 Untuk saya, saya rasa saya akan berkongsi tentang menggabungkan vokal. Semua orang di sini menggabungkan vokal di rumah. Oleh itu, okey. Ia sebenarnya bukan hanya tentang menggabungkan mic-nya. Dan jika suara itu cukup bagus. Ia ada banyak yang bagus. Jadi saya akan berkongsi beberapa tipps. Saya tidak akan menggunakan tipps. Saya hanya akan menggunakan tipps. Jadi perkara pertama yang kamu perlu tahu adalah apa yang kamu berkongsi. Ya. Vokalist, bagaimana bagus dia atau dia? Jika itu sendiri, kamu perlu tahu bagaimana bagus kamu. Jadi sesuatu yang kita fikir atau adalah seorang perempuan yang lebih besar. Tetapi kamu harus tahu perasaan dan perasaan kamu. Seperti yang saya katakan. Jadi jika kamu ada seorang artis yang sangat... ...sangat sangat mudah. Selepas itu, kamu perlu pastikan... ...perempuan sebenarnya belajar lebih banyak... ...sebelum memulai rekod. Sebenarnya jika seorang tidak dapat... ...pengalaman yang mudah. Kadang-kadang, ia sangat susah untuk membuat... ...pengalaman post-produk. Maksudnya setelah kamu memulai rekod. Kemudian kamu cuba menyelamatkan rekod... ...dengan memadakkan pilihan vokal dan sebagainya. Ia sebenarnya memasakkan kualiti rekod. Semua pilihan post-produk selesai. Jadi biasanya... ...pengalaman adalah untuk dapatkan semuanya... ...di awal. Supaya kamu tidak... ...mesti selamatkan kemudian. Kerana sebuah pilihan yang kamu lakukan... ...dengan memadakkan kualiti rekod. Jadi... ...kamu perlu dapatkan... ...pengalaman pilihan. Jadi mungkin seorang artis yang baik... ...atau beberapa pilihan... ...dan pilihan yang kamu pilihan... ...bukan pilihan yang kamu okey... ...bukan pilihan yang kamu okey... ...dan sebagainya. Kemudian... ...pengalaman kedua yang kamu perlu tahu... ...atau apa pilihan pilihan kamu. Jadi jika sebuah pilihan atau studio pilihan... ...kamu perlu fikirkan. Jadi jika sebuah pilihan... ...kamu perlu... ...kamu tidak ada terlalu banyak kejutan... ...tapi kamu masih boleh dapatkan... ...pilihan yang baik di rumah. Bukan tidak mungkin. Kamu hanya perlu dilihat beberapa perkara. Satu perkara adalah pilihan pilihan. Jika kamu ada banyak kejutan... ...tetika pilihan air kondisi... ...pilihan sebuah pilihan... ...pilihan siapa kamu... ...kita perlu mencari masa untuk mencari... ...ada keadaan yang sederhana. Jadi mungkin di tengah-tengah... ...bukan... ...pilihan kamu untuk mengusahkan. Kemudian pilihan air kondisi... ...jadi pastikan... ...banyak pilihan yang mempunyai... ...pilihan yang mempunyai... ...banyak pilihan yang mempunyai... ...pilihan kardia pilihan. Maksudnya ia akan mempunyai lebih dari depan... ...sebelum pilihan. Jadi pastikan... ...pilihan pilihan yang mempunyai... ...saya selalu mencari pilihan air kondisi kamu. Jadi bagaimanapun... ...pilihan air kondisi kamu... ...saya akan mempunyai... ...masa kamu mengambil pilihan... ...tetika mungkin terlalu panas. Tapi... ...tetika pastikan pilihan air kondisi kamu... ...pilihan pilihan. Dan perkara lain adalah akustik. Akustik... ...kamu-kamu... ...kabinat dan sebagainya. Jadi biasanya... ...akustik di dalam bilik itu tidak terlalu bagus. Kerana biasanya akustik yang kita bincangkan... ...dalam studio... ...dia sangat... ...kontrol di dalam bilik akustik... ...dan biasanya... ...pilihan pilihan... ...pilihan yang sangat bagus... ...akustik dan kondisi... ...dalam bilik itu... ...yang membuatnya sangat bagus. Jadi dalam bilik itu... ...kamu masih dapatkan... ...pilihan yang baik... ...tapi kamu hanya perlu... ...bergerak sekitar bilik kamu. Menemukan tempat... ...yang menurut kamu... ...sangat yang terbaik. Kamu perlu membuatkan perhatian itu... ...kalau bahawa pada masa... ...kalau kamu bekerja... ...jadi mungkin... ...tetika hari ini kamu mencari tempat ini... ...mencari tempat ini... ...bergerak kamu... ...di tempat yang terbaik. Dan kemudian... ...mungkin berdiri... ...di masa depan... ...kamu boleh berfikir dan melihat... ...berapa tempat yang terbaik... ...kalau kamu suka yang terbaik. Jadi... ...dia... ...dia ada beberapa cara... ...dia ada beberapa perkara... ...kamu boleh buat untuk menemukan tempat yang terbaik. Ada beberapa timur... ...saya tahu di negara. Apa yang mereka buat... ...mereka ambil... ...bergerak yang terbaik. Ada sesuatu yang sangat bergerak... ...dan mereka... ...bergerak. Jadi... ...mungkin mengambil perhatian... ...atau... ...bergerak... ...mungkin perhatian yang terbaik. Jadi kamu bergerak... ...sehingga kamu mencari tempat itu... ...dan kamu menemukan tempat... ...yang terbaik... ...yang paling... ...yang