Show 220 – Voice Recording 6 Ways and more!

This week Ryan shows 6 ways he captures voice on set with various mics.

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14 thoughts on “Show 220 – Voice Recording 6 Ways and more!

  1. Ryan… Did you say you TAPED the lavalier mic to your chest?

    ….Do we need to up our donations so you can make your trip to the wax clinic?

    BTW… Low E on an electric is indeed around 80 hz.

  2. Tube swapping…if you want to know what is really going on with tubes, and are not afraid of re-reading a more then a few sections over and over again, until it starts to make sense….check out

    This is the book that got me ahead of the curve and off to a great start on my tube knowledge, but its no easy read… Phase inverting is not really a section of circuit that you plan to swap tubes on…its kind of like the trannny, where you would want to swap the engine or exhaust(12ax7) type of place in the circuit….

    hope this helps…great show guys…keep em’ coming.. Joe Marsh


    Hey you two Luddites.

    Thank you so much for the amazing shows during the years, allowing me to expand mein knowledges whilst on the Autobahn, cheating death and touring with my band THE MENTALETTES (shameless plug), or when I’m riding around Berlin Germany on my bicycle (Fahrrad) zu my day job! If you guys ever come visit, let me know and you’re welcome to stay over and drink some Berliner Pilsner! Please put me on the DIPLOMA LIST. I’ve been following since show 119, but I did spend a continuous few weeks listening and re-listening to the entire repetoire before that.

    Ok, to the Punkt. Simple question(s) to Jon.
    When you mix, do you put the Slate VCC before or after your high-high-pass-on-every-channel filter? I guess it’s “whatever sounds best”. But just wondering your thoughts about the VCC’s response to a signal with or without LOs taken out. And what about tracking with VCC? ever tried that? My computer probably couldn’t handle it, but I imagine it would be the same idea: getting that desk experience while actually recording?

    Can’t wait to hear more episodes about field recording, location sound, etc from Ryan as well. I ordered Rick Viers book right after that awesome interview you had, and I’ve recently been hired to do some location work and sound design for a documentary and I have no idea what I’m doing. I’m struggling to open OMF files as we speak!

    oh mein Gott..I always wanted to say this..I can’t believe it’s finally happening…wait for it…don’t get scared now……don’t frewk this up like your 5th grade piano recital……

    …Ride the Chickpea!!

    lotsa love and respekt from accross the pond


  4. well I am man enough to admit it when I am wrong.. Damn this is going to hurt…. takes deep breath.. oh boy.. ok.. Protools 11 is pretty damn good. Its super fast and I through a ton of FabFilter plugs at it and it didnt even blink… WoW.. well it only took those tardy 11 updates to get it right..

    oh by the way check out those plugs are insane (not the butt plugs ryan) the Plug-ins… Somebody was actually smart enough to design these things? wow I have hope for humanity yet.

    Rock the EFFFERS on Bitches WEEEEERRRDDD!!!!!!

  5. When you use parallel compression, do you apply it as a send to a compressed aux track? Or, do you duplicate the actual track, compress it, and just mix it in? In both scenarios, how are you handling the EQ on the compressed track?

    • Hey.. looks they are behind a little bit so ill answer this for you.. Basically you sent the first channel to another channel and compress the crap out of it. Dont duplicate the channel or you will get phased sound crap or it will double in volume. Just make a send to an aux. compress it like japanese people on the last train out of tokyo.. then slowly bring it up to match (not over power) the first track. then a/b the two. werd up.. leave a tip in Jon and Ryans back door.

      • Thank you for the response! That is what makes the most sense to me and it’s what I’ve been doing, so thank you for your confirmation.

  6. Hi guys

    Couple of quick questions with potentially longer answers:

    1) Typical plugin chain for instruments like vocals (lead and BG), guitars, drums, bass, etc.?

    2) What do you use for distorting vocals (apart from the tube screamer) and drum room mics? is there a great reaper plugin I’ve been missing?


  7. GSAA,

    I’m always blown away at how terrible lavalier mic sound, but they’re ubiquitous on TV and movies. you guys solved part of the mystery by revealing that they mix the boom and the lavalier, but for me intuitively that just doesn’t seem like it would do enough to clean it up that much. is there some other secret ingredient in the signal chain like a gate or an expander or does it just come down to the mixing board?

    solder the chicken

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