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Found 65 results

  1. Hey Guys i'm new on this forum, I would really appreciate your opinion about my High C bandicam 2019-02-25 18-45-28-988.mp4
  2. Hi I'm Gezeus Quiryst and I'm a singer and mixer for the anime and vocaloid community and sometimes sing western songs. I want to share these budget microphones with the best quality out there. I have listed the top 5 professional sounding microphones. The ATR2500 is my current microphone. Here's an example of my cover using ATR2500 with no audio processing besides reverb, here. USB mics are plug&record and best for home recording with no other equipments involved besides a pc/laptop. If you want more info about these microphones or other suggestions for cheaper or pricier microphones just reply here and I'll answer as soon as I can. Hope this helps my co-singers!
  3. Hello Fellow TMVW members! Humbling though it may be, I thought I would share a track I'm working on, (Beatles - In My Life) and the vocal "sculpting" process I go through in an effort to record my best performance. (I'd never share unfinished tracks except to friends and in this forum . . . plain vanity) I've had a lot of experience analyzing my vocals for recordings, I never quite knew how to articulate the process I was engaging in nearly as well as after having gone through The Four Pillars of Singing, learning the "talk track" I've heard Robert Lunte utilize across many hours of lecture videos! Once one is familiar enough with these "mechanisms" for mending, strengthening, or otherwise fine tuning a vocal line, the mystery about what to do goes away! Rob's techniques are structured in a simple, yet meticulous sequence that really does create the feeling of having a vocal sculpting tool box! I'm posting this both as a subject of interest to others who may be starting out with this type of challenge, and as a means of accountability for me to complete the process, which has been brutal for me due to inexperience with the recording software. It's good for me though, as I intend to record several old hit favorite song interpretations in the coming months. I'll post my final "sculpture" here for this track when I finally complete it. "Work to be done" on this vocal performance is: Pitchy lyrics / appaggio drop out, vowel mods for best resonance, better phrasing, embouchure brightening, slight lightening of mass throughout, . . . . I'm sure there's more, also, rhythm guitar mistakes, and guitar solo is not quite tight yet, not happy with the effects on my voice yet either. I'm contemplating leaving the last "in my life" line unresolved like it is now. I was trying to sing that last half of the last line and had to quit recording due to a leaf blower. I think i'll like it that way, maybe with a high harmony over the top. Lastly, I may end up using a different mic than I did for this take. One thing that clearly gets hammered home in this process is that performing live is a far more forgiving environment than being under the microscope of a recording. Peace, k
  4. Hi there, Why does this spectrogram of me singing a scale show more than one frequency at the same time?
  5. Hi Everyone! When recording a powerful voice on LogicPro and/or GarageBand, what sort of compressors or settings in the compressor should we tweak so that the output of the voice is limited and will not explode into the red volume zone, without losing the volume on the softer singing parts?I understand logically that singing further away from the mic when singing loudly often does the job, but I've seen producers slap on a compressor of some sort that prevents the voice from "exploding" (and sounding distorted) without the singer having to pull themselves away from the mic - anyone know how to do this? Please share
  6. Please go and visited my channel and view some videos www.paytonsellsmusic.com
  7. European company JZ Microphones is amongst many manufacturers that offer a modern take on vintage sound. Their Vintage 11 (V11) is said to produce very smooth sounding top end, and in theory, should be very good for voice-over work. But the concept of “modern vintage” still sounds a bit vague and lacking explanation to some. Needless to say, we got our hands on one of these mics to see what it does. When it comes to striking visual design characteristic of JZ Microphones, the V11 is no exception. This thing looks like it belongs in the interior of an expensive luxury car, perhaps as an ashtray or a compartment for your diamond encrusted smartphone. A modern take on a vintage sound The V11 is a high-performance cardioid condenser microphone with a one-inch gold sputtered capsule (JZ Microphones patented GDC capsule making technology). JZ Microphones claims that while the microphone is quite versatile it works best on acoustic guitar, vocals, and wind instruments. The frequency graph of V11 shows a noticeable bump in the lower end and suggests it is designed to deliver smooth, rich, and warm sounds. The V11 has a large diaphragm 27 mm (1,06") capsule, extra low self-noise level (6,5 dB (A)) maximum sound pressure level (SPL) of 134,5 dB, class-A discrete electronics, and gold-plated output contacts. It comes with an external specially designed shock-mount and, just like all other mics that JZ Microphones produces, is handcrafted. Noticeably above the similarly priced competition Opinions about microphones are subjective, but it has to be mentioned that V11 has caught the attention of award-winning producer Rafa Sardina (Lady Gaga, Beyoncé, Stevie Wonder). Sardina has repeatedly stated that he loves many JZ Microphones products and judging from the interviews, the V11 is one of his favorites. We tested it on both male and female singers, trying out a number of singing styles and settings.6 Other “Vintage” series mics (V47, V67) are supposedly made to bring back the sound of all time classics but with the V11 (11 stands for 2011 – the year in which the mic was launched) the company’s founder and designer Juris Zarins hoped to create a microphone that