What do you guys typically use (or seen used) for this application?

Lately I kinda came up with the idea of using two mics for this purpose. The basic set-up would be a 57 and some sort of LDC, the desired effect being the midrange grind from the 57 and the extended bottom end I think the 57 lacks from the LDC. I realize this might lead to some possible phasing issues, but I think that could be worked around.

Also; I thought about having the 57 right up close with the LDC back a little more for some more room sound and to create some depth while the 57 is still retaining that in-your-face aggressiveness.

Any thoughts?

The multi-mic thing is not unheard of, and in more than just a DM context, too. (David Bowie on Heroes is an obvious example; if I'm remembering right some Tool and Soundgarden stuff as well, off the top of my head?) It really depends on the vocalist, their mic technique and level of musicianship, and the room you have to record in and what you have to record with.

In the past, screamer d00ds got handhelds, whatever I had that was best on their voice, because that was generally what they were comfortable with and what their whole deal was about, and they often threw down live with the band, or a part of it at least. More savvy vocalists, generally singer-guitarist-songwriters, got whatever I would normally use on anyone, usually whatever big condenser I had on hand, even for dirty vox. They did the overdub for a reason, they got the best sounding thing for a reason. (Which wasn't always the LDC, but usually was.)

In general I think it's about matching the mic to the performer, situation and acoustic environment you're working in. Vocalists can be a bitch. Some want volume- monitors cranking in the room- and a handheld. In general I like the idea of making DM vox sit in a real acoustic space, but that's at least my reactionary recordist talking, especially re: metal.

See, I'm used to recording handheld, but that because I have only recorded out of the house where I didn't have a big mic stand and pop filter to get things kinda professional. I would be more than willing to experiment however.


More than anything, I just want to get the most realistic and accurate reproduction possible of my vocals.
I really like the sound of the 57 in terms of it's grainy, aggressive sound but I don't think it captures all the warmth and low end I am capable of producing (something I am hoping an LDC would provide).

I just see a Best Of Both Worlds approach being the best one.

Also, I would recording vocals in a room that is actually suited for that kind of thing.

Shure SM7? People do rock them handheld in the studio on occasion. It's a bigass dynamic, and popular for loud vocalists. It's currently a very hip mic among metal recordists for vocal work. I haven't used it on vocals myself, though it's going into the mic shootout when we do vocal sessions for the Garda record.

EV RE20 is another option here maybe? Again, another LDD- large diaphragm dynamic. This, like the SM7, was a radio broadcast mic. You'd recognize these things if you saw 'em in this context, I'd think. This, I have used as a vocal mic. (On a live radio session, go figure. They had a bunch of them around.) Both of these will get you your lows; they wind up in kick drums and on bass cabs and the like. They have mids to them though, unlike modern specialized kick mics. Also, think "radio announcer voice".

There's handheld condensers, too, meant for stage use, but I can't speak for them and how they sound.

I've tried ribbon mics on vocals before, but I found them too dark.

Now, a good large diaphragm condenser will serve you well on... probably everything. It's about the least specialized sort of mic there is, and the handful of Internet Warriors who say it's an inappropriate choice for metal vocals have probably spent too much time huffing paint behind the dumpster because it's fine. You might want the color or pickup pattern of something else dependent on your source, but of everything it's probably the least likely to be the wrong option. Be wary on drums because it will bleed, and that bitchin' snare can turn into hi-hat Hell come mix time for example, but I digress.