Recording Vocals With HypeMiC. Meet Singer-Songwriter Marian Carmel.

Singer-songwriter and vocal producer Marian Carmel has been making waves in the industry with her indie-pop sound. Her latest EP, a testament to her growth and artistry, was largely recorded in the comfort of her home studio, utilizing our very own Apogee HypeMiC. In this exclusive interview, Marian shares insights into her creative process, her journey on writing the EP, and how the HypeMiC has become an indispensable tool in her arsenal.

Introduction

Hi! I’m Marian Carmel, I’m a singer-songwriter, vocal producer, and visual artist based in Singapore and The Philippines. I make story-driven indie-pop music for hopeless romantics! Every song I put out is like a chapter in my life, and they mean a lot to me. I started writing music at 11 years old (after watching Camp Rock), and dabbled in production as a teen. I’ve been releasing songs for 6 years but I only started vocal producing in the comfort of my bedroom at the start of 2022. 

That was after recording my first album ‘to you, to me‘ and learning what I could from watching the amazing vocal producers I worked with, Leo Goh from Soul Dot, and Jason Gelchen from Homeground Studios. I didn’t intend to become a vocal producer, but in recording demos and guide vocals before going into the studio, I realized that I tend to get the best takes at home!

Working on “What If Nobody Kisses Me” EP

What was the overarching theme or narrative you aimed to convey with this EP?

I wrote the EP about learning how to love in my early twenties, getting my heart broken over and over, but getting up and doing it again anyway. It was my way of poking fun at the mistakes I’ve made (there were so many – falling for a friend, talking to my ex “as friends” too early, never being able to forget a summer fling, etc) but at the same time, honoring the lessons I’ve learned. I started writing it in 2021 and recorded most of the demos in 2022 with my producer Charlie Kurata when I visited him in Paris.

I took a break from the EP in 2023 and released some collaborations, and then picked up the project again at the start of this year. Revisiting it years later made me realise that I had grown a lot as a musician, and I don’t think I would have been able to record, arrange or produce the vocals the way that they are now if not for the break that I took in 2023! 

How did you meet Charlie Kurata whose the main producer on the EP?

Charlie and I had no idea that we were neighbors and schoolmates until our last 6 months in College. We met on Twitter as chronically online musicians do, and only realized that we were schoolmates after I posted a photo of me in school. We’ve been close friends and have written many songs together since, online and in person.

He moved to France after we graduated in 2021, and I bought his desk set up and gear from him because shipping a huge table and monitor across continents wasn’t ideal. That really propelled my journey in vocal production and I’m still using the same set up today! The old interface I got from him isn’t working very well anymore though, so I borrowed my friend’s Apogee HypeMiC, and now I use it for all of my recordings.

Which track from the EP resonates most with you in terms of it’s lyrics or message?

I can’t decide! All of them have a special place in my heart, and are about very different things. But if I had to pick, an evergreen song that I can relate to at every point in my life is ‘we’re gonna die anyway!!!‘. I wrote it with my best friend RENE, who is an extremely talented singer-songwriter-producer. RENE and I performed it for the first time for Pink Dot 2022 (Singapore’s Pride protest), and that was when people really started to listen to our music. I really love the song because it’s an honest recounting of queer people’s lived experiences in Singapore, in the flavour of indie-pop with a sprinkle of optimistic nihilism. The song is a great song to dance and scream to, and we usually end our shows with it! 

Recording Process and Equipment

Could you elaborate on your home recording setup and equipment you primarily use?

I use Logic Pro on my MacBook, that’s connected to the monitor that I bought from Charlie. I also have a pair of M-Audio BX4s for listening to mixes (they’re great for movie nights too!). But when I’m recording, I plug in my Audio Technica ATH M50X directly into my Apogee HypeMiC since it provides zero latency direct monitoring. The HypeMiC is on a boom arm, and sometimes I use the Hakan P110 pop filter because it’s really good at dealing with plosives. It’s a simple set up but it does the job! 

Did you utilize the HypeMiC to record all the vocals for your EP?

I got the HypeMic in 2023 and used it to record most of the songs on the EP (‘what if nobody kisses me?’, ‘take what i can get’, ‘crush on my ex’, ‘wanted you’). ‘wanted you’ was a challenging song to record, so I recorded the lead vocals in the studio with Leo (who produced my first album) and then I finished the backing vocals at home with the HypeMiC! ‘we’re gonna die anyway!!!’ and ‘no good way’ were both recorded in 2022 with Charlie’s old mic and interface.

What are the key features or benefits of the HypeMiC that you appreciate the most?

My favorite feature is the Blend Control, which has 3 different settings for monitoring. I like hearing myself loud and clear, so I use the first two settings the most. I also like that it’s so compact and comes with a small travel case. I always bring it with me when I go overseas, and it’s been great for writing sessions too!

When recording vocals, do you typically aim for a specific number of takes, or does it vary depending on the song?

