A large diaphragm capsule is traditionally desired on vocal tracks. Large diaphragms are generally better equipped to accommodate a vocalist’s potentially high dynamic levels. The proximity effect tends to add fullness to the voice, as well. That same proximity effect can be overwhelming when used on a performer that already has an extremely deep voice. In this event, a medium capsule can be more appropriate because of the reduced proximity effect.

Tube mics and preamps are highly recommended for vocals, as vocals tend to be the featured element. The ST66 is an exceptional mic for the typical vocalist, while the ST44 is excellent on singers who already have a great deal of body in their voices.

Cardioids are typically used when close-mic’ing a vocalist, especially when the acoustic space is not necessarily something you want featured in the track.

In the case of recording multiple vocalists, there may not be enough resources for separate mics or tracks. For background vocalists or an entire singing group, place the singers in a semicircle around a cardioid. Position the individual vocalists closer to or further from the mic in order to achieve the desired balance in their levels.

In all cases, the distance between the vocalist and the microphone will determine how “present” or intimate the sound is, as well as how much reflected sound is picked up. Slight movements on the part of the singer will have much less effect on the mic output level if he or she is not “eating” the mic. A good starting distance is 12 to 18 inches away from the vocalist.

Vocal mics are usually placed at the same level as the performer’s mouth. Raising the mic produces a more nasal sound, while lowering it yields a more chesty sound. Avoid extremes, as they tend to stretch or constrict the subject’s throat—enemies of a good vocal performance. You can also experiment with angling the mic down at the performer’s mouth in order to avoid projecting breath energy directly into the microphone

A pop filter is highly recommended in order to soften plosives (like popping “p”s). Pop filters can also help in controlling a singer’s proximity to the mic.

Be aware that a hard surface directly in front of the vocalist creates a strong sonic reflection that colors the vocal sound. If this is not desired, move the vocalist further back from that surface in order for the reflection to fall off more before reaching the mic.
Our ears are very highly tuned to the human voice, so even casual listeners are much more critical of recorded vocals than of any other instrument. Once you think you have a good mic’ed sound for vocals, it’s always a good idea to compare it directly with the sound of the vocalist just singing in the room in order to get a reality check.