terbaik... ...yang paling tinggi dan paling seronok... ...yang itu adalah tempat yang kamu harus menerima. Biasanya... ...masuk-masuk orang akan berkata... ...kamu tak boleh menerima panggilan yang baik... ...tapi saya pernah memahami... ...karena kadang-kadang... ...masuk di studio yang baik... ...kamu tak boleh menerima panggilan yang baik. Kerana itu sebenarnya lebih pada penjara... ...selepas orang buat panggilan... ...selepas sebenarnya... ...dia boleh menerima perhatian... ...atau bahawa... ...kita ada percaya lain. Jadi... ...itu perkara lain. Jadi sekarang kamu harus tahu... Bagaimana keadaan dan kuasa yang anda mempunyai? Jika anda mempunyai kualiti yang terbaik, anda perlu mempunyai keadaan dan kuasa yang anda mempunyai. Kuasa kuasa dan kuasa yang anda mempunyai, keadaan dan kuasa yang anda mempunyai, anda perlu tahu dengan jelas. Untuk contoh, kuasa untuk saya, saya memikirkan kuasa sebagai... saya nak katakan bahawa sebuah pelakon warna. Kuasa yang berbeza mempunyai warna yang berbeza. Jadi, untuk saya, mungkin kualiti ini sedikit... terkejut. Tetapi untuk saya, bagaimana kualiti yang berbeza mempunyai kuasa yang anda mempunyai. Jadi, anda boleh mencari orang yang sama dengan kualiti yang berbeza. Jika anda mempunyai kualiti yang berbeza dan anda boleh mempunyai keadaan, beberapa orang akan menyebabkan kuasa yang lebih kualiti, bermakna kualiti yang berbeza seperti... kualiti yang berbeza dan kualiti, tetapi semuanya akan menyebabkan kualiti yang lebih kualiti. Jadi, menurut saya bahawa semuanya lain adalah sebuah kualiti yang berbeza dan segala-galanya yang berbeza tetapi... bahawa kualiti yang berbeza sebenarnya, bahawa kualiti yang berbeza anda tidak boleh berubah. Anda boleh berubah semuanya lain, terutamanya untuk kualiti yang berbeza. Jadi, ini akan menjadi kualiti yang pertama saya memilih. Kerana bahawa kualiti yang berbeza, anda tidak boleh berubah. Walaupun dengan kualiti yang berbeza, ia akan menjadi kualiti yang lebih kualiti. Jadi, bagaimanapun, anda perlu melakukannya dengan kualiti yang berbeza dan dari kemudian, anda dapat mendengar. Yang ini sebenarnya mempunyai bahagian yang seronok. Jadi, anda perlu tahu. Kemudian, perkara lain adalah respons berbeza. Mereka mempunyai berbeza kerana mereka memilih berbeza. Mungkin satu cara untuk menerima berbeza adalah bahawa ada banyak bahagian yang berbeza, bahagian yang saya cakap sekarang, ada bahagian yang tinggi dan ada bahagian yang rendah. Semuanya di dalam bahagian yang berbeza adalah sama, bahagian yang berbeza dan bahagian yang di dalam bahagian itu. Jadi, anda perlu tahu. Mereka memilih berbeza yang lebih tinggi dan berbeza. Jadi, anda menggantikan, bagaimanapun, bagaimanapun, bagaimanapun, bagaimanapun, dengan sesuai suaranya yang sangat ramai, sesuai errors, mungkin seorang seorang seorang seorang seorang, saya akan menerima bahagian yang lebih kuat untuk menggantikan. Jadi, bagaimanapun, anda tidak mendapat bahagian yang memilih banyak bahagian yang tinggi kerana itu akan mengidah bahagian dia. Jadi, anda perlu tahu yang sesuatu yang menggantikan, So it sort of sounds more balanced in that way. The other thing is mic input sensitivity. This is something that is in the specs, but it's more, I would say, how sensitive the mic. So certain mics are very sensitive. So just by even speaking, even your saliva voices and all that, you can actually pick up as you speak and all that little bit of like mouth movement, even that it actually picks it up. So there's that different sensitivity and it affects your recording because some of these noises will get in. And it also affects the distance you can put the mic because I'll explain later that you need to find optimal distance between the mic and the sauce. Most of the time, most people just put out the mic and then just sing as close as to it as possible. But for me, I would say that you need to um... find the optimal sound from... Okay, every singer actually has... This I learnt from a Taiwan producer that I had a chance to meet in the US. He actually was recording this female singer, I forgot the name, but the female singer is already a bit older. So I realised that he put the mic at an angle towards the singer. Yeah, I didn't understand why because it was very weird angle like very off to one side. Then I was thinking, why is he doing that? Then later he explained as I asked him and he was saying that because as a most human because of the bone structure and all that, it's not perfectly symmetrical. So one side will be more