Tracking Vocals with no Headphones

Heard an interesting technique on a podcast yesterday and I'm wondering if anyone has evered try this.
 
Basically, the idea is to track vocals while monitoring through studio monitors (or any other kind of loudspeaker).
 
Once the vocals are recorded, record another track without vocals that includes only room and bleed from the speakers.
 
Then, sum them and reverse the polarity of the track without vocals.
 
Theoretically, you wind up with a vocal-only track that can then be mixed in with other tracks, etc.
 
Interesting idea.  I wonder if it really works?

Can't imagine that there is much, if any benefit to this. Sounds like a lot of work. I guess my question is what do you gain by doing that?

I track my vocals without headphones, but I don't "erase" the background noise.  the benefit, for me, was that my vocals were closer on pitch than when I track with headphones.  if you're a vocalist you know what you sound like when you're singing without anything impeding what you hear.  but when you put headphones on you don't hear yourself the same way.  I had horrible trouble staying on pitch with headphones.

the bleed is minimal since I use only 1 speaker - set up the mix specifically for this purpose using heavy drums for timing and knocking out anything that I don't need to hear for the song to be used for me to sing along with.  I might leave only 1 guitar or only piano and drums, make a mono mix and pan send it only out of one speaker.  then I use a cardiod mic and I'm facing the speaker directly so that the speaker is in the blind spot of the mic.

mostly what I pick up are reflections off of the walls behind me (and they're diffused), but even that is so low in volume it doesn't bother me during mixing UNLESS I have to correct pitch at THAT point.  when I correct something with that backing track also on the vocal track then it "corrects" that sound as well which means it takes it "out of pitch" and makes a horrible artifact that way.

but honestly I don't see the problem that Danny is talking about (no disrespect intended - he might be able to tell I'm doing this from my mixes but I can't).  yes, I hear the very low volume backing track on the vocal track.  I mute the parts between where I'm singing (effectively gating my vocals for the "off" times) and the rest of it blends into the mix anyway.

I track vocals LAST.  that way there are no changes to the audio instrumentation which would clash with what I'm recording at low volumes on the vocal track.  that way I don't have the problem that Danny is talking about since it just blends into the mix with the rest of the instrumentation anyway.

Interesting Jeff, I'm going to give it a go. I'm very skeptical at the moment, but we'll see!

You can really use the null effect of the figure 8 pattern. Yes it does work and very well. I don't do the speaker thing a lot but whenever I do I am always surprised at the result. This also works better than putting a speaker behind a cardioid mic and relying on the rejection at the rear of the mic. The null points of a figure 8 mic are much deeper and provide better rejection than being behind a cardiod mic. The stands are a bit fiddly but I adapted two microphone stands for the job. Building little platforms that screw onto a normal mic stand thread. That way you can set height easily etc..One speaker does not work quite as well as two mono out of phase speakers as well.

A couple of points though. It works best in a deader room not a very live one for obvious reasons.  Alter the mix being fed out to the speakers. With regard to the mix in the speakers, keep drums lower and leave out everything except only important information.

You can use two mics in figure 8 patterns to record a vocalist singing and playing guitar. If adjusted well you can get almost perfect separation between the two with almost no spill on those tracks.  The mics need to be set horizontally in front. Set the vocal mic pointing directly at the mouth and organise the null point to be aiming at the guitar. The guitar mic (which is twisted 90 degress to the vocal mic) points directly at the guitar and has its null aimed up at the vocalist.

One thing I do that really works well when tracking lead vocals is....if I can explain it now.....put headphones on and make sure they are completely turned down. Now sing so you hear your voice in your head and increase the headphones a little at a time so you can hear your head voice mixed in with your voice in the headphones. Next, increase the music you will be singing to so it is mixed right in between so you can still hear your head voice as well as a little of your voice in the headphones.

A few cool things this does...you're not forcing sound out to compete with the loud music in your headphones....because there isn't any. You're also hearing more of your real self because you can physically hear your head voice...and...you're so low you won't get any bleed. Also, if you need too, pull off one cup of the headphones if you need to on certain passages and push it against your head just off your ear so you don't get bleed. This works so well for me and my clients, I've found it to be the best method for hearing, keeping pitch, controlling bleed and controlling your voice without over-accentuating. :)

-Danny

It might go without saying, but I would choose the a mic with the best off axis rejection for the open air takes. The sm7 comes to mind. Condensers may not be the best choice in this application.

Beagle

M@ B


It might go without saying, but I would choose the a mic with the best off axis rejection for the open air takes. The sm7 comes to mind. Condensers may not be the best choice in this application.

and so you've reinforced my GAS for the SM7.  thanks! 

?

Edit:
Did I stoke your SM7 fire, and are you on the fence? sorry 'bout that...
I did lay a pretty nice vocal track with it today.
Take the foam wind screen off when you, I mean, if you get one.

my method of tracking vocals is fairly simple, and a good compromise for me.


one can on the ear, one off.

sometimes i'll actually pull both cans slightly off my ears, taking care to aim them away from the mic, just to hear certain tones.