Kind of a resource I can refer people to if and when these questions come up, you know?Īll these questions were asked via the Facebook Page, Twitter or received directly by email and they’ve all been asked several times by a few different budding Garageband Ninjas….
GARAGEBAND HOW TO HEAR VOICE WHILE RECORDING SERIES
Now, I LOVE answering any questions about Garageband – hell, helping you master Garageband is what this site is all about, but i’ve been wondering recently if having a series of posts that answers some of the questions I get asked the most would be a good idea…. Trying to copy John Lennon's diction, for me, and Roger Daltrey's,Jim Croce's, Cat Steven's, Glenn Frey's, etc., turned out to be the best tutorial I ever got in mic technique.As The Garageband Guide grows (there’s more blog subscribers pretty much every day now, as well as a rapidly growing community on Facebook, Twitter and YouTube) I get asked more and more questions about how to use Garageband. What you *can* do, is copy their diction. You can't make your voice sound like 50 different recording artists. That's one of the advantages you gain from working in a cover band for a while. That's what comes from standing in front of a mic that long (and being a genius). He had literally dozens of them, which were created for specific songs.
He changed diction like most people change T-shirts. Some people have 2 dictions- speaking diction, and microphone diction. You have to learn to change the way you pronounce words, it's that simple, and that difficult. There is no magic wand, including a de-esser, that can make sibilance go away, and worse, while it is making *some* of it go away, it is also eliminating sounds it didn't need or want to. The good ones figure out that no matter how good you are on a stage, you have to learn different skills to make really good recordings. Unsuccessful performers take the attitude that they are just great, and it is the studio's job to translate that into a recording. In fact, many of the things you do on stage that make you successful work against you in the studio. The fact is, the skill set of a live performing musician and the skill set of a recording artist aren't the same. This lesson is a sub-group of a bigger lesson.
Really good mic singers will also shorten dipthongs, words where you are transitioning from one vowel to another, such as "ow" or "boy". The point is- the way you pronounce words when you are speaking is not how you do it when you are singing into a mic. You actually have to think!!! while you sing, and shorten/lighten every S sound you make. Most people don't want to hear the real answer, but here it is- the singer needs to change his or her diction. The problem is, both of those techniques mess with the sound, more so with some mics than others. You can also decrease sibilance by changing mic position, so the singer is singing more off-axis, *past* the mic capsule, rather than *at* it. IMHO a "de-esser" is an ineffective tool, as a rule, although it can have some uses for controlling minor sibilance.
0 kommentar(er)
