The C414 is one of the best professional mics for under $1,100. Mic Type & Pattern: Condenser, cardioid, omnidirectional, figure-8, and more.Users like it for podcasting and meetings, so take advantage of the USB connectivity for recording outside of music. It’s user-friendly and wonderful in various recording situations. Overall, it’s really convenient to have a mic with dual connectivity. It’s hard to break a Shure mic from a drop. Their mics are basically superhero strong, seriously.
It’s also a super sturdy mic, which Shure is known for. The mic uses voice isolation technology to reduce unwanted background noise. Take it on the go and use the USB connectivity or use an audio interface or mixer for a professional setup at home or in the studio. The mic is still one of the best, and Shure created a wonderful mic for musicians and creatives to use for years. A dynamic mic will also be a great pick for capturing instruments as well. The mic is a dynamic mic, which technically isn’t our first choice for vocals, but a dynamic mic will definitely come in handy for those with intense, powerful vocals. It's cheaper than certain plugin bundles and it sounds awesome.If you can’t decide between a USB or XLR mic, consider the MV7 from Shure. If you're look for an all-in-one vocal processing solution, you might be interested in the very affordable dbx 286s hardware channel strip.
#Smooth sound studio how to
As with most other things in music production, it seems hard until you know how to do it. Compressing a slightly broader frequency range yields a more natural result.īy using a pop filter, gain automation and a de-esser, it's quite easy to reduce sibilance in your vocal recordings. There's a reason I'm not suggesting to set the crossover points at 8kHz and 10kHz when I do this, I find that the compression becomes too noticeable. Slowly move the crossover points towards one another until you zone in one the sibilant frequencies. The crossover points that work for the vocals you're processing will vary, but most sibilance sits somewhere within this range. I recommend starting with your low-mid crossover point at 6kHz and your mid-high crossover point at 14kHz. The sibilance in male vocals usually sits a little lower on the frequency spectrum than the sibilance in female vocals.
Moving the crossover points of the bands can be helpful in achieving a natural sound as well. If the compression sounds unnatural, try increasing the release time slightly. Slowly bring the threshold down until you hear the sibilant sounds lose their harshness. Start with a ratio of 4:1, an attack time of 10 ms and a release time of 30 ms. The low band and the high band can be turned off, but the middle band is going to be used to compress the sibilant range (8-10kHz). If your multi-band compressor has three bands, you're only going to be using the middle one. If you can place a fist between the mic and the pop filter, it's been positioned at the correct distance. The pop filter should be about 6 inches away from the mic. Next, you position the filter so that it's between the vocalist's mouth and the microphone. The first thing you do is screw it onto your microphone stand. With less air shooting directly towards your microphone, you greatly reduce the plosives caused by consonants. Your vocalist stands in front of the pop filter and sings through it into the microphone. Pop filters can be made out of various different porous materials and their main job is to disperse airflow. The easiest way to reduce plosives, at a recording level, is by using a pop filter. Pop Filtersīefore fixing plosives, it's important to reduce the amount of plosives that you record. When bursts of air hit your microphone, they cause sharp transients to appear in your recorded audio file. Air flow is stopped by the vocalist's lips, teeth, or tongue, and then released with a huge amount of force. Plosives are created by the large amount of air that's pushed out of the talent's mouth all at once.
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