So I plan on recording an operatic soprano with a pre-made instrumental. I have spent a decent amount of time trying to figure out the recording aspect of this, and while I have the option to record in a studio for gratis, the engineer is only providing me with one session for free. I realized for something like this I would need more than that, so I started looking into vintage sounding ribbon microphones, and by the grace of members of this site I came across the LRM-2b/L ribbon microphone with a Lundahl transformer plus a Triton Audio FetHead Class A pre amp to prevent destroying my microphone on accident since my interface (Steinberg UR22mkII) has phantom power. This is I think the best mic option if I want to make the track on my own time with as many takes as I want while also emulating the classic style...this all being said I do not have a good room so I have been hesitant to buy it. My bedroom is the only place I can really record which is old and squeaky, and just generally very reflective. My plan was to make a sound booth of PVC pipe in the corner of my room, and cover it with sheets and other sound proof materials, but I don’t know if there is a much more reasonable option. After spending time planning to make this booth I realized this specific project also really begs the question of how big this space would have to be.

 

Last edited by a moderator: Apr 18, 2020

sm58 & headphones...

don't spaz out about these details. get your ideas down and if they are up to par opportunities to record in better conditions will present themselves. At very least you will write your lines out clearly and the one session you have on offer will suffice.

good luck!

 

Last edited by a moderator: Jun 20, 2019

Try something like this maybe:
https://www.thomann.de/gb/aston_microphones_halo_shadow.htm
https://www.thomann.de/gb/se_electronics_reflexion_filter_x.htm

 

Or DIY some very cheap acoustic panel:

 

Imho, an opera voice should be recorded in a proper room, and not with an SM 58. I actually would prefer doing it outside, out in the open, instead of using that room.. Even if you would stack it with loads of absorbers, which would make the room lifeless anyhow..
Another option: isn't there a local theatre where you could make a recording?

 

Thank you for the reply, could you explain more in depth of how something like a Halo that BLUE suggested would make it more lifeless? I could record outside or maybe at my school’s choir room, but I would prob need to get like an H6 or something. You know of anything that I could invest in if I wanted to go that route? I also don’t want to mess up the mix in whole if I record the raw vocals in a wet space...but maybe the lifeless thing you were talking about combats that. I am not sure, I am completely new to the recording world, and I just need some clarity. Thank you!

 

Thank you for the suggestion, how does the Halo rig operate exactly? Do you have experience with it?

 

No sorry,I don't record vocals.I can't tell you how good it is.

Or make yourself something like that: (sorry page not in English)
https://www.floatingpointaudio.com/paravents_acoustiquies_3_pieces.html

But as boomoperator stated recording opera vocals is apart;usually they are recorded in theatres,so I don't know what result you'll get recording in a small room.Maybe it could be worth to have a try?

 

I've found a test for the Aston Halo,read it if you want:
https://www.soundonsound.com/reviews/aston-microphones-halo

It looks like it's very efficient,positive feedback.

 

@Mixtic: These Halo absorbers could be working with lower volumes, but don't forget an opera voice can pack a punch! So you'd still hear the room.
The SM58 microphone electriclash suggests is less sensitive to the room you're recording in, and ok with loud voices, but maybe too 'rough' and not for an opera voice and it's dynamics. Go-to microphones for opera usually are condenser mics from Schoeps, Neumann and DPA, placed at some some distance from the voice (at least 1 meter). These mics are probably outside of your budget, but they also can be rented. If an H6 is all you can get, then use that for remote recording.

True, recording a wet voice, then adding it to dryer mix is something to be worried about. Which implies out in the open is a better place to record. If you do wish to record inside: 'spoken word' theatres are usually pretty dry places, maybe they acoustically treated your choir room.
Stuffing your own room with absorbers is something different than creating proper acoustics. You have to get rid of that mirror anyhow

 

Last edited: Jun 26, 2019

With modern gating and other tools, isolation is not that important. If you don't have a good sounding room, then you are looking for a db distance between singing and background. Isolation sounds weird when your in it singing, so you need a nice verb to help you sound nice in the cans. Make the headphone mix the most inspiring mix that you like but doesn't distract you from pitch, etc. I have a closet with Aurelex. These work, also. https://www.amazon.com/Monoprice-Microphone-Isolation-Shield-Absorbing/dp/B00GR9W1MS

 

It might seem a bit pricey, but this is what I'm going to end up getting for vocals:

https://isovoxbooth.com

It's portable, so I can set it up on the road in a motel room, if I have to, it's easy to set up and easy to store in a closet when I'm not using it. And, unlike the Astin Halo or the other mic-mounted reflection guides, it solves the double problem of keeping reflections (and outside noise) out while also preventing your singing from disturbing anybody else.

