My latest track is with whistling. The most important thing is not to whistle directly into the microphone membrane, because microphone then absorbs to much of whistling air. And you want to achieve too much of whistle, not of air. The best thing to get it correct is to distance yourself from the microphone, best to do it at an angle of 60 to 90 degrees, as Tim already said. It would be good to step away from the microphone twice as much when you sing, on that way you can reduce a bit more amount of whistling air. Of course, the more distant you make from the microphone, the more ambient of your room enters into your microphone, so it would be good if your room is acoustically treated, at least the first reflection. And as I started, at the end I’ll tell you that it would be good that you have maybe SSL Duality but then I remembered that it`s only important to make good music.
Interesting thread! In my whistling track (after trying everything possible) I ended up combining the 90 degree approach with a free ‘Shepherd’ VST plugin. It was a meticulous work, but fun.
On the topic of whistling – I find it difficult to make intonation decisions for whistling parts at times. What sounds fine one day will seem like it needs to be tuned or replaced/edited the next. It’s a battle between the “everything should always be in tune” philosophy and the “Andy Griffith Theme” approach…
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