would give you a vintage vibe, but with quite a bit of modern mic-making tradition present in design and during production. The sound, however, shows why JZ Microphones is confident enough to call it the “next classic” on more than one occasion. It proved to be a true gem when it came to spoken word performances. This microphone doesn’t look the part, but it is indeed an excellent tool for radio and performs exceptionally well as a voiceover microphone. Minimal to no EQ intervention is needed, in my opinion. When it comes to singing, it is quite warm yet does not lose clarity. Also, if the bass lift is not welcome at all, you can deal with it easily. The built-in shock-mount is very simple, easy to use, and actually works. The V11’s price tag makes it fair to compare it to all other work-horses that are used for spoken word and broadcasting, and the V11 stands out with a more refined, classy sound. You can just feel that it wasn’t designed as a budget microphone meant to overwhelm the market. They’ve obviously put serious thought into it. I can’t find any problems with construction or sound. I’m going to guess that the reason for this is that the company mainly produces expensive “premium” class microphones and hasn’t really optimized the V11’s production to fit the mid-range price tag. I am pretty sure that most if not all of the high-grade components they use for their most expensive mics are in the V11 as well. After all, are there many other mid-priced microphones that have impressed the likes of Rafa Sardina? In conclusion All in all, what strikes me is the big picture. From what’s written in brochures, the big claims and peculiar marketing strategy might make some buyers confused. I’m still not sure why the whole “modern yet vintage” concept was chosen. In reality, it is simply a very good, very well built, warm-sounding studio microphone with an attractive price tag (and from what I can see, they have generous discounts very often). Someone who is operating on a budget looking for that hi-end studio sound should consider the V11. Accomplished pros have no reason to shy away from it, too. Granted, it is not made to compete with and function like more expensive studio classics, but it is so much more (I can’t stress this enough) than the price tag suggests. Find out more about JZ Microphones products.
  8. For about ten years, a European company called JZ Microphones has made its flagship Black Hole 2 (BH2) studio microphone, supposedly a versatile, visually stunning, and beautifully sounding mic that “easily finds its place among celebrated all-time classics”. It seems that up until now critics have showered this piece of technology with one favorable review after another (to the point where it almost gets a bit ridiculous), so we thought we’d give it a try and see if it really deserves such generosity. The looks JZ Microphones present their BH2 as a “premium”, “high-end” studio microphone, but I’m sure most of you will agree that it does not really look the part. First of all, there’s a hole in the middle. The microphone seems to be rather small and thin, and it doesn’t look like it will fit in a standard spider shock-mount. It leaves you with quite a few questions when you unpack it for the first time, but let’s take a look at some important facts in the brochure. The tech BH2 is a fixed cardioid, large diaphragm 1,06" (27mm) condenser microphone with one large, true electrostatic capsule inside the compact head. Qualities that make it stand out amongst the rest of the herd are JZ Microphones’ patented capsule making technology, Golden Drop Capsule (GDC). Once this technology is implemented, it gives the microphone extra low self-noise level of 7,5 dB (A), discrete class-A electronics, maximum Sound Pressure Level (SPL) of 134,5 dB, and a unique reverberation-canceling shape. It also comes with a specially designed shock-mount and is made by hand. The sound When we decided to test the BH2 we came up with quite an obstacle course: we would use it in all sorts of vocal applications with numerous singers and different types of voices. Upon playing back the very first takes, it became clear how unfair it was to judge this microphone by its looks. The recorded voice sang to us with almost no coloration yet the sound was very flattering (especially for male vocals, as it later became clear) and seemed polished. BH2 presented itself to us in a very primal way. It was like being approached by a large wild animal: you feel its presence instantly. There was no need to analyze the sound or compare it to something else. It was clear right then and there that this mic should not be disregarded. It produces very crisp, detailed voice recordings and would probably do an amazing job with rap vocals. It performs very well both close up and from a considerable distance and captures clear recordings of multiple singers at once. Sure, it gave off U87 and C414 vibes (as often mentioned in reviews), but the amazing part that there’s a very large, dominating chunk of its own personality in there. It delivers the actual sound of whatever it is you’re recording with no apparent noise and features ridiculously low, yet beautiful coloration. This microphone is made for professionals and should be used in high-class studios. To a seasoned recording engineer, it will deliver the pristine sound that is expected of such a specialist. To a singer, it will bring out the very best characteristics of your voice. To someone who is not yet ready, it will tell it to you straight and emphasize your shortcomings. There is no disputing that putting “premium”, “high-end” (or any other fancy English words that the BH2’s European engineers can think of) on to the box of this microphone is completely justified. Although the unusual shape and origins of this microphone can leave you perplexed at first, it soon becomes clear that back in 2007 when JZ Microphones created the BH2, they came up with a whole new design for technology that recently celebrated its 100th birthday. Find out more about JZ Microphones products.