I don’t really aim for a specific number of takes, but I take as many as I want to until I feel like the line finally ‘feels right’ in terms of delivery. The message of the song and the energy is the priority, because no amount of gear or post-production can recreate that. Lead vocals definitely take the longest because I take my time to capture those moments. The comp folders are thick, but every take is different and I get to pick and choose! Same goes for doubles and backing vocals.

Future Projects

Are there any exciting projects or collaborations in the works that you’d like to share?

I am currently writing for the next project and planning for next year! I played an unreleased song at the EP Launch concert, and am working on some collaborations I can’t speak about yet. It’s been a crazy 2024 – went on my first tour, played some festivals that were on my vision board for the longest time, and released the EP. I’m taking it in as the year ends, and am very grateful, but also eager to start 2025 soon!

Freddie Ravel Records His Bösendorfer With A Duet 3

Discover the inspiring story behind Grammy Nominated Pianist, Composer, and Global Keynote speaker Freddie Ravel. In this exclusive interview, Freddie takes us on a journey through his musical career, working with legendary artists like Madonna, Carlos Santana, Prince, Earth, Wind & Fire, Stevie Wonder and more.

Learn how Apogee has been a constant companion throughout his career, and why the Duet 3 is his go-to for capturing the sound of his Bosendofer piano. Don’t miss this captivating look into the life of a musical icon!

Freddie showed us how he records his Bosendofer Piano using GarageBand, 2 microphones, and Duet 3.

Follow Freddie on Instagram: https://www.instagram.com/freddieravel

Learn more about Life In Tune

Meet Louie Valentino

Would you mind introducing yourself and telling us how you got started with music?

My name is Louie Valentino, and I am a multifaceted professional within the music industry. My expertise spans across music artistry, writing, DJing, acting, and full-time recording and mixing engineering. With a foundation established at a young age, I have cultivated extensive experience and forged valuable connections with fellow artists and music labels throughout my career trajectory.

When did you decide you wanted to start focusing on the engineering side instead of just having your artist project?

The decision to pursue engineering came to me upon learning that I was expecting a daughter. Initially engaged in the pre-production phase of shooting my inaugural major film project, the onset of the COVID-19 pandemic abruptly halted all progress. Faced with this challenge, my immediate priority was to secure a stable income. Leveraging my existing engineering skills and resources, I transitioned them into a public-facing service. The rapid and positive response from the community propelled this venture into a flourishing career path virtually overnight.

What were some of the biggest challenges you faced when starting your career?

Upon embarking on my initial journey, I encountered various challenges, notably in comprehensively understanding the intricacies of audio production tools. While proficient in the art of song mixing and sonic enhancement, I found myself lacking in the nuanced comprehension of individual plugins and their functionalities. This necessitated a deep dive into the technical aspects, requiring diligent exploration to decipher the precise roles of each component. Consequently, I underwent a process of relearning, refining my vocal chain setup, and optimizing the recording procedures to align with newfound insights.

What is a record you have done that you are proud of?

One of the notable records I take pride in is the remix of Mistah F.A.B’s “I’m Him,” featuring Snoop Dogg and TI. The experience of blending the vocals of three iconic artists, whom I admired since my childhood, was immensely gratifying. Additionally, working on Gunplay’s “Aunty Hold Up” featuring Bobby Fishscale marked a significant milestone in my engineering career. This project not only provided an enjoyable experience but also propelled my career to new heights, representing a pivotal step forward in my professional journey.

Who are some of the artists you have worked with? 

I have had the privilege of collaborating with a diverse array of esteemed artists, including The Game, Snoop Dogg, Gunplay, Boosie Bad Azz, Lloyd, Tory Lanez, Chingy, Ray Ray McCloud, G-Eazy, E-40, Too Short, Mistah F.A.B, Juvenile, Jim Jones, and numerous others.

Can you walk us through your typical workflow for mixing a track? What part of the song do you usually start with?

Typically, the process commences with meticulous vocal cleanup on a per-track basis, alongside rearrangement and labeling of tracks, performed by either myself or my assistant. Subsequently, we implement color coordination before integrating my established mixing template and routing the vocals to appropriate auxiliary channels. Priority is given to vocal refinement initially, particularly in cases of stem mixes with subdued beat levels. Upon achieving desired vocal clarity, attention is directed towards beat mixing, culminating in the harmonious integration of all elements to deliver a cohesive final product.

What are some of the essential tools and plugins that you use in your mixing process?

Among my indispensable assets are the Apogee Symphony Desktop, Ilok, headphones, and hard drive, which serve as cornerstones of my workflow. I rely heavily on a selection of plugins such as Pro Q3, SSL E, Tube Tech, Soothe 2, God Particle, and Gold Clip, each playing a pivotal role in achieving desired sonic outcomes and maintaining the quality standards essential to my work.

What was your first experience with Apogee Gear?

My initial encounter with Apogee equipment left a lasting impression, as I marveled at the exceptional sound quality delivered by their interface. Intrigued by its performance, I embarked on a journey of research, gradually deepening my appreciation and ultimately developing a profound affinity for Apogee products. Moreover, the distinctive and visually appealing designs offered by Apogee align seamlessly with my preference for interfaces that exude uniqueness and vibrancy, further solidifying my admiration for their brand.

