[Mr.Chainsaw]

Been going through Bob Dylans albums, chronologically, one by one (I know, big undertaking!).

What strikes me is how "intimate" the sound is on The Freewheelin' Bob Dylan. It's like he's stood an inch away from your nose, singing into your face.

What is it that makes it sound/feel like that? Is it achievable at home?

Would love to learn how to do that.

Ta!

Peter

[James Nighthawk]

Hey there

I haven't much time to post today so I'll give you the one, singlemost important piece of advice here

CLOSE MIC!

Intimacy, in a vocal especially, comes from the vocal appearing near field in the speakers. A decent mic, with the vocal performance up close, and with minimal effects processing will be the best starting point to achieve this. Keep all reverb to an absolute minimum as it distances the vocal.

Naturally, beware of BAD close mic sounds, such as popping. A decent pop shield, combined with an off axis mic position should eliminate most of these issues

I posted a song a couple of months ago on here which has the close mic feel I am talking about

http://www.reverbnation.com/play_now/song_11892342

This sound is a bit cleaner/nicer than the dylan album you mention, but (a) we are nearly 50 years later and (b) if you want if rawer, try recording the levels hotter, and EQ harsher in the mids

Mic used Neumann TLM107, 30 degree angle, nylon pop-shield

Hope that helps!

[domj]

Perform to one mic, want to be something and treat that mike like your audience. No?

[tina m]

i think he gets that intimate sound by not being able to sing 

[domj]

That's it!!!
You've got to sing through your nose.

[Mr.Chainsaw]

i think he gets that intimate sound by not being able to sing 

Burn the witch!

Peter

[tina m]

charming!

i expect your good at burning things!

[domj]

I do think mono recordings draw you in more. Has a more solid sound compared to stereo.
I could be talking out of my arse though.

[tina m]

come on then mr pineapple dont you want a fight?

[Mr.Chainsaw]

@tina a fight? With you? Oh nononono! I'd be much to scared. You might muss up me hair or something 

@domj been listening to your stuff on soundcloud, must say I like how its recorded. How dya go about it?

Mr Pineapple

[domj]

@tina a fight? With you? Oh nononono! I'd be much to scared. You might muss up me hair or something 

@domj been listening to your stuff on soundcloud, must say I like how its recorded. How dya go about it?

Mr Pineapple

Thanks.
I just keep it simple. I set up my Rode Nt1a, keep levels lowish for dynamics. I try to get the sound right before recording through positioning and record vox and guitar in one take, that's about it. Oh, i do compress it, mainly because people don't like having to reach over to the volume. I need to learn more about compressing.
I don't use a pop shield anymore, which makes me sing around the mic and use it more. I found with a pop shield i got lazy and just sang directly into it. Though whether that makes a difference might be just in my head 
I stay away from eq'ing as i'm not that clued up about it and my monitors and room aren't that good.
Recording chain is Rode NT1a into Focusrite Saffire pro 24.
I got a tascam 424 on ebay recently, i got it because it has 4 outs, i'm going to record through that as a mixer hoping it'll give a more analogue feel using M-Audio DMP3 as a preamp (which i don't normally use cause it's a bit harsh.).
I abuse reverb, though. Something i should stop doing.

I keep it simple because i really am clueless about the mixing side of things.

I was once told that it starts with positioning, performance, then the recording chain. Anything you do in the box degrades the audio and should be used sparingly.
I think that is a very old school approach, but it makes sense to me.

[Harbidge]

I think its all about the mics and the preamps and of course placement

This is the best example I could find these days of a real good live and intimate recordings.  All those early Dylan songs were live takes.

At about 1.55 the camera pans out and you can see the mic placement