resonant than the other. So most of us are like that. It's impossible to have a perfect on both sides. So one side will be more resonant but as you grow older the difference becomes more pronounced. So as you grow older you sort of inside your face maybe more deformed in that way. So it will actually be more pronounced. The resonance will be better on one side. So make sure that you choose the side for me, I know it's my right side. You have to try and record. So you record the singer normally on the left and on the right and you compare the recordings. Which one sounds more full and more actually the test would be in the sense more let's say that word a bit more has more frequency richness in it. I think that's the best way I can describe it. I would like to demonstrate but in the essence of time I think you can hear a sort of richness in it and if you process both sound a lot you can hear that the one that is more resonant actually can be processed more times than the one that is not as resonant. So maybe this is the way for you to check which side is more resonant. And sometimes some people say that you can actually just feel it but not really the accurate in my experience so far. So and then besides getting the axis you need to also care about the height where you put the mic although everyone will say you just put the mic right in front of your mouth but that's not true that is as you put the mic higher and lower the sound will actually change. So as you in general you put it lower you get more highs you put it higher you actually get more lows. Although the thinking is that most of the chest voice is here so it's actually lower but in my experience so far when I move it down it actually picks up more highs. So but there might be exceptions it depends on the room and the signal but so far I would say 99% of the time it's lower it picks up brighter higher it actually picks up more lows. And the other thing is the distance. The distance from the signal to the mic is extremely important. This is where you need to find that point where most of the frequencies of the voice sort of congregate in that air space because most mics don't pick up voice they pick up vibrations of the air. So if you can get one spot where most of because high frequencies travel at a higher speed low frequencies actually at lower speed so if you can get one spot where most of the frequencies are there you can actually get a very very solid recording where you can process the hell out of it and you can still sound very very good. Next thing you need to remember recording game. A lot of people tends to make this mistake here. I came from the analog era so when I started recording when I was 14 on cassette decks all the way to analog mixer boards where we actually have to to do a mix of many instruments together so you hear most of the recordings you hear nowadays are stereo so left and right but to reach the stereo stage we have to we have many different instruments but we need to squeeze them into this stereo sound we actually have to do what we call mixing so in the analog time we actually have to like maybe have 3 or 4 people on the mixer board each person in charge of different instruments and at different time push up and push down the faders to actually mix a record. After that when it's digital time it's easy every time everything is automated in the computer and all that it's very easy I came from the era of analog and it's about getting the loudest signal possible because the noise of analog is very high so we try to get as loud as possible without distortion so that was the ultimate aim at that point of time but when we went to digital we thought that we could bring the same theory of getting the loudest sound you can above noise floor so we can get but it's wrong in digital recording it's a totally different concept and it's only discovered maybe 7-8 years back in the US so maybe there's an era 80s 90s some of the recording actually done quite badly using digital even in the US and UK but they only discovered recently that there's this thing about the optimal level you need to record at because most digital gear have what we call analog to digital conversion so during that conversion process the chip is actually you can set the chip to a certain level optimal level where it's supposed to work at and most of the time this is not flash out to most consumers so they just say I record as loud as possible or some people might record too soft but the thing is there's