RECORDING May 2024 - 20
Teezio also stresses that, again, it all starts with the recording,
" It's important to make good decisions when recording because
the artist listens to the demo thousands of times and gets so used
to the problems that he or she is unable to hear it another way. "
Crafting Modern Vocals
Give the Singer Some Room
The next thing to consider is the positioning of the vocalist
and the room's acoustics. " Give me a little bit of room sound
any day over recording in a small booth or isolation. You don't
need a big fancy studio. You can record in any room if you
know how to position your mic, " Torres explains.
Singh echoes these sentiments when explaining his approach,
" I'm never compressing or saturating drastically on the
way in, where I can't go back, but I'll do what I can to inspire
the artist. " He also highlights teaching mic placement, " I try to
educate the artist on their placement of the mic and make sure
they're singing into the diaphragm. "
Organization!
Once you have a sound recording, it's crucial to organize
and manage your session, from details about the audio clips
to their routing, especially when there are many background
vocals, harmonies and different parts.
Teezio explains, " With rap, it's easy to see all vocals the same,
but with pop and R&B, you can have 150 tracks of vocals, and
you need to be able to quickly realize what's going on visually. "
The ability to quickly identify and manage tracks is critical.
Torres advises, " Labeling and color-coding tracks is really important.
You need to make it so someone can open up your
session for the first time and [quickly] know what's going on.
That's how you continue to get work. "
This approach makes processing and editing easier. Torres
continues, " Being organized is important for me because it
makes it so I don't have to think about where takes and parts
are. It lets me focus on the artist, song and sound. "
Sliger shares his perspective on routing's impact on mix quality,
" People end up [messing] up their gain structure because
they over-bus and end up [over] processing on one bus. "
Similarly, Torres prefers simplicity, " Each group of backgrounds
goes to one bus then straight out to the master. I don't
like [to use] 'All Vocal' buses; I [independently] treat each vocal
[group] how I want them to be treated. "
Restraint
With countless tools and techniques for shaping vocals,
engineers tend to want to do too much. Sliger recommends
a " less is more " approach. He notes that newer engineers
often " create a problem with one plugin and then try to fix it
with the next. "
Sliger and Teezio both stress the importance of letting each
tool in the chain do a bit of work and letting the compound
effect enhance the vocal. Teezio says, " It's always great when I
don't have to use my whole chain to mix a vocal. "
20 RECORDING May 2024
Closing
There isn't a standard formula for achieving a modern vocal
recording. The goal is to craft a sound that preserves and presents
an artist's vision. Singh supports this, " The artist is always
right. Once you learn the technical rules, you might need to
break them to create a desired sound. "
Torres reminds us that emotional resonance always takes precedence
over technical maneuvering in saying, " Sometimes I
don't have to make a lot of moves, sometimes I have to. The
main thing when you listen back is that you feel it. "
Jenso " JP " Plymouth is a Diamond,
GRAMMY®
nominated engineer from
Massachusetts, based in Los Angeles.
He is a staff engineer at Crosby
Recording Studios and studio manager
for Human Re-Sources. You can reach
him on social media at @jenso508.
Engineers Mentioned
Simone Torres is a Diamond, GRAMMY®
nominated engineer, vocal producer
and artist from New York City. She has
worked with artists such as Becky G,
Chlöe Bailey, Normani, Anitta, Cardi B,
Camila Cabello, Monsta X, Jessie J,
Billy Porter, The Backstreet Boys, Dua
Lipa and more.
Drew Sliger was born in Sochi, Russia,
and grew up in Cincinnati, OH. He is a
2x GRAMMY®
nominated, 2x Billboard
#1, and multi-platinum vocal producer
and mixer based in Los Angeles, CA.
His work includes Lil Nas X, Jack Harlow,
Young Thug, Miley Cyrus, Future, Doja
Cat, Megan Thee Stallion and more.
Patrizio " Teezio " Pigliapoco is a
GRAMMY®
Award-winning engineer
from Los Angeles. He is recognized for
his work with artists like Chris Brown,
Justin Bieber, Jack Harlow, Juicy J, Usher
and many more. This year, he won the
GRAMMY®
for Best Engineered Album
for Victoria Monét's Jaguar II.
Shaan Singh is a GRAMMY®
Awardwinning
engineer, mixer and producer
based in Los Angeles. His credits radiate
from Young Thug, Childish Gambino,
Pharrell and Dreamville to Janelle Monáe,
John Feldmann and Travis Barker.
