Recording Vocals in the Studio: Here’s What Happens

Your band is ready to record that long-awaited album and finally step into the recording studio. Whether you’re recording at home or in a professional studio, the question is: what can you expect and what should you look out for? If you’re the lead vocalist, how can you ensure that you and your band deliver the best possible performance and come away with great recordings?

This blog includes the words of Alfons Verreijt, the developer of the VocalFeedback method and author of the book The Essentials of the Voice.

The Three Methods

When you’re recording in a studio, you have at least three different ways to approach the process:

Play and record everything together, as a full band
Record everything separately, track by track
Or a combination of both of the above

We’ll take a look at each option, one by one.

Recording as a Band

Recording everything at once as a full band is the oldest method. Earlier, the entire band or orchestra would be recorded with just one mono microphone, so every member of the ensemble would have to be positioned in such a way that, when you listened back to the recording, all the levels sounded right. So if someone played a solo part way through, the singer would step back from the microphone and the trumpeter or guitarist would move closer to the microphone – much like turning up the volume fader of a channel in more modern studios. There are plenty of early recordings where you can actually hear the footsteps of the soloist as they quickly move closer to the microphone. It might sound a bit primitive, but this recording method is still used today, where instead of a single mono microphone, a whole set of advanced microphones are often used and set up very specifically to capture a rich and spacious stereo image or even a surround sound image.

This recording method is brilliant when working on acoustic music, but works just as well when working with amplified music. If you use this method to record an acoustic band in a space that has great acoustics, the vocals, the acoustic guitars and so on already have some beautiful natural reverb and every member of the ensemble can be given their own spot in the resulting audio image. Also, when you work like this and are able to do it well, then it can save you a lot of time when it comes to mixing, because the acoustics of the space have already done a lot of the work. The other big benefit of this method is that playing together as a full band is usually the best way to make music. So you’re not just recording the song but the vibe, and you can really hear that back on the recording, giving it a more sparkling and living feel than track-by-track recording. Of course, if you’re recording a track live then there is a bigger chance of making mistakes, and as a band, you need to limit those risks as much as possible, so every member of the band needs to be properly rehearsed before they even get to the studio. Of course, no matter how well rehearsed you are, mistakes can still happen, but the worst case scenario is that you have to play the song again. Digital recording equipment can often prevent you from needing to do even that, since you can launch back into a song part-way through, leaving off from just before the mistake to finish the recording. The producer plays back what you just recorded, so the band can start playing along and get back into the right tempo and then, just before the mistake, you can be ‘dropped in’. If you’re using monitors, you need to turn them off just before you hit record for the drop-in to make sure that the sound of the monitors isn’t recorded. The best idea is to use headphone monitors so it’s not an issue. Even recording classical music often works this way, and after the session, all of the best sections are pieced together.

As well as the musical advantages, recording as a full band can mean that, as long as you’ve rehearsed well and the recording session goes smoothly, you can finish early and keep the costs low and, if you also film the session, you can maybe use the footage to make a music video. If you do go ahead and film the session, it can also be wise to pick a studio that doesn’t just have great acoustics but is also photogenic.

Track-By-Track Recording

The polar opposite of recording everything at once is recording track-by-track. So, one by one, every vocal and every guitar line etc is recorded separately. The biggest advantage of working this way is that you have full control over everything and you can go in any direction you want during the recording phase. For example, you can suddenly decide to take a specific guitar part and play it on a synth or keyboard instead. Every kind of correction you can think of is also possible. This method even means that you can record an entire song with a group of other musicians without having met them. Track-by-track recording also makes it possible for one person to do everything themselves – so sing every vocal line and play every instrument – much like Prince did.
To start the process, the band either brings in rough tracks they’ve recorded that can serve as guide tracks, or the whole band sets up and records some guide tracks. If you do it the second way and the bass and drums happen to be on point, then that’s part of the job done already. The only thing you need to check is that there’s no crosstalk (the sound) from the other instruments and the vocals on the drum tracks. The best way to avoid this is to set the drummer and bassist up in a separate room from the rest of the band. Because the creative scope is so wide and it makes it easier to make precise recordings, track-by-track recording is the most popular technique these days.

A Combo

What we’re also seeing more and more, is the third variation: a combination of recording everything at once and track-by-track recording. So, the whole band sets up and everything is recorded so that almost the entire guide track ends up on the final record. The only thing that’s left out is any vocals and harmonies or add-ons, such as synth textures, percussion, or solos, which are dubbed on later.

