Tiffany Haney
A cappella groups deliver pure vocal harmonies, blending together to create incredible music. The term 'a cappella' refers to music performed by a singer or group without instrumental accompaniment. While there is no hard and fast rule for panning a cappella groups, the higher voices are often panned more left and right, with lower voices less so. Stereo paired mics can be used to give the listener a feeling of being in the room with the performers.
How to pan a cappella groups
| Characteristics | Values |
|---|---|
| Microphones | Use a stereo pair of condenser mics for the full group, and a cardioid pattern for individuals. |
| Microphone placement | Place mics in an X-Y attachment for the chorus, and use SM-58s for the leads, bass, and beatbox. |
| Panning | Pan higher voices more left and right, and lower voices less so. |
| Automation | Use automation to shift parts around spatially as relationships between voices change. |
| Mixing | Double background parts to thicken the texture and enable L/R panning. |
| Compression | Avoid heavy compression to manage breaths and avoid making them too noticeable. |
| Group arrangement | Intermix sections to avoid a stereo sound, or place Sopranos and Basses at the back with Altos, Tenors at the front. |
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What You'll Learn
Use a stereo pair for mics, with a cardioid pattern for L/R panning
When recording an a cappella group, the use of a stereo pair of microphones with a cardioid pattern can effectively capture the performance in stereo, providing the listener with an immersive experience. This technique is particularly suitable for choirs and groups where the singers are arranged in a circle or semi-circle, creating a spacious and enveloping sound field.
The stereo pair of microphones should be positioned to capture the left and right channels of the audio, with the cardioid pattern directing the most sensitive side of the microphone towards the sound source. This ensures that the microphones capture a clear and focused representation of the choir while minimizing unwanted background noise.
One recommended setup for achieving this is the XY technique, which involves positioning two cardioid microphones at right angles to each other, with the front of the capsules aligned. This simple configuration provides a clear stereo image with minimal phase issues, making it ideal for close-mic applications. By increasing the angle between the microphones beyond 90 degrees, you can achieve a wider stereo image while sacrificing some center information.
Another popular variation is the ORTF stereo technique, which uses a pair of first-order cardioid microphones spaced 17cm apart at a 110-degree angle. This technique aims to mimic the way human ears perceive sound, resulting in a wider stereo image than the traditional XY technique while still retaining some center information.
When panning the microphones in a stereo pair setup, it is common to hard pan them left and right, creating a spacious and immersive soundstage. This technique is particularly effective when combined with the appropriate microphone spacing and angle, as mentioned in the ORTF and XY techniques.
Additionally, consider the placement of individual singers or voice parts within the stereo field. For example, in a typical SATB (soprano, alto, tenor, bass) choir, the higher voices (soprano and alto) might be positioned further left and right, while the lower voices (tenor and bass) are more centered. This approach emphasizes the higher frequencies and creates a balanced mix.
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Record doubles of each background part to thicken the texture
When recording an a cappella group, it is important to record doubles of each background part to thicken the texture. This technique, known as vocal layering or double tracking, involves singing an additional, duplicate vocal on top of the main vocal to create a thicker and more powerful sound. It is a common technique used in pop vocal production and many other genres and styles. By recording doubles of each background part, you can add depth and interest to the overall sound of the a cappella group.
When recording doubles of each background part, it is important to consider the panning of the vocals. Panning refers to the placement of the vocals in the stereo field, from left to right. In an a cappella group, the higher voices are usually panned more to the left and right, while the lower voices are kept more central. This is because higher frequencies tend to sound better in the left and right channels. Additionally, by recording doubles of the background parts, you can take advantage of L/R panning without worrying about phasing issues caused by creating fake doubles through delays.
To achieve a thick and powerful sound, you can also experiment with different vocal formats and effects. For example, you can try changing the formants of the background vocals to create a brighter or darker sound. This can be done using software with formant editing options, such as Melodyne's editor and studio versions. Another technique is to add delay and reverb to create a ghostly, shimmering vocal layer that floats in the background. This can be achieved by using an algorithmic reverb with high decay time and modulation, and then blending in a healthy amount of wet signal.
It is also important to consider the dynamics and timing of the doubled vocals. The doubled vocal should be mixed at a lower volume, typically around -3 to -10 dB behind the main vocal, to avoid competing with it. Slight timing and pitch differences between the main vocal and the double can add interest and depth to the overall sound. However, for tight vocals, it is important to ensure that words start and end at the same time across all layers, unless a looser feel is desired. Additionally, with multiple voices, inhales often don't occur simultaneously, so this is another factor to consider when recording doubles of each background part.
