The most common non-technical problems encountered when recording vocals are sprayed wheat, lip-toothed sounds, and saliva sounds. The most troublesome thing is that no matter how carefully you pronounce the word, this problem is still difficult to improve immediately or completely; even the musical expression, the pitch and the beat have reached the perfect state, but always appear at the key points of certain words. Wheat, lip and tooth problems, this is really a very beautiful scenery. Today, Xiaobian will share some ways to improve this type of problem.
1 hood hood, commonly known as saliva hood, the material is mainly made of wire mesh & metal mesh (fluid mechanics / spoiler). In addition to installing the hood, it can prevent the droplets of water from directly spraying on the microphone, which can protect the microphone and prolong the life of the sounding diaphragm. It can also effectively reduce the sprayed wheat caused by special biting and pronunciation. In addition, some lip and tooth sounds are excessive. In the case of high-frequency harshness, it is possible to cross-replace the hoods of the two materials to improve such problems.
2 Microphone angle As an example, in order to reduce the resistance to the wind, the body angle will be slightly inclined during the race, or wearing a tight-fitting clothing is to reduce the large resistance of the windward surface area of ​​the body. Therefore, during recording, the tilt angle of the microphone itself is slightly adjusted, so that the shock mode does not directly receive the shock wave of the sprayed wheat and generates a low-frequency sound.
3 The sound vocalization position relative to the projection position of the diaphragm is quite similar in principle to the previous point, but the singer itself adjusts the position of the sound to the microphone, making the sound abnormally slightly misaligned and deliberately recording the sound diaphragm. Such a radio mode can significantly improve the condition of the sprayed wheat and the lip-tooth, and the effect is even better with the use of the windshield.
4 Radio Distance This refers to the distance between the singer and the microphone. In fact, each different type of microphone of different brands will have different personality and characteristics, so how to handle the distance from the microphone, how to interact with Vocal and the microphone, it is better to have a more experienced and familiar microphone. The characteristics of the sound engineer to adjust; the sound engineer uses his professional judgment and experience to determine 'how much distance to adjust to improve the spray wheat & lip-tooth problem' while retaining the best radio effect.
Proximity Effect: This effect occurs when the distance between the singer and the microphone is close to a certain level (different types of microphones, different seismic design principles have different proximity effect distances). Along with this effect, the mid-low frequency of the sound will become more prominent, and the tone of the singer will be significantly enlarged as a whole (most of the details of the tone are hidden in the middle and low frequency sections; but because the distance of the radio is close, As a result, the problems of sprayed wheat and lip-tooth sounds are also amplified in energy. The problems of lip-tooth and saliva sounds are also intensified.
Usually when recording, the recommended radio distance is 1 fist from the microphone cover to the microphone, and the distance from the singer to the microphone cover is 1~2.5 fists; the above is the basic operation suggestion of the common microphone type, if you are not familiar with the distance More suitable, it is recommended to refer to the microphone manual and actually record the sound characteristics produced by various radio distances.
5 manual processing In fact, after completing the recording, if you carefully observe the soundtrack, you can find the position where the problem of sprayed wheat, lip-tooth and other sounds occurs. At this time, the volume is slightly pulled down or cut directly before making fade in/ The process of fade out can be done. However, it is still necessary to pay attention to the changes of the ventilation before and after the tone and the fluency of the tone to avoid causing emotional interruptions and inconsistent sentences.
6EQ/Plugin
This is probably the most popular way for most people to use EQ to attenuate the frequency bands of a certain lip or spray or to use a plugin (ex_De-Esser) that automatically detects such problems for automatic processing. However, from the perspective of the sound engineer, if you can manually process the pre-recorded and spliced ​​selected tracks, the entire human voice track will have more natural dynamics.
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