RECORDING May 2024
Table of Contents for the Digital Edition of RECORDING May 2024
Fade In
Fast Forward
LEWITT RAY
Vanguard Audio Labs V24
Crafting Modern Vocals
SPL Channel One Mk3 and Track One Mk3
RECORDING’s Field Notes: Recording Vocals
Ohma World Ribbon Microphone
API TCS-II Channel Strip
Studio 101: Delay-Based Effects, Part 1
TELEFUNKEN Elektroakustik Alchemy Series TF17 FET
Soundware Showcase: Toontrack Session Organ EKX
Flock Audio PATCH VT + PATCH APP DX V1.1.0 + DX BRIDGE
Plugin Outlet: oeksound Bloom
Earthworks DM6
Soundware Showcase: Baby Audio Atoms
RØDE NT1 Signature Series Condenser Mic
Korg Keystage
Inside the Studio with Mark Hornsby
Readers’ Tracks
Monheim Crème Tube Condenser Microphone
Fade Out
RECORDING May 2024 - Intro
RECORDING May 2024 - Cover1
RECORDING May 2024 - Cover2
RECORDING May 2024 - 1
RECORDING May 2024 - 2
RECORDING May 2024 - 3
RECORDING May 2024 - Fade In
RECORDING May 2024 - 5
RECORDING May 2024 - 6
RECORDING May 2024 - 7
RECORDING May 2024 - Fast Forward
RECORDING May 2024 - 9
RECORDING May 2024 - LEWITT RAY
RECORDING May 2024 - 11
RECORDING May 2024 - 12
RECORDING May 2024 - 13
RECORDING May 2024 - Vanguard Audio Labs V24
RECORDING May 2024 - 15
RECORDING May 2024 - 16
RECORDING May 2024 - 17
RECORDING May 2024 - Crafting Modern Vocals
RECORDING May 2024 - 19
RECORDING May 2024 - 20
RECORDING May 2024 - 21
RECORDING May 2024 - SPL Channel One Mk3 and Track One Mk3
RECORDING May 2024 - 23
RECORDING May 2024 - 24
RECORDING May 2024 - 25
RECORDING May 2024 - RECORDING’s Field Notes: Recording Vocals
RECORDING May 2024 - 27
RECORDING May 2024 - 28
RECORDING May 2024 - 29
RECORDING May 2024 - Ohma World Ribbon Microphone
RECORDING May 2024 - 31
RECORDING May 2024 - 32
RECORDING May 2024 - 33
RECORDING May 2024 - API TCS-II Channel Strip
RECORDING May 2024 - 35
RECORDING May 2024 - Studio 101: Delay-Based Effects, Part 1
RECORDING May 2024 - 37
RECORDING May 2024 - 38
RECORDING May 2024 - 39
RECORDING May 2024 - TELEFUNKEN Elektroakustik Alchemy Series TF17 FET
RECORDING May 2024 - 41
RECORDING May 2024 - Soundware Showcase: Toontrack Session Organ EKX
RECORDING May 2024 - 43
RECORDING May 2024 - Flock Audio PATCH VT + PATCH APP DX V1.1.0 + DX BRIDGE
RECORDING May 2024 - 45
RECORDING May 2024 - Plugin Outlet: oeksound Bloom
RECORDING May 2024 - 47
RECORDING May 2024 - Earthworks DM6
RECORDING May 2024 - 49
RECORDING May 2024 - Soundware Showcase: Baby Audio Atoms
RECORDING May 2024 - 51
RECORDING May 2024 - RØDE NT1 Signature Series Condenser Mic
RECORDING May 2024 - 53
RECORDING May 2024 - Korg Keystage
RECORDING May 2024 - 55
RECORDING May 2024 - Inside the Studio with Mark Hornsby
RECORDING May 2024 - 57
RECORDING May 2024 - 58
RECORDING May 2024 - 59
RECORDING May 2024 - 60
RECORDING May 2024 - 61
RECORDING May 2024 - 62
RECORDING May 2024 - 63
RECORDING May 2024 - 64
RECORDING May 2024 - 65
RECORDING May 2024 - Readers’ Tracks
RECORDING May 2024 - 67
RECORDING May 2024 - Monheim Crème Tube Condenser Microphone
RECORDING May 2024 - 69
RECORDING May 2024 - 70
RECORDING May 2024 - 71
RECORDING May 2024 - Fade Out
RECORDING May 2024 - Cover3
RECORDING May 2024 - Cover4
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