For example, I pick a vocal microphone with a natural EQ bump or cut that is what that singer needs. I pick the microphone that does some of the work I need. I’ve adapted this idea into microphone selection. As he put it, “let the angle of the club do the work.” My accuracy increased and my score dropped – a double win! One day, a pro told me to use the next club up and swing easy. Because of this, my accuracy left a lot to be desired. I play golf and I used to smash the ball as hard as possible with whatever club I used. Reverb and effects weren't mentioned here as those only happen after doing all your EQ work.
We just need to know the bad to help identify the good.Īdditionally, if you have singers with slightly wavering voices or young singers – teenagers, you can add a little vocal reverb effect that will even out their vocal fluctuations. Once you hear what is bad, it’s easier to then move the dial until you hear what sounds good. Move the EQ dials, one at a time, to an extreme. The best thing you can do is get a solo track of a vocal on CD (or do this during practice).
