Vocal Recording – Recording Vocals With No Headphones and Very Little Bleed


In this episode, I am going to walk you through
a tried and true technique for recording vocal, that will get you amazing vocal takes every
time. It has to do with no using headphones when
you record vocal. You may be thinking it is a crazy idea, but
I bet you would be hard pressed to tell the different between loud headphones placed next
to a microphone, and microphone placed in the control room using this technique to record
vocal. Let us dive in. [Music] My name is Ryan, and you are watching Creative
Sound Lab. A weekly recording show with recording tips, pointers and off-the-wall recording
techniques. Today is about getting amazing vocal takes.
Perhaps the most amazing that you have recorded so far. If it is something that you are really
struggling with. Maybe you find yourself in a jam where the
vocalist get really discouraged when they are trying to record. They come back in and
they realize wow I was really off pitch. This is a perfect technique for those types
of situations. Today is all about record vocal without headphones. You can do this in the
control room, which is a popular place to do it, but you can do it in the live room.
You can do it with a stage wedge or a monitor that would typically be used for live applications.
You do not just have to do it in your control room of your studio. It is about getting the comfort level of your
vocalist much higher than what they ever could while hearing the sound of their voice through
headphones. Headphones are really unnatural. Vocalist
do not typically sit around their house singing into a microphone and monitoring the sound
of their voice through headphones. When they learned to sing they probably sang
in the car. They sang in the shower. They sang in natural environments and natural rooms. Maybe they sang in a stairwell where it was
really echo-y. These are natural places…native states, of vocalists. If we put them there,
they are going to give us better vocal takes. After all, if we get them in a more comfort
zone, then the music will be better. This technique is all about that. It is about
trying to make the music better by the means of how we record the musicians that we work
with. This technique is all about how you place
the microphone in the room. Step one is to find a place that you can get
your vocalist to stand in the room and were you can also play the music through speakers
so that they can be singing along to the music. They will sing to what they hear in the room,
and without any headphones they will sing back. Find a place where you can do this. You can
play the track to them and just like they are standing behind the studio desk chair. So this is a perfect spot, this is my typical
spot when I am using this technique. So get them comfortable in a position in the room
and start to get a vocal sound. Go ahead and fire up 30 seconds and see what
it sounds like. It is a little different than recording in a vocal booth, because vocal
booths allow you to separate everything out. You are able to put them in there and you
have your own space to listen to what the microphone is doing in real time. This is
not the case. But the benefits are worth it trust me. This is not the case – you have
to basically record a few seconds and have a listen. Do we like the sound? Should we
raise the microphone up? Should we lower the microphone a little bit? I am going to have an episode on how I approach
just record a vocalist. But really these are just decisions that we have to make as we
are setting up. This is the initial stage. This is where we really have to tweak the
microphone and get the position just the way we want it. We do that through just quick test recordings,
and listening back and making adjustments. From here, what we really need to do is put
the whole studio on lock down. Not necessarily locking the doors, but every knob, every variation
in the audio track that you are playing to the vocalist. Even the height of the microphone.
You do not want to touch a thing. From here, you can start recording your tracks.
Once you start recording tracks that you want to keep, it needs to be on lock down. You can not touch a thing. Do not touch the
volume knob. Do not make adjustments in the track. If the vocalist needs back ground vocal
tracks or they need more acoustic…these are changes that need to be made to the so
called Monitoring Mix, the mix that they are hearing. That mix needs to remain constant.
Everything needs to remain completely constant. Go ahead and record your tracks. Three or
four tracks. To be honest with you, with this technique I typically do two or three tracks.
After that the vocalist is pretty confident they have the take that they need. From there, this is the secret sauce of this
technique. You are going to ask the vocalist for the portions of the song that they are
singing (it does not have to be during the guitar solo) they are just going to stand
behind the microphone and breathe as quietly as possible. They are not going to say anything.
They are just going to stand behind the microphone. It is important that they stand behind the
microphone because even them being behind the microphone is changing how the microphone
is getting noise from the room. So you are going to ask them to stand behind
that microphone and you are going to record the bleed in the room during those sections. So what you are going to have is several vocal
takes that are the takes that you like, and then you are going to have the whole pass
or just the sections if you do not want to wait through the guitar solo or the bridge.
And you are basically be recording the noise. And when you have not changed anything from
the time that you have recorded the main vocal and recorded the noise. Now we can go to the
mixing desk and I will show you exactly what to do to cancel out this noise. So we are here at the mixing desk. I have
a song pulled up by Nate Huff and I just want to show you a couple of the different tracks.
I want to walk you through what each of the tracks sound like without the noise cancellation
and with the noise cancellation. I am going to show you what the noise sounds