 

Last edited: Jun 30, 2019

Since it seems that capturing your voice is your priority, treating a corner might be your best bet on fostering that wish. Blue posted that DIY panels video which could be a very good way to go. A yard or meter on both walls floor to ceiling and a square meter or yard on the ceiling above your head will complete your mini enclave. To the left of the window seems the best place for it as your monitor (actually both) are not conducive for studio work, the left one especially in a very odd placement as of now. They need be in an approximate equalateral triangle with the tweeters at ear level, your head being one of the three angle points. You could also create a gobo (a free standing, movable treated wall) to cut the reflections and that you could stow in your new corner when not in use to keep it out of the way.

Another alternative would be to get a hold of, if you don't already have one, a laptop and create a little mini portable rig that you could use and seek out cool sounding spaces like tunnels, a school auditorium, churches etc, to get some natural ambience on your recording. large churches, synagogues and mosques are particularly nice.

 

Last edited: Jun 30, 2019

Could you give an example of a “gating tool” being utilized, and explain how it could help me in the long run. It sounds like a possible solution. I like the idea of having a natural reverb, I always thought live reverb has a certain quality I haven’t found in any plugin. My idea was to record my main vocal dry, and then layer it with very a wet recording in a large space to give it a natural depth. I don’t know how this would be achieved in full context, but it’s just an idea.

 

Thank you for the response, I’ve known for quite some time now that my monitors are not anywhere near their potential, and I end up just using my crappy earbuds, and mixchecker pro to try and find a happy medium. I mainly use the subwoofer I have when “mixing” to find any sneaky low frequencies. I think I would just need someone to help me out, because my room is pretty small and cluttered.

When it comes to the recording situation I think doing a DIY enclave in my corner could be good. Should I buy something/create a wooden barrier like the second picture you posted, and possibly extend it outward with panels attached? or are you saying I should just have the panels cover my walls, and ceiling coming out of the left corner about a meter? Thank you

 

What do you think about layering a dry vocal, and an ambient wet (outside) vocal together? Because I think adding artificial reverb to an operatic voice doesn’t sound right. I’ve tested how it sounds with spaces in altiverb, and it just plastic. Maybe I’m missing something or there is some kind of latency issue on my end, but it seems to just lack the depth and soul I’m looking for. This kind of reinforces the idea of what you’re saying about recording outside, but I also like knowing there is a dry vocal in the mix to help bring out certain frequencies during certain moments. I don’t think that would be as easy with a wet mix that is recorded outside or in a large space.

 

Wow this looks interesting have you had any personal experience with it?

 

Yeah, it actually works -- the only real downside is that it's a bit awkward to stick a vocalist (and a mic and a pop filter) into, but once you get past the awkwardness, it's worth it.

There's also a few other solutions around. I remember they used to sell a full-sized "portable" recording booth in the back pages of Recording magazine for about $600 (can't remember the manufacturer) and there's also dedicated sites like "Vocal Booth To Go" you can search.

 

Last edited: Jul 3, 2019

Either way will work, you could have a portable system or hang two long panels in that corner. It would be in my estimation be advantageous to also throw up few more in your room to quell the reflections. Although you cannot see the whole room, Vincent has material around the whole space. His is a larger and dedicated space, but you could make it so your own room sounds good. Also notice the distance from the mic that he is singing from, at least a foot and a half away.

Remember, your ribbon mic picks up signal from both sides, front and back, so what is behind it needs be not aimed directly in a corner to avoid nasty reflections unless of course that corner is well treated. There is also what is known as a null which is 90° to the front and back and which will pick up not much sound.

PS You definately want a pop filter as ribbons can be damaged by bursts of air.

 

Last edited: Jul 3, 2019

Lol jesus. I made DIY panels out of owens corning. About 16 of them. More than enough to know that leaving that stuff exposed to the room to just... fall apart over time is a terrible idea. If someone bumps into it, it puts a gouge in the material and starts snowing little shards of pinprick hell