  9. I have used Audacity to record Cassette tapes from years ago. Most of my recording have gone OK. On a few of the recordings I can see the wave form but when played normal I cannot hear the recording. If I split the stereo tracks and set one to SOLO, I can hear the recording. When BOTH tracks are playing I cannot hear the audio or it is very quiet. I have a feeling that I somehow set the tracks out of phase and the the tracks are cancelling each other out. Any Ideas on how to get the stereo playback working again?
  10. Hello all, I used to use a crappy USB Art M-one condenser mic but after doing much research have upgraded to a Scarlett 2i2 combined with an MXL V67G. Problem I recorded myself and to be honest, while the recording is clean and clear (at least compared to my crappy USB condenser mic), it sounds so different from when I sing in person. This recording lacks power, and it just has this really dampened feeling, and sounds so boring compared to myself singing in person (friends who I show this to agree also). I'm wondering if this can be fixed just through software like EQ-ing and compressing, reverb etc, or do I need a better mic? If I do, I would preferably like to spend below $100. Recording Info The recording I have below is just noise reduction and normalize, no compression, reverb, equalizer nothing. I have tried some basic compression & reverb on another recording and while it improves the output (have not uploaded this MP3 yet), still doesn't sound the same as in person. Am I just a newb at EQ-ing? Or is this a microphone limitation? Recording below EDIT: If this is the wrong forum, mods please move to correct one
  11. Hello everyone, recently wrote some songs at home and recorded them. Would be a pleasure to get a litte review, tipps and advice from you! Hope you like it! A link to my page: https://www.facebook.com/simon.meyers.18 Thank you very much! Kind regards Simon Meyers
  12. I thought I would do something special for Valentine's Day. Happy Valentine's Day everyone! I have sang this style in years, so doing it in one take was definitely a challenge. I had fun going back to my Gospel roots, especially playing with sob vocal mode and distortion in that Gospel placement.
  13. Looking to get some equipment to record my voice with. Any good recommendations as far as a USB mic goes? I'm looking to see if I can get a decent one for under $200. What else would be good to have equipment-wise or software-wise? I have an MIDI keyboard that I can play fairly well, and a couple guitars as well, so I may play some stuff that I would want to transfer to the computer. And as far as software goes, I can also use software that works on Windows (7 or 8) or Mac (Mavericks).
  14. Microphones from NAMM 2018! Click "22 New Photos" Below
  15. Robert Lunte and producer Jason Shavey mixing a new song, "The Fool That's Now Forgiven". Just a casual behind the scenes video of two guys working on a great song. This board is an SSL4000g. The microphone was an ADK U67. Enjoy! http://www.TheVocalistStudio.com http://www.SynergyNW.com
  16. The Carbonphone by Placid Audio is a very unique microphone for anyone who is interested in experimenting with sound. Its military grade carbon granule element captures sound and creates a "lofi" sound that is naturally distorted. Creating sounds similar to scratchy vinyl or an old military radio, this microphone is perfect for anyone looking to recreate a more vintage tone or anyone looking to create something new altogether. Included with the microphone is the Tone Box which provides the current which is needed to power the microphone. While the microphone can be powered by any standard 9 volt power supply, the Tone Box can also shape the sound through a variable five position filter circuit. Each selection on the control knob offers a different frequency response, allowing the Carbonphone to be used on a broad range instruments and for various applications. Because the sound of Carbonphone has a character unlike many other traditional mics, it makes a great addition to any recording enthusiast’s arsenal of microphones. It can be used as an all out obvious ‘effect’ on it’s own or it can be paired with other traditional microphones for infinite blending possibilities. The Carbonphone is a perfect microphone for any person looking to update their studio with new sounds but it is also usable for live performances and with its high durability and great resistance to high pressure sound levels. FEATURES Military grade carbon granule capsule Fully balanced output Quality Hammond output transformer Rugged copper housing and components Powered 5 position variable filter Tone Box Tone Box doubles as a phantom power source Tone Box can be used with other microphones 9 volt power supply for Tone Box High quality Nuetrik 3 pin XLR connectors Handcrafted in the U.S.A Lifetime operational warranty Adjustable aircraft aluminum mounting bracket to fit North American style stands (will fit European style stands with common threaded adapter) SPECS Type: Carbon Polar Pattern: Cardioid Frequency Response: 100Hz ­- 10kHz Impedance: 600 ohms Output: 120 +/­ 2dB SPL @ 1 kHz Mic Dimensions: 1.75 x 5.5 inches Tone Box Dimensions: 5.25 x 4.25 x 2.25 inches Mic Weight: 1 lbs. Tone Box Weight 0.70 lbs. *The Modern Vocalist World is brought to you by The Vocalist Studio, course and training for singers.