The Singer

So far, we’ve briefly looked at the different methods of recording. Now we’ll look at what the vocalist needs to deal with. If you’re recording everything at once, then the first thing you need to do, even before you step into the studio, is have everything finished and know your lyrics and vocal lines inside and out. This is actually true no matter what method you use to record, but when it comes to live recording, it’s absolutely essential. Especially if you’re recording the vocals in the same room as the rest of the band. Alternatively, you could record the vocals in a separate room or booth while the band plays in another room, or go for the hybrid method and record the vocals later. Then you can either re-record parts of the vocals later or even split your vocal lines into sections and be able to read your lyric notes while you go without holding up the recording process. The downside of doing things this way is that you run the risk of having vocals that sound a bit inorganic and artificial, since they need to be sort of inserted into the audio image of the band later. You could change things up and put every musician in their own room while everyone plays at the same time. This retains that live feel, but you might miss out on those natural acoustics.

The Studio is Different

What’s the best way for a vocalist to prepare for recording in the studio? If you don’t have any studio experience yet, then it’s worth knowing that recording in a studio is very different from singing in the rehearsal room or during a gig. Because they’re used to competing with a loud band just so they can hear themselves, a lot of singers are used to singing as hard and loud as they can (which is something they really shouldn’t have to do). However, in a studio, the monitoring is extremely good, so you’ll have no problem hearing yourself really clearly. That might immediately sound great, but a lot of singers actually find the experience a bit confronting, so it’s worth preparing yourself to sing a little quieter than you usually do at gigs and rehearsals. This doesn’t mean that you have to sing with less power. You can actually learn to sing with an edge to your voice at a lower volume.

So, what’s the best way to prepare for the studio as a singer? First, way before your studio session, ask the band to record all of the songs you plan to lay down without vocals. This can be just a simple rehearsal room recording. Take the recordings home and do some more relaxed rehearsals yourself and simulate the recording situation as closely as possible. This can be a really simple setup, where you just play back the songs at a low volume and sing softly along to them. Or you could get more advanced and set up a monitor so you can hear your voice back. Even better: record what you’re doing. At home on your own, you’re more free to experiment, so during the run-up to the actual studio session, you can polish up your vocals and get them fully studio-ready.

Turn it Down

Another part of your preparation as the vocalist is getting all of the lyrics in order. When you’re singing live, you can get away with cheating a bit, but in the studio there’s really nowhere to hide. “Good preparation is three-quarters of the work, but also three-quarters of the fun,” advises vocal coach, Alfons Verreijt. “It also feels nicer to be well prepared and will help make you a better musician.”

Say you’ve prepared really well and know that you can’t go wrong – what do you then need to pay attention to when you finally get into the studio? The first tip? Turn down the headphone volume. Our brains are programmed in such a way that we reflexively sing more loudly and often at too high a pitch in response to louder sound. This natural response is part of what’s referred to as the Lombard effect. The Lombard effect is when people unconsciously talk or sing more loudly in more loud environments to make sure other people understand them. This also has an effect on the pitch of the speaking or singing. The phenomenon was discovered by the French ENT doctor Etienne Lombard in 1909. This is why, for a lot of singers, it feels more natural to record with only one earphone of the headphones on one ear, while the other ear is clear to hear the room and your voice. There’s a big chance that you’ll also prefer this way of working. Experiment with it and maybe ask the engineer if they think you sound better when you sing with one earphone. Another thing worth asking the engineer is if they can add a bit of reverb to the vocal while you record. This makes singing feel more comfortable.

Resist Going All-Out

“Try not to go all out as soon as you start the session,” Alfons advises. “Instead, build things up and sort of slowly grow into it. I don’t just mean the whole day, but also when approaching each song. Build up every number musically and only focus on the crescendos later. In other words: give yourself the time you need to get into the ‘flow’, as it’s called.”

Good to Know

Recording is a must

If you’re going into the studio for the very first time and have never ever recorded your music or your vocals before, then that’s not very smart. Whether you’re a singer or a musician it’s extremely valuable to regularly record yourself and – even more importantly – listen back. If nothing else, you’ll learn a whole lot from the experience and from there, you can only get better. You’ll also better prepare yourself for recording in a professional studio. Remember, professional studio time is expensive, while you can make recordings of yourself really cheaply these days. While home recording equipment is pretty affordable, you don’t even need that – just recording yourself on your phone can be really helpful.

Some Practical Tips

Here are a few practical tips for singers who are heading into the recording studio:

On the day itself, avoid any carbonated drinks.
If you order food in, avoid anything spicy.
Don’t drink any alcohol. There are multiple reasons for this. Firstly, alcohol dehydrates and can dry out the mucus membrane that protects your vocal cords, making them more vulnerable. Drugs and alcohol also raise your pain threshold, making the chance of you pushing it and damaging your vocals that much bigger. These effects usually wear off within a few days, but by then, that precious studio time is far behind you.
Above all, alcohol and drugs can simply make your music sound bad. While you’re recording, you might feel like you’re playing better than you ever have… at least, until you’ve sobered up and listened back to it.…