Manley Langevin CR2001 2001 - present - Manual (Page 4)

A few last tips regarding condenser mics.
The capsule is a plastic membrane just a fraction of an inch fom a back plate. These two pieces are charged with 40
volts between them. When the membrane vibrates that 40 volts changes a few hundredths of a volt and that is the
signal that gets amplified inside the mic. If moisture gets into that space between the membrane and back plate it
can short out the 40 volts and cause the mic to lose sound - until it drys. Remember, that the human voice is quite
moist. The moister the voice of the singer and the higher the humidity the more likely the mic will quit in mid-song.
It is not too common of a problem and you may never experience it but if you do relax - the sound will be back in
a few minutes. To prevent this, use the pop filters, use more distance or move the mic off center of the mouth so that
the moist breezes bypass the mic. This occurs with most condenser mics from time to time. If it does happen, take
a 15 minute break. The mic should "come back" in a minute or two but allow that extra time to allow it to dry better
or else it will just do it again in a few minutes. Don't use a hair dryer, heat or blower to dry the mic. You could do
damage to the diaphram. A small fan a few feet from the mic turned on between takes is the "emergency" option.
There is also a few electronic parts inside that are sensitive to moisture and contamination. Try to keep the mics as
clean and dry as possible and they should last you dozens of years.
Condenser mics are rarely seen on stage for live vocals. Why ? 1) They pick up more leakage and tend to be more
apt to feedback. 2) Singing real, real close into a condensor mic might create problems. 3) They are somewhat more
fragile and 4) they are usually big enough to block pretty faces. Usually the only place for condensers on stage is
overhead drum mics. What is a problem in one application is an advantage in another. Part of that leakage problem
is a rarely percieved quality of many mics. They tend act a bit like compressors and bring up low level sounds at least
compared to our normal hearing . That can work to our advantage or disadvantage depending on the situation. This
is partly why you see singers in separate rooms (iso-booths) or blocked off (gobos) in band recording situations. You
can't do that live.
The CR-2001 is known to work as well as some very expensive mics on most singers. On some voices it is the winner
out of a dozen more expensive vocal mics. On some voices it may not be "right". To be expected, some unusual voices
sound best with unusual mics. Try a few mics with a new singer. You often see vocal mics hanging upside down
from large mic stands in videos. It does not make a lot of difference sound-wise but it gives the artist a tendency to
stretch up rather than down to a mic. The height of the mic can slightly affect the balance of nasal tone that the mic
picks up. The larger stands also look "professional" and tends to discourage the singer from "adjusting" the position
of the mic. In major studios, vocals are most often recorded through electro-optical compressors like the UREI LA-
2A or the the Manley Electro-Optical Limiter and then directly to tape. The amount of limiting depends on the voice,
song and mic technique but it is usually gentle and "invisible". One rarely sees any EQ applied to vocals until mixing.
Most singers like some reverb to sing best. Thats normal but sometimes a short delay or flanger will be the trick.
Do not record this effect or if you must, record it to a separate track. Many want to hear lots of voice in the headphones
and headphones that are really loud. To be gently avoided. It usually causes them to sing flat and then burn out in
a few hours. Try changing the phase (polarity) of the mic. If for some reason the headphones are out of phase with
the real voice, it will never sound right in the headphones. Another rarely used technique is using stage monitors or
speakers rather than headphones. It is tricky avoiding too much leakage and requires some careful positioning but
at least make the leakage sound OK. Some find singing in the control room to be best. For communication and
teamwork it works but it does make the engineer earn thier money. Headphones on... headphones off, mixing for
leakage, using stage mics to record and any other tricks to make it happen.
Record as cleanly and smoothly as possible and capture the music - the performance. Don't get too wrapped up in
techno-world during a session. Nobody really cares about that - only the final result. Use good gear, not gear that
uses you up. Be nice - its intimidating and weird to be on the "other side of the glass" and the musicians probably
have a lot of "career" and "artist" emotions wrapped in this session even if they don't show it. Make it easy and fun
because thats why you got into this thing in the first place. The dreams, the money..... that too.
Last bit o' advise. When you lay your mic cable on the floor consider running it neatly and flat and taping it down.
Murphy's Law - you will trip on the cable, pulling over the mic stand, pushing the mic through somebodies classic
Martin acoustic guitar. At the end of the session before musicians pack up, disconnect the mics first and move them
out of danger. You can leave them on the stands but it is better to put them back in the boxes to minimise dust build-
up, damage, or theft. Mics "walk" more than any other studio gear.
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