  17. The Chantelle Microphone by Ear Trumpet Labs is created to be the best live vocal microphone, bringing the clarity and warmth of a large diaphragm capsule to a low-profile body. In addition to a smooth high end with no harsh tones and an upper-midrange emphasis, included is also a full foam pop filter for even greater sound control.With exceptional feedback rejection, the can be used on even the loudest of stages.The microphone comes specifically tuned to handle any stage and still provide excellent feedback rejection. Chosen by performers in diverse genres, from R&B (Andra Day) to indie folk (Rachel Sermanni) to roots (Dustbowl Revival), Chantelle has a beautiful copper body and distinctive aesthetic that will inspire singers to give their best performance. Chantelle is an end-address large-diaphragm condenser with a flexible pivoting body, excellent for vocals live, in studio, and in videos. This microphone is perfect for any vocalist wanting a diverse sound with a great amount of control over feedback and tone. With a great design and a very slick aesthetic, this microphone is sure to be a great addition for any singer's arsenal. FEATURES Hand-made microphone with unique appearance Side or end address, using pivoting bracket Capsule and electronics tuned for close vocal use on the loudest of stages with excellent feedback rejection Internal shock dampers for minimal handling noise Integral silk and mesh pop filter, for effective control of plosives without loss of clarity Transformerless FET fully balanced electronics Highest quality hand-wired electronic components - film caps, precision resistors, hand tested and matched transistors, with component values tuned for the individual circuit. TECHNICAL SPECS: Transducer Type: Condenser, large (26 mm) diaphragm Polar Pattern: Cardioid Frequency Response: 20 - 15K hz (-3dB) Sensitivity: -49dB (4 mV/Pa) Output Impedance: <50 Ohm Noise Level(A-weighted): <17 dBA Power Requirement: +48V phantom power Weight: 1 lb (4 lbs cased) Dimensions: 8” x 2” x 2”; head is 2” in diameter Sku: ETL-CHANTELLE Hear The Chantelle *The Modern Vocalist World is brought to you by The Vocalist Studio, course and training for singers.
  18. Anyone knowledgeable on uploading videos with audio from an artists song? Like legal stuff and the route of dealing with youtube? My John Legend video just had a copyright claim on it by Som Livre, Varios...I think it's some company in Brazil. I don't even think they are tied to John Legend. It said I could post it but not make money off of it. I'm not trying to. But, I figured I would "dispute" it for two reasons. One, fair use laws in Canada are pretty good, from what I know of. And two, I don't think they even own the copyright.
  19. Hello guys, I am new to this industry with zero experience. Long story short, I would like to record a radio quality song. Unfortunately where I live there aren't any vocal studios, Therefore, I have to create my own at home. I did some research, However, I have got four main questions, please give me your advice from your experience guys! First Question: I am going to buy mic NT1A, Focusrite scarllet solo audio interface with pro tools, mic stand, low Z xlr microphone cable. Now, are these products good as a beginner? I will not be recording any instruments. I will hire a producer online to do everything. I just need a clean recording. Question is, do I need any extra items? Second Question: I read so many times that background noise is a major issue etc... What can I do in order to avoid that? Keep in mind that i am "creating" my own home studio. Third Question: What is the order usually in chronological order -> recording, mixing, remixing, producing, mastering? How does it work. If I hire a producer is he or she supposed to do everything? and all I have to do is record? Or is a producer's job different than mixing, mastering etc.. Fourth Question: I wrote my lyrics and its all good. However, usually how do artists come up with "how to sing the song" like, do producers usually demo the song? Since I am relaying on the producer to do the beat, so is the producer also responsible for "demoing" it? Thank you so much guys, If anyone has an idea I would highly appreciate it! Have a good one!
