Home Studio: Vocal Booth

Everyone knows that the sound of your vocal recording is the MOST important piece of your song. If you have a great track with crappy vocals, people will not digg. Turn that around...you have a whatever track but amazing vocals and people will still listen. A lot of home recording projects have trouble getting that tight sound you get in big studios simply because the average room is probably one of the worst places to record acoustically.

One of the WORST materials for acoustic treatment is tile. And guess what, my entire floor is TILE! So when people sing in my home studio, the vocals are bouncing everywhere. To add to the problem, there's some computer hum, and it gets hot with the windows closed.

What to do, what to do!??? I needed a vocal booth, plain and simple. So, I ended up doing a lot of research on different ideas. I ran through all sorts of ideas...using a room divider, building one out of plywood, or even spending $300 dollars on the se Reflexion Filter.


Now from what I've heard, the se Reflexion Filter is great. People swear by it. However, after doing my research on it, here are the cons:

1. The price is a whopping $300.
2. It's heavy. Really heavy. In fact, you have to use a weighted mic stand and some people even have to put weights on the bottom of their weighted mic stand to keep this thing stable.

I needed something better. And better I found. Read on.

One of the sites I came across was the inspiration for my design. Harlan Hogan's site basically talks about how he discovered that in order to get a clean recording, the singer doesn't need to be in a treated acoustic space, only the microphone need be! That right there folks, is BRILLIANT. Here's his design:


The basic materials you need are:

1. Whitmore Cube (you can buy this at Target)
2. Acoustic Foam (the triangular kind, it is superior to the other types of acoustic foam)
3. Serated Knife to cut the foam.

Ok, now if you are a broadcaster, this is absolutely perfect. However, if you are in the business of recording singers, rappers, etc...this will not suffice. I needed this to work for a microphone boom stand. Here's what I came up with:


LET ME JUST SAY THIS THING IS LEGIT!!! I basically had to go to Lowe's and brainstorm like it was nobody's business. I did however make a few modifications to the original design. So, without further wait....here's how to make this bad boy.

MATERIALS

- Whitmore Cube
- Acoustic Foam
- Microphone boomstand
- 4 x 32' rods with screw grooves (you can buy these at lowe's)
- 1 bag of 8-32 hex nuts
- 1 bag of #8 washers
- Adjustable hose clamp
- Good scissors
- Sharp Knife with pointy tip
- Serated Knife for cutting acoustic foam
- Screwdriver
- Two Pins (can be any kind as long as they are at least 2.5 inches long)


INSTRUCTIONS

1. Get the Whitmore cube and the acoustic foam as described in Harlan's website.

2. Use a sharp scissor to cut a line down the middle of the bottom side of the cube and a little rectangle in the center to allow for the cube to slide over the microphone stand like so:




3. Use the tip of a sharp knife to poke a small hole in each of the four corners of the cube. Take each of the 4 rods and use one washer and one nut and screw it down the rod about 1 - 1.5 inches from the top. Poke the prepared rods into each of the holes and screw the another washer and nut from the inside of cube to secure the rod.






4. Slide the box over the microphone stand and hold the bottom of each of the 4 rods onto the bottom half of the microphone stand. Use the hose clamp and screwdriver to secure them together.


5. Now, for the acoustic treatment. One modification I made is that instead of cutting 3 squares for the two sides and the back, cut one long piece to curve around from one side to the other side. This is to somewhat emulate the shape of the se Reflexion filter. I noticed that when there was too much room in the cube, the sound becomes a little too boomy. Then, fill in the top and bottom with triangular shaped pieces to fill in the gaps. The top part is tricky and I simply used push pins to hold them to the top. There are much better ways to do this part, but this is what I had laying around the home! This is how it should look:



6. Get your beautiful microphone all warm and cozy in this bad boy. Here's my AT4033Cl sipping on a margarita in the foam kingdom.




And there you have it, folks. Cheapest and most effective vocal booth for the home without spending thousands of precious moola on a real vocal booth.

Now you are all wondering, "what does thing thing sound like!???". I know. So, I did a little vocal snippet of a song I was jamming to while making this thing, "Mrs. Officer". Holla back. Keep in mind what I told you about how my room sounds, computer noise, my window wide open, etc. To make things even worst, two cars even drove by my window while I was recording this! But it STILL sounds good :) Enjoy.










Song of the Day: EDX - Casa Grande (Original Mix)

Rihanna Demo - Lovesick Highway

Here's a demo track I wrote for Rihanna's upcoming album, "Dark Angels". Check it out.