like. I am also going to show you exactly how I am canceling out the noise that we are
recording. Remember we are asking our vocalist just to
stand there for the entire time that they are singing. This is to record the noise that
is coming into the microphone. This is recording all the junk that we do not want. So let us check out and see what that raw
vocal sounds like. It is just the dry vocal. No noise cancellation at all. This is pre
noise cancellation. [music] So you can see there that it is really not
so bad. But let us go ahead and apply the technique anyhow just to really maximize what
we are doing. Ok now here is the noise track. This is just
the noise. [music] Yeah so you can see that there is not a whole
lot of noise, but it is definitely more than headphones. Ok so here is where the magic happens. You
have a track that has all the junk. This is our noise. This is stuff we do not want. And
because we have gone to this trouble of having our own track for it we can really use it.
We can use it to subtract out and process the good stuff. So this is the track of the actual vocal and
it has noise in it as well. But when we bring up a track, and keep the volumes the same,
both at zero or unity gain, then we can flip the phase of the noise track, and the noise
will be subtracted out of the vocal track. So that is pretty cool. We can actually take
something and subtract it out using the phase. Now we have kept everything the same between
these two tracks. Start to finish. Once we go our vocal sounds I usually put
tape over the faders. I put tape over this fader. I do not make changes to the mix. That
way the bleed in the vocal take is the exact bleed that we are hearing here. Once again
here is what that bleed sounds like. [music] Ok that is the exact bleed that we have in
that vocal take. All we have to do is flip the phase of this track and it will reduce
that bleed. Now in my experience, because I do not record
in a chamber that has no reflections at all, this is not a completely perfect technique,
but it does a really good job. Let us check out a see how good
the technique worked. [music] Ok so right there, between those two phrases
we can really hear the difference. Here is without that noise cancellation that we have
done. [music] Ok right there, there was that piano note
that really came through and I also can hear more acoustic guitar. Once again here is with
the noise track we are subtracting by using the phase. Here is with the noise cancellation. [music] This is really good. It really gets you about
the same that you would have with loud headphones. You can still hear a little bit of the music
that would maybe come out in the form of headphone bleed, but in this situation our vocalist
is in a room, they are comfortable. It is in a very native state for what they are used
to. And they can perform better. I had mentioned at the beginning of this episode
that it really messes with a vocalist pitch. It really messes with their head and their
ability to perform good. And this can really subtract away from their confidence in a recording
session. They are in a new environment. They may be nervous. And so why do we want to make it harder for
them to perform better. This technique, although it may not be as good as sound proof headphones
that do not bleed at all and putting them in a vocal booth. To be honest that may not
give me the best recording. They may feel awkward in the booth. They may not feel as
inspired to sing and do their best. I would rather get the more inspired version of their
song, than record the bored, nervous and anxious version of their song. So this is a technique that has helped me
get good results. This I believe was the first for second take.
He liked it so much he said that it was the vocal take he wanted. I am happy with that.
We did not do more than, maybe three takes on this and it worked. It really worked for
this vocalist. So I have a couple different tips with this
technique. The first one is to use only one monitor. Either turn a monitor off, or pan
your mix to one side or the other. This way you have a single point in the room that is
either radiating sound and a single point in the room that is collecting sound. You
would think in theory that it would make it a lot easier, and you would get better results
using this technique. The next pointer is, do not put the vocal
microphone in that monitor. So the vocalist is just hearing the sound of their voice in
the room, and that is it. If they can not hear their voice enough, then you need to
turn the speaker down. If they feel exposed and they want to hear more music, then turn
the speaker up. But do not put that microphone signal back into the speaker and pipe it back
into the room. So just have the microphone completely muted, and they are listening completely
naturally to the sound of their voice in the room. The third tip and pointer to getting this
really great is controlling the bleed that goes into the vocal microphone. So what I
have done a lot is use the on board equalization and just cut the bass and treble. Just have
a mid frequency heavy mix that the vocalist is listening to. That way I do not get hi
hat. I do not get kick drum. I do not get bass guitar in that vocal microphone. This
technique is really just treating that mid range, right where the vocal sits. I do not
have to worry about anything muddy flying around in the room, because I have EQ it out.
I also try to go as low as possible on the volume of the monitor mix as well. If you find this really helpful I have a free
PDF download of everything in this video available for you to download and keep as a reference
for when you try this out. Just go to creativesoundlab.tv, there is actually a link for it right here
in the video. You can sign up for my email list in which I will email you that PDF. And
when you sign up for my email list you actually get the entire collection. So I am doing little
perks, bonuses, and sound bits. I am just putting everything into a massive pool and
when you sign up for my email list you get every single weeks worth when they come out
you get it. I really hope to see you there at creativesoundlab.tv.
I will see you next week. [music]

