#881423 - 11/11/99 10:41 AM
Sonics
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Anonymous
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In live sound (usualy a club) I get great results with instruments, but vocals always seem "muddy". I am not currently processing vocals in any way other than EQ through the board, and get OK results (IE passable) but know there is more out there. I've been told that a BBE Sonic Maximizer could help, and also told that a compressor on the vocals might do the trick. What should I try first?
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Mark Turner
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#881424 - 11/11/99 12:36 PM
Re: Sonics
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Mark Amundson
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Registered: 10/30/01
Posts: 5
Loc: Cambridge,MN,UNITED STATES
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Sometimes muddy vocals are a factor of mic's "proximity" effect and the vocalist's technique. Proximity effect is the 80 to 200 Hz bump in frequency response when the lips are within a couple inches of the microphone's windscreen. Vocalists that are not belting out vocals tend to "chew" on the mics to get the needed volume, but wind up sounding muddy.
For this issue, there are a couple of solutions. First, consider the purchase of mics that have reduced proximity effect; the Audix OM-5 is better than a SM-58 in this regard. Secondly, you can use a parametric or graphic equalizer to put a slight dip in the 80 to 200 Hz region. Or of course, work on vocal technique to up your projection and back off of the windscreen.
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#881425 - 01/09/00 04:35 AM
Re: Sonics
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ArinCrumley
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Registered: 01/08/00
Posts: 12
Loc: Santa Rosa Ca U.S.
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I know that in the studio Vocals sound like crap until we compress the hell out of them but we don't have the equipment to compress our vocals live. I do know that at big concerts they often if not always compress microphones because it brings everything to consistent audio level so that you can hear everything. Its been explained to me like automated gain.
Arin http://www.mp3.com/metagalaxxy
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#881426 - 02/11/00 07:13 AM
Re: Sonics
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Rick_dup5
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Registered: 11/06/01
Posts: 0
Loc: Little Rock,AR,UNITED STATES
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The BBE unit can help, but it in effect changes the EQ out front. It can add high end (helping clarity of vocals & efx) as well as bottom end (kick&bass). Technically, it has something to do with speaker or frequency phasing to effect the apparent sound out front. Some engineers prefer it in the signal path after main system EQ (before crossover). Others prefer before EQ, but I would think that would minimize effectiveness if you analyze/EQ the room or venue. I used it running sound from the stage and noticed that sometimes, depending on main speaker placement, that it could contribute to feedback. Also, some mixers thought it was too brilliant and that it was a cheat - others liked the extra bottom end. Conservative judgement is best, I think. Ultimately, the best way to clear up vocals is to start with a good mic, good mains EQ, then good channel EQ, and finally, judicious use of compression. You really need some trusted ears out front to not let you screw things up more than you fix them.
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