KODOGG said:
We spent $70 got tha mic and some little foam thing that goes around it which was suppose to remove alot of the distortion.. It didnt do that too good but w/e, it does sound a lot better with it on.. We just got some shit to fuck around with for now.
The tracks need a lot of work. Period. I understand your just getting started, so, I don't need to say much that you don't already know about your music. You just need a lot more work, practice, time. It will take years before you develop a serious presence on tracks and writing, so, be patient. If you notice that you excel very quick, then continue, if not, then good luck.
Some knowledge,
The foam thing is actually called a windscreen. The purpose of a windscreen is to block overall movement of air without significantly hindering the transmission of sonic pressure waves through the barrier. The problem is that the rubber foam windscreen can impair the sound waves excessively. You won't get that proper "raw" sound and you won't be utilizing your vocal microphone to it's best potential. In basic terms, with use of a windscreen, vocals and sound waves will often be muffled and hindered.
The only time I've ever seen a vocalist use a windscreen would be when performing live on stage. As far as studio vocals, you need what is called a pop filter.
So, everytime you record vocals, take off the windscreen and leave the capsule bare. You want to essentially CAPTURE your entire vocal and every part of it, so, you want to CAPTURE a solid raw vocal, which a windscreen, if put over the capsule and essentially the diaphragm of the mic, will hinder that capture. I also recommend you set some basic compression before recording, and record with compression on. Rather than recording completely raw and adding compression after. That is the ONLY effect you should ever have set before recording. Never add reverb, or delay effects or anything before recording, only compression. Add other effects later if they are needed, such as equalization, and so forth.
When you are done recording, put on the windscreen, that will now be your DUST PREVENTATIVE and will work to protect your microphone. That's right, whenever your not in the studio, put the windscreen over the mic, to protect it from catching and collecting dust and so forth. I'm serious.
Back to the pop filter. Get one! The absolute bare essentials are a stand, a shock mount which attaches to the stand, a microphone which slides into the shock mount, and a pop filter that attaches to the stand and wraps around in front of the capsule of the microphone. Some people have their microphones downwards, others like to have them upright in the shock mount. I prefer it upright in the shock mount as that's how a microphone is supposed to "sit".
Example:
This is just a random image I googled. Notice, there is no windscreen! Never record studio vocals with a windscreen if you want to achieve the best raw capture!
Pop filters are all that are needed. You can make them with a coat hanger and some nylon, or preferably you can buy professional pop filters in many sizes. The most common size is shown in the picture above, there are significantly smaller pop filers available, and larger. Do what you prefer. If you have a microphone with a large capsule, get a large pop filter. If you have a smaller, cardioid type capsule, such as maybe a blue bottle microphone, you can use a smaller pop filter. Whichever you prefer, just make sure you are using a pop filter! They prevent bursts of breath, plosives (P and T sounds), and fricatives (F sounds), all causing "pop" sounds.
Good luck.
Samos