87 Replies to “Vocal Recording – Recording Vocals With No Headphones and Very Little Bleed”

  1. Alberto Artilheiro says:

    Great idea! I'm definitely going to use it. Thank you!

  2. goodmusic4eva says:

    We can still hear the sound of headphone, how to remove completely?

  3. GhostsonAcid says:

    Keep it up, man.  You have incredibly useful videos.

    Thank you for your work!

  4. Travis Seifert says:

    extremely helpful video, I never would have thought to try this trick THANK YOU!

  5. Schilliebillie says:

    This is the most important sound-tech video ever! Thank you!

    I already found out that singing without headphones gives better musical results but you guys came up with this genius simple solution for the bleeding. Why didn't I think of it? 🙂 Thanks guys!!

  6. James Horan says:

    would this work with loud headphones? just to reduce the volume further in a situation where you don't have the space for speakers or those that can sing well with cans?

  7. Ralph Merino says:

    hey thanks for this video i will be using this technique for sure !!!!

  8. Stephen Tack says:

    Good tip.
    I know a lot of vocalists who don't like to be "closed in" by headphones…though I also know a few that love the isolation/experience of headphones (with verb) in a vocal booth, where they feel they can "cut loose" without anyone seeing them.

    The noise track in your example, worked really well to mitigate bleed. Though even the raw vocal had good enough signal/noise ratio that it would have been fine in most mixes.

  9. Amir Grant says:

    @creativesoundlab I got a good question for you. And I pray to God that you can answer it because it is a mystery I have been trying to find out for a long time. How the heck do you get vocals with NO BLEED? Some say it is impossible but…when I listen to versions of commercial songs in acapella, the bleed just magically goes away. Sounds like the bleed was never there, I do not hear all that track noise in the background of their vocals. All I hear is them. How is this accomplished??? I MUST know!

  10. Creative Sound Lab says:

    @Amir Grant This technique gets vocalists very comfortable so they can hit pitches and get better takes. Regarding your question, I might opt for headphones and I would try a few things. 1. EQ out some of the high end (and a little from the low end to balance it out) and the vocalist's ear will get used to it. 2. Try different headphones, like a closed design, or ones that don't have a lot of bleed. 3. Turn down the headphones. Vocalists can judge pitch better at lower volumes. Scientific tests show that lower pitches are perceived lower, and higher pitches sound higher at loud volumes. 4. Change the mix that the vocalist is hearing to only include other vocalists, or only elements of the song that are absolutely needed. Take the hihat and cymbals down, and any percussion that often bleeds out of headphones.