Written By: John Puangco
Collaborators: Joshua Luv
Vocals: Michelle Stevens
Produced By: Bridgetown




LYRICS:
VERSE 1
I was, hurting
You were, causing
The pain, in my heart

Slowly, I tried
digesting, my pride
it wasn't easy to go down

PRE HOOK
Sometimes I wonder why
I never realized
I could just walk away

CHORUS
I found the exit
on the love sick highway
and I'm over you

Dont wanna be driving
on a road going nowhere

I found the exit
on the love sick highway
Going somewhere new

I found the exit
I'm getting away from you

VERSE 2
My kiss, my love
I want my refund
cause I aint satisfied, no

It's time we, retire
my time's, expired
Im gonna find me a real man

PRE HOOK
Sometimes I wonder why
I never realized
I should be running away

REPEAT CHORUS

BRIDGE

Watch out cause I'm changing lanes
No one can slow me down again
This is where I leave you for good

REPEAT CHORUS

Recommended Fire: Little Dragon

Ok, I know I haven't posted in a while. Things have been hectic! Grindinggg. So anyway, a friend of mine introduced me to this group called Little Dragon. After my first listen of their hit song, "Test", I fell in love with their unique flavor. If I was to describe their sound, it would be a combination of electronic, jazz, and soul, with a hint of dub. Very interesting indeed.

Their group is based out of Gothenburg, Sweeden and comprises of lead singer Yukimi Nagano (a mesmerizing Sweedish-Japanese hottie), Erik Bodin, Fredrik Wallin, and Hakan Wirenstrand. They have a show tommorow night @ The Casbah in San Diego. (For more info, check out their Last.FM site).

Here are a couple of their videos for you to check out. Enjoy.






Song of the Day: Butterfly Boucher - Gun for a Tounge

Fire For Your Studio: Glitch VST, Chopped and Skrewed

Ever wonder how to get that glitchy, chopped and skrewed sound? Here's a fun and FREE way to do it. Glitch VST, is a free VST that I highly recommend for your studio. It's a cool plugin that let's you add real-time effects to the audio as it plays.

I've messed around with Glitch VST and its pretty fun. It can be a little tricky at first however. Basically, you add Glitch onto an audio track as an insert effect. When the track audio plays, Glitch will loop through an effects pattern that you can modify as you wish and change the audio real time. You can then use the envelope on the track to turn it ON/OFF during certain parts of the track.

Some of the obvious purposes...creating cool drum and vocal effects. The imagination is the limit. You can get Glitch VST at:


Official Website:
http://illformed.org/plugins/glitch/

Here's a couple sample videos of Glitch VST in action:




Song of the Day: Midnight Juggernauts - Into The Galaxy (Album Version)

Feeding The Fire: Mad Labs Recording Studio

Here's some pics from hanging out at the Mad Labs Studio in Hollywood, CA last tuesday night. Kickin it with Mack, some other producers, songwriters, and upcoming female duo "Sweet Rush." PLUS...a REAL rhodes.











Song of the Day: Ciara and Justin Timberlake - Love, Sex, Magic

Sneak Peak of My New Track + Tips on Recording Electric Guitar

As I promised, I was going to record a track with my new Godin LGX.  Here's a little sneak peak of one that I'm currently writing on right now.  At first I had a difficult time recording this sucker.  Like I mentioned before, recording guitar is a pain in the thing your momma gave you.

Thanks to some suggestions from my cousin, John B., here's how I recorded the guitar:

Amplifier:
VOX Valvetronix AD50VT - Clean amp setting.  I lowered the bass A LOT and used slightly more mid than treble.

Microphones:
I used my condenser microphone AT4033CL and a Sennheiser dynamic microphone.  I placed the dynamic in the center of the cone about 4-5 inches away.  The AT4033CL is right behind the dynamic about 3 inches back, elevated above the dynamic.

The results...belissimo.  But don't take my word for it, listen for yo' self.  








Note: Also, if you look at my post on 808 Kicks and Bass production, this song uses both!  I'm not gonna lie...mixing the two was not a walk in the park.  Using the tips I mentioned, I believe it came out pretty nice.

I'm currently planning to write this for a male voice, but I feel that a female voice will work as well.  Send me your thoughts people!

Production Tip: Secrets of the Mix Engineers. 808 Kicks, Bass, And More...

I know a decent bit about mixing, but I like to turn to other producers and engineers for advice.  If you have ever been sitting in the studio, frustrated with your mix (like I do), here's a little article I found on mixing tips from the pros.  

Lately, I ran into a problem mixing 808 Kicks with a strong bassline.  The problem is that the frequencies are all in the low-end spectrum.  Without careful attention, this causes clashing between the bass and kick drum.  I found that putting a limiter/compressor on the 808 kick and cutting everything but the low frequencies and eq'ing the bass a little higher than normal seemed to work well for me.  

This is an interview of Jason Goldstein, the mixing engineer for some of Beyonce's recent hits.  Here he talks about how he mixed everything from the vocals, 808 kicks, bass, and more.  I found it extremely useful.


Sound on Sound Magazine Article: