How To Record Vocals With the N22

Audio Samples and Techniques Using the AEA N22

The N22 is ideally equipped to capture the detail and tonality in any range of vocals. With its near-field design, balanced low-end, and extended top-end, the N22 excels at capturing the immediate essence of a vocal while limiting room reflections.

A bump in response at 3kHz delivers enough bite to make the N22 the only mic necessary, eliminating the need to blend additional mics for top-end balance. High-frequency roll-off and big ribbon character combine to deliver an ultimately smooth and warm vocal sound.

While a pop-screen is not always necessary, it is recommended for singers with extreme plosives. The NUVO Windscreen easily slips over the N22 and N8 microphones allowing you to use them up close on vocals without a pop-filter and outdoors for live sound reinforcement. The NUVO Windscreen was modeled with a transparent sound so the tonality of your mics remains relatively unchanged.
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Close Miking

The near-field N22 delivers balanced sound 2 to 16 inches from the source with the help of internal mechanics which roll off the low-end of a signal before it hits the ribbon. This feature allows for better performance in close-up recording applications than one would achieve with more conventional ribbon mics due to their large amount of proximity effect.

Listen to female vocals

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Listen to male vocals

Two Singers in One Mic

The figure-of-8 polar pattern of the N22 allows it to capture quality sound from both sides, so capturing the live harmony of two vocalists on opposing sides of the N22 is a simple solution for producing organic performances. In fact, the N22’s wide range axis allows you to position multiple singers around the mic to great effect.

Group Singers

The N22’s pattern has a very wide pickup allowing you to position multiple singers around the mic and to have a consistent sound even when off-axis. Be aware of how far away from the mic you sing since the N22’s near-field pattern has it’s most balanced bass sound from within 18 inches from the source. This is a common both in the studio and in many live performances.

Singer-Songwriters

When recording an artist that plays guitar and sings simultaneously, take advantage of the exceptional rejection offered by the null planes of the N22’s polar pattern in order to reject the vocal and isolate the guitar.

With one N22, position it how you would normally mic an acoustic guitar, in between the sound hole and the 12 fret of the guitar. Make sure that the null of the microphone is pointing towards the singer’s mouth. With another N22, position so that the ribbon is aimed towards the singer’s voice and the null is pointing towards the sound hole of the guitar. This will limit the bleed between both microphones giving both mics a great isolation.