  11. Johnny Nightelf says:

    Can't wait to try it !
    thanks for the innovative idea!

    Yiannis,
    MMS Manosound Studios

  12. RecordingStudio9.com says:

    Great tip, but it all depends on the vocalist how they feel. Some like headphones, some live. In the end the result is the important. Thanks again.

  13. soolan11 says:

    Interesting, thanks for the tip / video.

  14. Zack8133 says:

    This video and all the ones I've just watched are AWESOME! I am now a subscriber!

  15. Andy G.G Art is Resistance says:

    I couldn't understand it at first, but now I get it. So there's 2 separate steps/recordings involved here:
    1. record your vocalist with music in the background, then after that
    2. record the music in the background alone without vocalist singing with the same mic as in step 1.
    Then mix those two tracks. Quite creative approach, well done.

  16. Maynor Montalvan says:

    I TOTALLY AGREE WITH YOU….I FEEL MORE COMFORTABLE FEELING THE MUSIC WHILE RECORDING

  17. Emmett Redding says:

    Cool that your using ableton. I use it and i hardly ever see anyone else using it for nn-electronic music. cool stuff.

  18. Maynor Montalvan says:

    I AM A SUBSCRIBER NOW FANKS

  19. Gregor Bajc says:

    Awesome! I had this idea rolling in my head (flipping the polarity of the noise, the same like balanced signals do for reducing noise) for some time for the exact same issue. I want my musicians to feel as comfy as possible during the recording process because it will affect their moods and in turn reflect on the music and decision making for takes and sound, believe it or not. I am happy somebody actually did this and it gave me the balls to try it out.

    Tnx again ryan!

  20. Cainã Morellato de Almeida says:

    Genious!!!

  21. Andrew Cheeseman says:

    Hi Ryan, I like this idea and I'm definitely going to be trying this out but I have one question; when you say keep everything the same between both tracks, is that just gain, volume, mic placement, etc… or does that include compression, EQ, and any other effects? Thanks!

  22. FortyCalCarter says:

    I always used invert phase for getting rid of heavy "s" sounds but I never thought to use it to cancel out background noise. This was very informative, thank you.

  23. Rock&Roll says:

    Many thanks for your tips dude, I mean Ryan that's your name right. I just fixed my micro it sound better u know open it up do some tweaking. I did the room noise canceling thing not sure how it work but I record a noise only file put some noise removal on it. Not the way u done it. Anywho I just recorded a mix, I hope it came out good I am just an amateur but I learn much from your video.

  24. Scotty Hills says:

    Great stuff bro. One thing, what do you mean by "stand BEHIND the mic".. do you mean stand in the null? Or, am I still going to stand in "singing" position minus the singing?

  25. R.J.W. Sounds says:

    I was the 100th like, you are welcome sir.
    I just put in a very nice vocal booth and it is absolutely obnoxious standing in there and trying to perform lol Phase is as helpful as it is detrimental. Great vids my dude!

  26. Miss Yoo says:

    Can you please make a video to teach me how to start a singing channel? Like the system that I need and the stuffs that I need (such as mic) PLEASE

  27. Jordon Renn says:

    You could even take this a little further and sidechain compress the extra noise using the vocals

  28. Huxxy says:

    You could also try a variant whereby you do in fact use a pair of speakers, and set the speakers and mic up in a perfect triangle, and flip the left and right speakers out of phase with each other. The result will be that in the middle where the mic is, you'll get quite a bit of cancellation to begin with…(depending on how well matched the speakers are I guess)…but the singers ears will still hear the sound but just sort of "panned hard left/right. Then add in your trick of the out of phase recorded track too…end result might be even quieter…might be fun to try it? The other reason why your trick is very cool is that the singer is hearing themselves with true zero-latency…it doesn't get any better than that…

  29. josh mar says:

    im subscribing i love it man thanks!!

