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It's May, and time for a topic that has a long and beautiful history and yet is endlessly fascinating and fresh: the human voice. The voice touches us deeply and instantly; when it's right, it goes straight to the heart and lifts an ordinary song into the realm of magic... and when it's wrong, everyone knows it, and it doesn't matter how good the rest of the song is. In this issue of RECORDING, we take a look at vocal recording and how to get your voice tracks right every time.
Our issue centers on an in-depth article by recording engineer, performing artist, and educator Paul J. Stamler, who's been helping budding engineers at Webster University hone their craft for years. Paul teaches how to select a mic based on the performer's voice, how to hone and tune the performance itself, and take much of the guesswork out of capturing great vocal takes.
Also in this issue, Joe Albano goes in-depth on when and how to use Celemony's Melodyne intonation-correction software, Giles Reaves takes the newest version of Antares Auto-Tune out for a spin, and chart-topping producer Sebastian Arocha Morton returns to our pages with a look at how he uses both Melodyne and Auto-Tune in his production workflow.
Our vocal coverage continues with reviews of great microphones at all price points, including the TS-1 MKII from Chameleon Labs, the Clarion by Lauten Audio, the VR-1 ribbon from sE Electronics, and a first look at the brand-new Samson Meteor Mic. Also on review: the exciting new S16 digital console from Phonic, Roland's Octa-Capture audio interface, and a fascinating roundup of three different takes on the Empirical Labs Fatso saturation/compression rack: the original, the UBK version from Kush Audio, and the virtual version available for the Universal Audio UAD-2 DSP engine.
And that's not all! We return to our legal look at the business of producing, Brian Tarquin brings us mini-interviews with Billy Sheehan and Stanley Clarke on bass recording, and more. Get your best vocal tracks ever -- grab the May issue of RECORDING!