  20. Hi All, I have a Singing machine SMG-138 and the microphone which came along with it was very bad. I wanted to do some good home recordings so I did some research and went ahead and bought a Shure SM58 microphone. Now the problem is that though the microphone is good , it seems the small karaoke machine speakers cannot deliver enough amplification or power for the speaker. I really have to place the Shure mic almost inside my mouth to get some voice out of the speakers. This is very frustrating after buying a microphone praised so much by the community everywhere. Can you please suggest a speaker/ pa system for my home which will go well with the Shure SM 58 , It will be better if it is a two speaker system so that I can place it in the two corners of my living room. It should sound nice when i sing in front of my guests without me putting too much effort. I believe with the right gears singing should not not need shouting which is what currently i am doing :). Price range : 200 to 400 USD , but I am open to suggestions.
  21. I use a digital recorder that records the effects in real time while recording. With this recorder I cannot add effects after the track is laid down other than a master effect which is applied to all tracks. I usually check for decent sounding preset for my microphone before recording and use headphones. My questions are.....How much does this effect the initial sound being produced by you the singer. And can it interfere with overall voice production? An example would be....Does too much Bass in the EQ lead to a higher larynx to compensate for the sound and vice versa, too much treble lead to other compensations. ect...
  22. Hi Guys, I would like to welcome you to my new website where I offer accompanying services- I provide already pre-recorded tracks as well as customised ones. Don't hesitate and get in touch. https://www.pianoaccompanimentforyou.com/
  23. Hi there, I am recording a piano tune for something. I bought these pianos are numbered up different ! http://virtualpiano.net/ http://piano-player.info/ Can you please tell me which notes are middle C ? Thank you
  24. Hello TMVW Friends! Yesterday I shared a Youtube video slide show with Robert Lunte, which I had created to accompany a Song I wrote for my Dad's memorial service. He passed away, early last December. Normally, I would not have posted it here, only because I'm a tad self-conscious about being perceived as "fishing for compliments." Rob urged me to share it so I am doing so. I am proud of the song, and I'm just like anyone else, I do love compliments yet, because this is not a "review my singing post" that I am paying for, I want you all to know that I'm not opposed to "discussions" regarding my singing on this tune. I will give some back story on my Dad, some "behind the scenes" notes on the recording, then list some post recording observations about my vocals which I have had recently, those should ring true to discussions that are commonly had here at TMVW. My Dad: A pump engineer who's family business focused mainly on groundwater applications. After having the opportunity to help an orphanage in Mexico establish a much needed water well, he realized this was something he could do all over the world. He founded the organization linked here https://lifewater.org/ , back in the mid 70's which grew over the years to it's present impressive status. He and my Mom raised my two Brother's and my adopted Sister, and I, in a fundamental Christian tradition. While I have moved to a more "Mystical" type of Theology in my adult life, I revere, and am grateful for that upbringing. I did my best to honor this in the song. My Dad played Double Bass, and left a legacy of music for my siblings and I, my kids, and all my siblings kids as well. The recording: Recorded at Mindseye Productions http://www.mindseyeprod.com/ Arizona. My long time friend Bill Pearson is the owner. He is a master engineer, producer, & composer with a Grammy! I'm really lucky to know him. He's the reason I got some great studio vocal experience back in the late 80's and early 90's. After I wrote the song, I didn't have much time to rehearse the guitar plus, I have fairly bad carpal tunnel in both wrists so, my rehearsal endurance on guitar is limited to about 20 or 30 minutes per day. Due to this I ended up playing each (repeated) guitar section of the song only once or twice, then Bill copied and pasted. He made some beautiful embellishments on the keys, and added a nice sampled Double Bass & percussion tracks, which he composed and performed. This made it feel like my Dad was playing along with me, really moving for me! Also, I only had a rough idea of the melody, I wanted to sing it live and let any inspiration flow that came along. This made extra work for Bill because it took quite a number of takes to get the melody just how I liked it. Bill suggested the "speaking line," which I was hesitant about at first but ended up loving it! (That's what good producers do). My Vocals: A re-occurring experience for me, when it comes to studio vocals is; I will usually "o.k." a final take, then regret it later, wishing I had punched a "better," or "different" take. This happened on this recording. There were a few lines where my vowel modification was less than ideal. Also, one line in particular where I didn't use the best appaggio. Maybe you can spot those. Lyrics are in the Youtube description if you're interested. I strongly suggest using headphones or really good speakers!! Thanks for listening! k