  30. TheLeon1032 says:

    this is fucking fantastic!! for years I've liked the sound of my voice when i sing in the room and then feel let down when i do the final vocal takes on cans, sometimes I've even used the takes in the room rather than cans as they have more feel even tho theres this background bleed that fucks the mix a little but fuck it! i just tried this technique and oh my fucking days it works like fuck, thank you man, this is a huge help to me!!!!!

  31. Jason Starr says:

    Subtraction Rocks! Great technique, I'll have to try it.

  32. Adam Rainstopper says:

    Yeah, considering I record mostly punk bands, sticking the vocalist in a tiny booth that feels like a cell is just kinda cruel. I like to use the "mini-booth" box lined with high-density foam, so the mic is isolated from the monitors but my ears are not, but not all vocalists like that….and it's not exactly sanitary…..

  33. Brady Morton says:

    Im new to recording and am not overly familiar with phases, so just a quick question. Do I switch the phase of BOTH tracks, or just one or the other. Thanks!

  34. sape man says:

    Does a headphone helps in reducing background noises?

  35. Sven MB says:

    You really live up to your channel's name. love it!

  36. ILoveNuking says:

    I have a question for a long time now,if someone can answer this to me I would appreciate it.In the studio,why do singers record themselves using headphones on? I mean,if the music plays in their ears how can they just sing correctly? I tried that and I couldn't hear myself singing in order to sing good,so in this case the vocals were bad.I don't really understand this.

  37. Pablo DeMode says:

    This is a great and well explained tutorial. Me as a singer I don't really like having headphones to hear the music and my own singing. But, I became crazy and I think that the best acoustic treatment is recording in a park under big trees (try to choose a day when there's no wind or rain, of course). I'm gonna give a try

  38. AJ Afterparty says:

    Fantastic

    like the intro

    Click my videos if you get a chance 🙂

  39. Dave Dwyer says:

    Dude, that's Brilliant ! Can't wait to try it out. One question – do you then bounce both tracks together as one ? Thanks for the great tip.

    Cheers,

    Dave Dwyer

  40. American Pancake says:

    I love the concept here. I think of the Pixies song Hey which was basically recorded live. Gil Norton placed the vocal mic in a cupboard and Black Francis had to kind of lean his head in there while playing to provide some isolation. You gotta do whatever it takes to get the best performance. Most bands who isolate vocals and such get horrible results because the environment is so foreign and like you say, singing to a headphone mix is hellish. Question: Do you use a cardiode mic as opposed to an omni-directional?

  41. Young JesseBee says:

    ingenious!

  42. Tona Ohama says:

    Great video…something you might like to experiment with: an engineer friend of mine (DD Hill, who has been doing sound since the 60s) told me when I was doing headphoneless vocal recordings to use a stereo pair of monitors and flip the phase of the speakers. Then the microphone doesn't record the music in the first place with proper placement of the mike.

  43. Leonardo Zia says:

    Dude, you're cute af. No homo

  44. wenjun huang says:

    Hi!Ryan.When recording the noise track,you said let the singer behind the mic.The word "behind" really make me confusing.That means is to let the singer stand in the original position(as the same position as when recording vocal track)?Sorry, my native language is not English.

  45. alvinraydj3 says:

    augh i wish i could work a session with you just to see what you do and jot down notes and learn i really hate that i can't get the same results

  46. Timothy Berner says:

    This is super cool. I'm surprised it was as effective as it is, because phase can be pretty precise. Also, interesting that you record in Ableton!

