up the record level within the very distinctive sounding 1176LN. Between the thickness of the Neve, the gritty edge of the 1176LN, and the pristine sound capture of the Brauner, this is a killer Rock vocal sound signal chain.

EQ and Compressors
Generally adding equalization in the recording is to make up for what the microphone is not giving you. In some studios, there is not a big choice of mics so you have to add or carve out frequencies to try and mimic the sound you’d get automatically with the right mic. Along with a signal chain, owning a few classic vocal mics is an obvious asset for a recording engineer.

Again, unless requested by the producer or artist, I go very conservative when recording with EQ. For example, if you are adding a lot of low frequencies, there is something wrong with the microphone or the pre-amp or more likely the way the singer is addressing the mic.

If you’re finding that adding a lot of high frequencies sounds better then you’ve got the wrong mic, as if you were using an old RCA 77BX ribbon but really were looking for the ultra bright sound of a modern Sony C800G condenser.

The same goes for compression. There is a wealth of sonic possibilities using vocal compression especially with vintage classics like the Fairchild 670 limiter.

I love those sounds but when and how much depends very much on the “bigger picture” - the mix!

If you and/or the producer are unsure, compress only enough (at a low ratio) to get it recorded at a good level without distortion and errant peaks—and then back the compression down from there. For a vibey sound, go with a tube compressor like the TubeTech CL1-B or UA Teletronix LA-2 leveling amp.

Cleaner or more transparent compression comes from VCA-based units such as a dbx 165. You could also record the vocals on two tracks: one with compressor and the other without. I like to provide as many options for the mixer as possible.

Next up: Part 3 - with mic choice and signal chain dialed in, listen to your singer…

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Barry Rudolph is a veteran L.A.-based recording engineer as well as a noted writer on recording topics. Be sure to visit his website, and also check out his related articles, “A Wide Variety Of Microphone Techniques For Recording Drums” and Studio Microphone Techniques To Get A Great Electric Guitar Sound.

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More Reviews & Articles By Barry Rudolph On PSW:
The Tradecraft of Vocals, Part 1
Barry’s Top Recording Products At The 2010 Winter NAMM Show
Studio Microphone Techniques To Get A Great Electric Guitar Sound
Value, Variety Of Uses For Digital Tuners In The Studio And On Stage
First Look At The New Lexicon Native PCM Reverb Plug-In
A Wide Variety Of Microphone Techniques For Recording Drums
The Tale Of A Project-Saving Monitoring Technique
Test Driving The Focusrite Saffire PRO 40 Firewire Audio/MIDI Interface
Rhythm Section Tracking In The Studio
Does The WAVES Hybrid Line Of Plug-Ins Enhance The Creative Process?
Creative Uses For Loudspeakers To Enhance Your Recordings
The Shure 55 Microphone Has Deep Roots, But How Does It Hold Up Today?
Thumbs Up Or Down For The Marshall MXL V89 Studio Condenser Microphone?
Inside The Peluso P12 Tube Condenser Microphone
Barry’s DAW Toolkit: Review Of The Novation Nocturn With Automap 3 Pro
Barry’s Recording Tips: Figure Of Eight Royer For Electric Guitars
Review Of The X-Tempo Pok DAW Wireless Footswitch Controller
Barry’s Toolkit Of Handy DAW Products
Recording Gear Hits At The 2009 Winter NAMM Show
Working At Recording Success: Taking Elemental Steps Can Make All The Difference
Recording Tip: Successfully Dealing With A Dead Room

Filed in Digital Audio Workstations

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