Recording live is just more fun, and in most cases it should be perfectly possible to achieve excellent results. If you're working against any sort of deadline, chances are you'll get much more done if you record everything in one go, rather than attempting to build up a track through overdubbing, especially if there are additional musicians involved too.įinally, it could just be me, but aren't we all sick to death of endless overdubs and comps? I don't know about you, but personally, the longer I remain on this planet, the less patience I have for listening back through 27 vocal takes trying to identify the best example of each phrase. The most pressing of these is likely to be time. There are also practical reasons why recording the two components separately might not be feasible. Some people will, indeed, sing better when their concentration is not diluted by the need to play guitar too - but not everyone! For every performer who feels liberated by the opportunity to play guitar and sing separately, there will be others who will feel discomfited and undermined in confidence at the thought of just singing. What matters above all is capturing a great performance, and it's valid to ask whether you will really get the best from a performer by requiring him or her to divorce their singing from their playing. Yet it's also easy to overlook the fact that sonic hygiene is not, at the end of the day, what makes for a compelling recording.
You can also comp both parts independently to achieve the most polished performance, without having to confront the question of whether you keep a dodgy bit of guitar playing because it also represented the best vocal take.
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You're free to mic both sources exactly as you please, without compromising the guitar sound in order to achieve a satisfactory vocal sound, or vice versa. If your overriding aim is sonic hygiene, this approach has a lot to recommend it. In these days where we all have infinite audio tracks and sophisticated editing tools to play with, many people's first impulse is to record the guitar first, then overdub the vocals afterwards. The mic choice and placement that gives you the perfect guitar sound might completely foul up the vocal sound, and vice versa. Photo: Richard EcclestoneThe obvious challenge in recording a singing guitarist is that you are, in effect, trying to capture two sources simultaneously and in close proximity. (For copyright reasons, and because we liked it, we ended up using the traditional folk song 'To The Begging I Will Go'.) The Great Divide
Greg makes his living playing covers and original material in pubs around London, and I knew that he would have the skill and experience to play and sing the same thing over and over again in the same way, allowing us to compare the techniques as closely as possible. Helping me in my quest was rather good singer‑songwriter Greg McDonald. With that in mind, I decided to explore some of the different mic choices, placements and techniques for recording a singing guitarist.
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From bearded folkies to whiny emo kids, via earnest singer‑songwriters, there's a lot of 'em about, so whether you're recording for fun or profit, it's worth knowing how to get the best results. If your interest in recording stretches as far as owning a microphone, the chances are that sooner or later you'll be called upon to point it at someone who sings and plays guitar. Many musicians give great live performances when singing and playing guitar at the same time.
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