Overall, recording doubles of each background part in an a cappella group can add thickness and depth to the texture. By utilizing panning, effects, and dynamics, you can create a powerful and memorable sound that enhances the overall performance of the group.
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Pan higher voices more left and right
When mixing acapella, there are several different approaches you can take to panning, depending on the style of the group, their size, your mics, and your environment.
One common approach is to pan the higher voices more left and right, while keeping the lower voices more central. This is because higher frequencies tend to sound better when widened. However, some advise against panning high parts too hard as it can leave a gap in the stereo field.
Another approach is to use automation on your panning to shift parts around spatially. For example, in a choir with sopranos, altos, tenors, and basses, the standard panning from left to right is SATB. However, this is not a rule, and some groups may choose to alter the panning based on the strength of the voices and the nature of the parts. For instance, in a choir, the soprano and bass tend to be what people hear the easiest, so putting them at the back can create a more balanced sound.
Additionally, when mixing contemporary collegiate a cappella groups, where the music is typically not as homophonic, you may want to mix the voices differently. For example, you could try putting the soprano, bass, and beatbox center, while panning the alto and baritone hard left and hard right.
It's important to note that there is no one-size-fits-all approach to panning acapella groups. The optimal way is to experiment and find the sound you want.
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Use automation to shift parts around spatially
When mixing an a cappella group, you may want to use automation to shift parts around spatially. This is because the relationships between the different voices (soprano, alto, tenor, bass, etc.) often change during a typical a cappella song.
For example, you might want to try panning the higher voices more to the left and right and the lower voices less so, as higher frequencies tend to sound better this way. You could also try putting the soprano, bass, and beatbox in the centre, with the alto and baritone panned hard left and hard right.
If you are working with a choir, you might not want to separate the sections too much as this will make it sound less stereo. For example, in a choir with sopranos, altos, tenors, and basses, you might want to keep the SATB arrangement from left to right. However, you could also experiment with different arrangements, such as putting the soprano (S) back left, the alto (A) front left, the tenor (T) front right, and the bass (B) back left. This can help to balance the sound, as S and B tend to be what people hear the easiest.
If you are using recording software such as Ableton, you can use the automation feature to easily shift parts of your arrangement around. To do this, simply click the "Lock Envelope" icon in the upper right corner.
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Manage breaths and compression
When panning acapella groups, managing breaths and compression is essential to achieving a clean and polished mix. Here are some detailed instructions to help you with this process:
Breath Management:
- Breaths add life to vocal performances, but they can become intrusive if too loud or misplaced. It is essential to manage them carefully.
- Use volume automation or gain automation to manually reduce the level of distracting breaths. This allows you to retain the natural feel of the performance while ensuring breaths don't overpower other elements.
- Consider using a noise gate to manage breaths. A noise gate will reduce the volume of any sound that falls below a certain threshold, which can help minimize the impact of breaths without affecting the vocal performance.
- If you want to retain more of the breathing sounds, you can use a high-pass filter at around 100Hz on an equalizer to gently reduce their presence without disturbing other elements in the mix.
Compression Techniques:
- Vocal compression is about controlling the dynamic range of the performance, ensuring that the difference between the loudest and softest parts of the track is well-balanced.
- Adjust the attack and release settings of your compressor to suit the style of the performance. A fast attack will clamp down quickly on loud sounds, while slower releases give a more natural sound by allowing some dynamics.
- Avoid over-compressing the vocals. Over-compression can make the performance sound unnatural and overly processed. Instead, use a combination of compression and automation to manually adjust vocal levels and maintain a dynamic performance.
- For acapella groups, consider using a midi version of the arrangement to record small bits and doubles, adding thickness to the sound and facilitating L/R panning without phasing issues.
Remember, the goal is to create a balanced mix where the vocals shine through without overwhelming the other elements. By managing breaths and compression effectively, you can achieve a professional-sounding result that showcases the talent of the acapella group.
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Frequently asked questions
There is no hard and fast rule, but a common setup is to have the Sopranos at the back left, Altos at the front left, Tenors at the front right, and Basses at the back right.
You can use a stereo pair of condenser mics for the full group and a cardioid pattern for solos. This will give the listener a feeling of being in the room with the performers.
Record doubles of every background part to thicken the texture and help with L/R panning. Work out what the group is comfortable with, and don't compress too hard so that breaths aren't too noticeable.
Generally, you would pan higher voices more left and right, and lower voices less so.
