Choosing the microphone
There is no best microphone in absolute terms, only a microphone that suits a given voice on a given song. At the start of the session we compare two or three models on the same verse: a large-diaphragm condenser for detail and air, a dynamic for powerful voices or drier rap sounds, sometimes a ribbon to soften harsh highs. You listen with us in the control room and we decide together.
Position matters as much as the model. Distance to the capsule, height relative to the mouth and the angle of the pop filter change the grain of the voice, the amount of low end and how sibilants behave. We adjust these parameters to keep later corrections to a minimum.
Comfort in the booth
A good take comes from someone who can hear themselves well. You get your own headphone mix, which can be adjusted at any time: more voice, less bass, a touch of reverb to carry you. The booth is treated to be dry without being stuffy, with a window onto the control room so you keep eye contact with the engineer.
We provide water, a music stand for lyrics and adjustable lighting. If you prefer to sing standing, seated or holding the microphone for certain rap parts, we adapt the setup. Breaks are up to you: a tired voice does not produce good takes, and we would rather have a shorter but productive session.
Artistic direction
The engineer is not just there to press a button. If you wish, they give you honest feedback on pitch, timing, articulation and intention. Some artists want that outside ear; others arrive with a very precise idea and prefer to be left to work: just tell us what you expect.
For backing vocals and doubles we use proven methods: tight doubles on the chorus, thirds and fifths recorded separately, ad-libs on a dedicated track. Everything is named and organised in the session so whoever mixes it, us or someone else, finds their way immediately.
Pitch correction
We can apply discreet pitch correction to passages that need it, only at your request. We use it as a finishing tool, not as an imposed style. If you want a pronounced effect instead, as heard in some rap and pop styles, we set it up with you on a separate track so the natural voice remains available.
Comping, meaning assembling the best parts of each take, is part of the session. We do it with you or after you leave, depending on the time booked, and we export consolidated tracks that can be imported into any software.
Formats and delivery
We record at 24-bit, 48 kHz by default or at your project's sample rate if you tell us. You leave with the vocal tracks as WAV files, aligned from the start of the song, ready to drop into your session. We can also deliver the full working session, or a quick rough mix so you can listen again at home.
Files are sent by download link or copied to your own drive. The studio keeps a backup of the session for 6 months after the last session; after that it is deleted. So remember to collect and back up your files on your side.
Who it is for
Solo artists recording a single, rappers preparing a mixtape, bands adding vocals after a day in the live room, songwriters who want a clean demo to send to a publisher, jazz singers recording over a backing track: the booth serves all of these. Minors are welcome from the age of 14 with written consent from their legal guardian, and with an adult present until the age of 16.
What to bring
Your instrumental as a WAV file, ideally without the guide vocal, or your session exported as separate tracks; your lyrics, printed or on your phone; the tempo and key if you know them; and, if possible, two or three reference songs whose vocal sound you like. Your own headphones are welcome if you are used to them. Avoid dairy products and ice-cold drinks just before the session: our article on vocal preparation gives more simple tips.
What is included
- Sound engineer for the whole session
- Microphone shoot-out
- Personal headphone mix
- Comping of the best takes
- WAV track export on the day
- Session backup for 6 months