  47. Kenneth Lorentzen says:

    Great video, dude! Awesome trick with the phase cancelation!
    Just wanted to chime in here: I once recorded at choir and didn't have enough headphones for all of the singers and as a result of that I placed speakers in the live room. Put up a mic in figure-8 in the middle of the room, placed the singers in the front and back of the mic and placed the speaker on the left and right side of the figure-8´s null position (if that makes sense). I then flipped the phase of the two speakers and found the spot for the mic (in between the speakers) that canceled out the sound the most = lots of choir, minimum speaker bleed 🙂
    I btw always record my own vocals without headphones, love it! The only downside is, if a little bit of pitch correction is needed afterwards, that can become troublesome…but who needs that with the "no headphones technique" 😉

    Oh and another thing. Would you mix the the "vocal track" and the "out of phase track" down to one track, before EQing and so on? I mean, in theory, everything you do to the "vocal track" should also be done to the "out of phase track"…IN THEORY that is…

  48. Terry Miller says:

    As soon as I realized where you were going with those, I said: "Genius."
    Very, very nice technique.

  49. turtles says:

    I cant use headphones rn. I would be listening to more George Michaels but ya know.

  50. VESANG says:

    How do you flip the phase of the noise track ? Thanks

  51. James Joseph says:

    I think this is how Dave Gahan from Depeche Mode records his vocals now. Or at least on the last three albums. I believe he uses a Shure 7smb. Really cool. Thanks for sharing Ryan.

  52. James Cassidy says:

    so to clarify, what do you mean by stand behind the mic? like actually stand facing the back of the mic, or stand facing the mic? I really wanna try this! and is it okay to have reverb and stuff or do you need to keep every effect you apply at recording? like some vocalists want comfort reverb and dont actually use that in the mix!

  53. Baz says:

    A fine idea but when you do it in the same room your vocal mic will most likely pick up what's coming from the studio monitors. Trust me I've experienced it. Listen back and isolate the vocal and you'll hear some of the song (the rest of the instruments) in the vocal track

  54. globaltempo says:

    Man, I just watched 4 or 5 videos in this channel. You nail it, man. I just subscribed.

  55. Reason says:

    Excellent video but looks like it only gives you VERY subtle results

  56. niteshade music says:

    i was told this was immortal sin but i shit the bed with cans on. never tried the phase switch but will b next time. thx for the awesome info!

  57. John Cole Burnett says:

    Would you reccomend leaving the bleed in if it's a quite dry mix? So it would give the mix some room sound or more space/depth. Just asking, maybe it's a not so clever question, I haven't experimented with this techniqe yet. Thanks for the vids. – JCB

  58. Jason Cabanaw says:

    Great tutorial Ryan, as always. Some people have been pretty negative in the comments about this technique. I've heard quite a few stems from pro, modern sessions (Coldplay, Fix You for example.) with so much bleed, you'd think they were recorded in front of line array. They coulda used you on that session! When you use this technique, have you compressed vocals on the way in? I feel like you would hear phase and volume changes between the two tracks, as one track would be pushing and pulling the noise floor by the vocal. I've only tried this method without compression on the way in (with great success), Thoughts?

  59. Adam Ziółkowski says:

    Great idea! I'll test it tomorrow as I have vocals recording session. Cheers man!

  60. MorbidManMusic says:

    If you put the singer in an equal lateral triangle with the speakers and reverse the phase of one speaker it will do the same thing. That w the old school version of this technique.

  61. Scott Moggach says:

    Just came across this video. Always enjoy your videos. They make you think outside the box, different perspectives You have amazing gear to work with. Thanks heaps

  62. Dennis Pedersen says:

    HI! Thanks for the great tip:-). I've just tried it, when I had to record 2 children in my studio. Followed your instructions, and I could remove 80-90% of the bleed from the vocal tracks and the children were more relaxed, so it worked like a charm:-)

  63. Tomasz Dudzic says:

    Nice one Ryan, i will use it tomorrow on choir recordings 🙂

  64. Matthew Kerkhoff says:

    Thank you so much for this technique!  I hate singing with headphones.  They throw my pitch way off and in the back of my mind I'm constantly thinking about how bad I sound through them.  So after watching this I started using a small monitor that I set up near my mic stand and I have been getting great takes over and over again.  And what a time saver!  Barely any pitch correction or time adjustments needed because I can get it right the first time.  But I do have a quick question that I think I know the answer to but I'll ask anyway because it just crossed my mind.  Lets say you needed to do some heavy handed editing.  Would you edit both tracks as a grouped pair or would you render them to a single track first?

