thebookofkevin wrote:you guys are silly and confusing.

losthighway wrote:Yeah let's live in the now. This is a place for conversation, it's not a history book.

I am living in the now. Now I am listening to McLusky a lot, as well as Future of the Left, and I am curious about certain things that I have heard, so I've started a conversation about these things.

Ah, you misunderstand. I was referring to the people that were commanding you to do a search. I like hashing this stuff out. I support your mission and feel I should check out McLusky as I have never heard it.

I'm always into avoiding bitchy net arguments on the tech board, those are better reserved for the political conversations in general discussion. This area has always been a safe haven for peace and geekdom.

You should also consider using a regular "clear mike" and your distortion mike. Delay the distortion signal use only the delayed signal so you then can have clear and distorted blend.

@losthighway, i misunderstood indeed. as for mclusky, i'm particularly fond of their last venture, but Do Dallas was my gateway.

@john, about how much delay are we talking here? if i understand correctly, the clean mic would be behind the distortion mic, so the delay would just be to compensate for distance?

The clear vocal would be un delayed allowing there to be some articluation to the noise. Doing it this way and running to two channels or tracks allows you to blend the two sounds.

The delay puts the distorted vocal slightly behind of the clean vocal I usally do this by ear. If you want to add delay repeats to stuff it the time needs to be a bit longer in the slapback range if just to send the strait distorted signal without repeats you can use shorter delays kind of in the chorus delay range. The sound finds a place where the inital voice is clear and present but there is a lot of dirt.

If you solo the two vocals you will be suprized that the distorted one will not be clear enough to hear the words but the two togeather will.

This is similar in theory to using a DI on a bass and blending it with a miked bass amp. You get the best of both. Many times when recording my own bass playing I would use the DI to get the attack and clean sound and the amp was just getting the delayed signal through my boxes balanced all the way over to the effect. I would then blend the two as needed.

Later, I used the same thing on vocals thinking I was clever but like most things I discovered something on my own that was pretty comonly used by other people.

ok, so this method wouldn't really work with cupping one of those shure bullet mics, would it?

unless the singer sings really loud and the clean mic is kindof close to his hands?

No cupping the mike would interfere with the clean recording. Unless the person is singing loudly in that case you could have the vocal condencer mike kind of high up above and preamped as you would with a shouter and have them handle the dynamic at the same time. Of course you can double track the vocals,

If you are a Bob Dylan fan you might notice that he has his vocal mike and a green bullet next to each other. I assume (probibly incorectly) that he is using the technique I have described above to get ranchy vocals. He seems to play to the mikes by leaning his head closer to one or the other.

The mcklusky I have listened to it sounds like he is right on the mike and has a loud voice that is clear and there is a room mike or some kind of nice room reverb. the reason I think it is a room mike is that it sounds like he is in a mid sized live room it is not lush like a lot of reverb presets more close from the mike and live space around the central vocal. Is this the sound that you are interested in? It sounds like the singer is super loud like on punk records but not on on the mike.

Singing into bullet mic into a small guitar amp sounds really cool. Harmonica players do it all the time.