forumuser915213 wrote:Panels for the window is a good idea. I hadn't thought of that.
Closer micing would have advantages and you're quite right about most folkies.
But (i) I'm basically a traddie rather than a more contemporary performer, which makes a difference in my mind, and (ii) with my wife's formally trained voice the 'nightclub' close-miced approach feels all wrong also.
We've both tried it repeatedly, both intentionally and by accident.
Are there affordable mics that don't produce that unnatural 'night club close miced' effect when close-to? Might an omni combined with a reflection filter do it?
There’s some great concepts coming up in this thread. First up though, the Omni/Reflection Filter would not help in your room.
What we’ve touched on here a number of times is perception - from the performer’s point of view. How we perceive our own voice is largely based on what we hear in our heads when we sing - not what the listener hears. Often singers struggle when they hear their own voices recorded, simply because it sounds so different to what they’re used to.
Regarding monitoring, similar issues apply. The on-stage sound is usually very different to what the audience hears or what the singer would hear without amplification. Personally, and especially for solo work, I don’t much like monitors at all. I’d much rather tune into what’s happening in the room. (Yes, I’m a traditional musician too).
But let’s assume an acoustic gig. Again there’s a big difference to the sound in terms of the acoustics of the room, where a listener is sitting relative to the singer and what the singer is hearing themselves. Compare for instance a solo voice in a cathedral versus a solo voice in a noisy pub, or a cupboard for that matter.
Another important factor in all of this is that in a room our ears are very adept at ‘adjusting’ to the room sound. Microphones don’t do this and for some reason we’re less able to process out room sound from recorded material.
Generally speaking if we’re recording in difficult spaces we’ll either treat the room or close mic, or probably both and then add some artificial reverb to create a sense of space. There is no difference in vocal technique required but it can challenge our perception of how we sound!
If you do want to stick with more distant recording you’ll need to find a very good live space and do it there.