  65. Ripper says:

    Interesting the video and the comments don't mention how/when to combine the 2 tracks at the end. Point being, you're going to be doing post processing to the vocal track that has noise after you record it. If you don't permanently combine them before doing any EQ or compression etc this process isn't going to work great. Maybe I missed it?

  66. TEST CAL INSTRUMENTS says:

    super awesome vid man! i love it! im gona try it! cuz ur so right im a vocalist and its so much better without headphones!

  67. Brian Taylor says:

    I have no inner ear voice because of Temporomandibular Joint Disorder, but still can sing with amplification. This is the only way I can record.

  68. bar nel says:

    Very nice video great work I've not used abelton live software

  69. PaddyMacNasty says:

    This singer was quite soft. Would this work with someone who sings more powerfully so would need a louder monitor mix?

  70. Devin Brines says:

    This is cool! What mic did you use with this?

  71. SurfingOnBrainwaves says:

    Sounds about right. I always just leave one ear uncovered by the phones so I can monitor my own vocals naturally.

  72. Florian Masereel says:

    great trick!

  73. JAY love says:

    I learned shit from you just talkn bout nothing

  74. Arksolva Studio says:

    If you can flip the phase on one of your monitors, it would do something similar or maybe better. Great video.

  75. JAY love says:

    👎 I'm just hearing what it sound like I'm not seeing how it's done.

    Then all that is too much just put the headphone an get it done studio time cost money

  76. Skinperiod Inc. says:

    @12:30 get out of my head sir.

  77. fuqinazhole says:

    I always have trouble singing with headphones. this is pretty cool.

  78. Corey Reynolds says:

    I love inverse phase wizardry. I'm actually surprised the bleed didn't almost completely disappear. Shows how much can change even when all settings are the same and the only variable is the person standing at the mic and the gear reacting slightly different.

  79. Jon E says:

    Chris Isaak recording Wicked Game using this idea. He sang his vocals in the control room while the mix was played softly through the main monitors. 👍🏼

  80. Michael Gomez says:

    I feel like sometimes recording with a headphone on kind of gives me anxiety because I'm more worried about how my voice sounds in the actual performance

  81. EveningCrow says:

    Holy crap, I never would've never imagined this. It's so simple and such common sense that the second you said everything had to be the same and you're recording a noise track it hit me.

    Btw, been watching a lot of for videos and really dig them. I especially appreciate how you break everything down into very simple explanations (particularly when you draw what you're doing). Thanks!

  82. Christopher Morrow says:

    Couldn’t you also grab the noise profile from the noise track and use it with a noise reduction plugin on the vocal track? Or do you think that might be overprocessing? Just a thought.

  83. call you out says:

    Wouldn't this technique record the music as well along with the vocals…..when you want only vocals

  84. Joan Velez says:

    Peter Gabriel us a boombox for monitoring the vocals and flip the phase on the mic. I Intern with Daniel Lanois and he say that they didn't use the noise just the mic phase reversal.

  85. Đại Bàng Ham Học says:

    you badass… thank you so much guy

  86. Dominic Britten says:

    What’s that control surface?

  87. MrNEWDY says:

    I'm curious if this can be done to get bleed out of live recordings(like get guitar bleed out of overhead mics) or if you could eliminate hihat bleed in a snare by multing a close mic hihat track and inverting the phase, then printing the results to a track to mix in. Been working on a track I didn't record with horrible hat bleed on the snare(I'm guessing they recorded it with a condenser and noise rejection was not thought of)

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