this optimal level already set by manufacturer you can actually see the spec sometimes is maximum output level and maximum input level all this will tell you a lot about the ADDA tuning so usually they use minus 12 or minus 18, minus 20, minus 24 so you need to know what level is already set then you need to work to that level so you need to know your gear back to the earlier point that you need to know your equipment so from there you need to most of the time I would say it's safe if you don't know, you don't want to find out about the specs or your manufacturer doesn't publish the specs you record at minus 18 to minus 20 what we call DBFS maybe I need to show because decibel is a very elusive term there are many definitions of decibels and okay, DBFS so you can see it's not very clear but basically it's the meter you see in your recording software where there's always a zero point you can see from actually it's very small but I can usually assuming it's a meter that has a zero and all the way down to minus 60 for example so this is what we call DBFOO Scale FOO Scale is what is possible in the digital domain without clipping actually digital is all about values, every point has a value so the whole range of values from zero to infinity minus infinity actually has a certain value tag so zero is the maximum possible one if you exceed it, it will not capture so zero so minus 18 and I'm talking about average levels minus 18 minus 20 DBFS is average levels, not peak levels peak levels we will talk about maybe you will keep it at minus 6 peak meaning how do I demonstrate this let's see a piece of music so as I play it back we see that there's set to peak so you can see that there's two lines moving so I've set the level meter to peak and RMS so what you can see there's two different levels here one is the yellow one on top and one is the thicker one below so the below one is what we call RMS RMS means average average so you want to keep track has really been mastered so it's been like minus 11 average level and peak is 0.6 which is very high but for any vocal recording you want to keep it to minus 6 peak below minus 6 peak and probably RMS is minus 18 minus 20 this will ensure that you don't what we call clip the converters so the analogue of the digital converters is set at that optimal level if you go beyond it, it clips and it distorts the signal so it makes your sound less clear most of the time we didn't know that because it still sounds okay because this kind of clipping is not the distortion that you hear very obviously as you blast your speaker too loud that kind of distortion it's not that clear it is a bit more subtle and you need years of training to hear that little bit of distortion so without that you need to rely on your levels need to get your levels right okay then actually lastly, there's one more thing you need to take note of it's the monitor mix you hear the artist hears on the headphones when they're recording so most of the time people just say ah as long as you can hear and some people like to turn it up very loud so what happens is what you're singing and the music itself actually will cause what we call face cancellation meaning it will cancer off some of the frequencies that is present in your recording so it's better to set the levels right and also the other problem that I was saying if it's too loud, most singers tend to sing a bit sharp and some singers might even sing flat so you need to be at the right level and need to be able for the artist to hear himself or herself and also the instruments of the music but maybe certain instruments, more or less depend on the artist preference but most of the time I would say bass is a very important to most good singers listen to the bass rather than other instruments most of the time if those singers listen to bass their pitch is usually quite okay then lastly I would say need to make the artist feel comfortable those are very simple without getting into the very advance try to make the singer perform even better and usually the first or second take is always the better take in my experience so far I would say first and second is always the best drag on the singer gets tired unless it's a very well trained singer but even that I think usually by the 10 take you can hear the voice already half way gone and you will not be able to get a good quality recording I think for me that's about it for the tips part and hope to share more with you in the future and that's all, thank you