Hi,
I'm looking for a vocal channel strip or set of rack gear to lug around with me to practice and live venues. I primarily need it for phantom power, compression (really squash it), and maybe eq to filter out feedback. I am also considering using it to output into and in ear monitoring system.
I know some live sound guys won't dig using my gear so I it would also be good to have a way to split the signal from the mic so they get the undoctored and i can still send mine out to an in ear monitor or my own powered monitor. Monitoring just sucks at most clubs is the main reason I want this and to save my voice a bit in rehearsal :)
Here's what I've been looking at so far:
Joemeek ThreeQ or sixQ (heard conflicting reviews though)
Behringer UltraVoice Digital (I know, the B word!)
PreSonus Eureka Pro (might be good for recording even though I plan on building some Neve units from SCA)
I'd also be interested in just buying the components seperately (eq, preamp, compressor) and racking them if that would be better than a strip. I'd like to try and keep everything under $500. Any suggestions or any other gear I should check out?
Thanks!
Comments
ah, i see. as far as mic technique do you mean just varying the
ah, i see. as far as mic technique do you mean just varying the distance of the mic from myself depending on how loud I am? are there any other tricks?
okay, what about using compression with hyper cardiod mics. I use an audix om7. they have an uber tight pattern but didn't know if that would help at all.
I guess another concern I have is that I am in one of those sing verse / scream chorus types of bands. I would also like to find some means of getting a tube type gain on my voice so I don't have to push so much on the screaming. Don't really want that overly distorted "industrail" type of effects though. When recording I usually use the VTB-1 to put some gain in there but didn't know if that would be acceptable to use live.
here is a link to us
http://www.cordialblades.com
thanks!
I use limiting on a vocal channel and a comp on the vocal sub gr
I use limiting on a vocal channel and a comp on the vocal sub group.
Yes fighting feedback but keep system gain up is always an issue.
It takes skill to use these extra tricks but it can be done.
I should point out that we are talking about seperate monitor and FOH mixers here.
Trying to use a single comp for both Mon and FOH is asking for trouble ...
then again I have had success there too .... and failures.
I use an ART Pro-Channel for our PA's Lead Vox. I give it a tou
I use an ART Pro-Channel for our PA's Lead Vox. I give it a touch of Tube Saturation off the Pre-Amp stage, and compress the extreme peaks (3dB at most). I send the "Master Out" into my PA for the Main/Monitor wedge feeds and the Pro-Channel's EQ is used for tone shaping and gentle feedback elimination (parametric mid bands). This also allows coming in the "line" input on the board, therefore bypassing the Mixer's Preamp.
I also come off the Pro-Channel's Compressor "Send", and use that track for recording band rehearsal. This way, I still get some tube warmth and light limiting on the Recorded track, but NO EQ!
Kev and Kurt are right on about compression in live settings. You will slightly reduce gain-before-feedback, but used sensibly - you can get a very controlled sound (and add some color to those lifeless Mixer Pre-Amps). Light limiting is about all you should need. Heavy Squashing will be a no-no (unless you really want to blow all of your horns ;) )..
I know some people frown on ART, but the Pro-Channel and Pro-VLA really are good useable units with some good color IMO (a different level than the cheaper "starved plate" ART DPS and TPS, etc). For $300, it BLOWS AWAY any single Mackie Mixer channel strip or comparibly priced mixer channel. Just what the doctor ordered. Makes a descent Bass Tube DI as well!
:cool:
Why would you want to compress a live signal while attempting to
Why would you want to compress a live signal while attempting to eliminate feedback? The two are not compatible. Compression only serves to bring up lower level elements in the signal (background noises) ... so if you want the most feedback control, compression is a no no, unless it's applied after gateing, which IMO creates more issues than it solves.
I would concentrate more on perfecting performance and mic technique instead of looking to a technical "fix" for whatever problem you percive.
In live PA work, compression is usually best left to use on the master bus's to prevent overload and blowing the speaker stacks. When used on individual channels or elements, it only creates less definition rather than more.