You recently got the Symphony Desktop, what were you looking for in an audio interface and why did you decide on this particular unit?

I acquired the Symphony Desktop, seeking an aesthetically pleasing, portable interface that facilitates swift connectivity and streamlined workflow, free from unnecessary complexities. Upon installation, immediate functionality is paramount, enabling seamless transition into productive work sessions. Motivated by the widespread acclaim surrounding this interface, I was compelled to experience its performance firsthand. It has since proven to be the most exceptional interface I have encountered since the era of Pro Tools’ Digi Design Mbox interface.

How important does having a quality interface play in your daily work?

A high-quality interface is paramount to my daily workflow, ensuring uninterrupted productivity and reliability. I rely on equipment that consistently operates flawlessly, without any glitches or errors. Apogee’s reputation for delivering unparalleled quality reaffirms my confidence in their products, providing peace of mind as I navigate my professional endeavors.

Who are some of your favorite mix engineers today?

Some of the esteemed mixing engineers I greatly admire in the contemporary music landscape include Jaycen Joshua, Teezio, Bainz, Josh Gudwin, Preston Prizzie Reid, and Alex Tumay.

What advice would you give to someone who is just starting and wants to become a recording/mix engineer?

Advice I would offer to aspiring engineers is to prioritize consistency in their approach. Dedicate time to mastering fundamental techniques such as EQ and compression, focusing on understanding basic plugins before delving into more complex ones. Additionally, invest effort in learning about outboard gear and microphones to ensure optimal audio recording quality. Cultivating a strong rapport with artists by maintaining a welcoming and accommodating demeanor is equally important. Embrace opportunities for unpaid work during the initial years to gain experience, refine skills, and establish a client base and portfolio. Lastly, avoid comparing oneself to established professionals and instead focus on developing a unique sound and identity over time.

BIO – Louie Valentino, a multi-talented professional hailing from Vallejo, California, began his journey as a music artist and swiftly diversified into the realms of graphic design, photography, video directing, acting, and DJing. With a relentless passion for the craft, Louie has transitioned into a full-time recording and mixing engineer, carving a niche for himself in the industry. Over the years, he has collaborated with an impressive roster of renowned artists including Snoop Dogg, The Game, TI, Boosie Bad Azz, Gunplay, and many more, establishing himself as a force to be reckoned with. Louie’s remarkable career trajectory reflects his innate talent and unwavering dedication to his craft.

Symphony Mk II Trade-In Program

Trade In Your Legacy Gear and Step Up to Symphony Mk II

Are you ready to take your audio to the next level? Apogee is excited to announce our 2024 Symphony Mk II Trade-In Program. It’s time to say goodbye to your old gear and hello to the industry’s finest audio interface. For a limited time, you can receive a generous $1,000 credit towards a new Symphony Mk II when you trade in your eligible Apogee product.

Why Upgrade?

The Symphony Mk II is a quantum leap forward in audio technology. Experience unparalleled sound quality, robust connectivity options, and the flexibility to adapt to any project. Whether you’re a seasoned professional or an aspiring artist, the Symphony Mk II delivers the performance you demand.

Trade-In Details

From August 1st to September 15, 2024, you can trade in your eligible Apogee product and receive up to $1,000 credit towards the purchase of a Symphony Mk II.

Eligible Trade-In Products:

AD-16
DA-16
AD-16X
DA-16X
AD-8000
AD-8000SE
Ensemble Firewire
Ensemble Thunderbolt
Element 88
PSX-100
ROSETTA-800
Symphony I/O Mk1*
TRAK2
*Configured Systems

To start your trade-in or to receive more information, fill out the form below.

Symphony Mk II Now Compatible With Control 2 & New Features

We are excited to announce the Symphony Mk II Control 2 update which brings along various new features as well as performance improvements.

For more details on the release check out the video below from our good friend Chris Vandeviver who runs the YouTube Channel Why Logic Pro Rules.

To download the latest version of Control 2 for Symphony Mk II, head to our Downloads page to grab the installer.

If you have a different Apogee interface, you can still take advantage of these new features. Read the full breakdown of compatible interfaces here.

Overview

Symphony Mk II Thunderbolt  (OSX 13.6 or later required)

Control 2

For OSX 13.6 or later, Symphony Control Software is now replaced by Control 2

Firmware

More robust firmware updater. Recommended for SE (Special Edition) & Connect 8x8MP modules. Can update via Thunderbolt, Dante, and Pro Tools HD card USB port. Not applicable to Pro Tools Plus card owners without a Dante card

Apple DEXT Driver

Massively simplified Thunderbolt setup process aligned with forthcoming Apple security updates. (Reduced security mode no longer required for install.) Improved system stability

Talkback

Updated talkback design

More Resources

• Installing Control 2 Native for Symphony Mk II
• Updating Symphony Mk II Firmware Via Dante
• Kext vs Dext update
• Overview of Control 2 update for Symphony Mk II