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[Lee Douglas]

Sometimes you can offer advice, but in the end, the artist gets to use the tools that they want to create the mess that they choose to.

Yep.  Sometime you just have to deal with what's at the end of the cables.  Sometimes you just have to let them suck out loud and hope somebody they respect will tell them they have a problem.

[Tim McCulloch]

Debbie, do the wye cord anyway.  At the bar level this ain't about art (sorry, Brian J), it's about selling alcohol.  The band is a diversion for men to be peacocks and strut their plumage for the ladies.

[duane massey]

+3 on the "Y" cable. Tell him it lets you boost his vocals and makes him louder than everyone else.......

[Derrick Bordelon]

The way I explain it to the person when I need to do a wye is that their vocal and the fx need different eq and compressor setting to make their vocal really pop in the mix and give them more clearly. Every time they agreed to letting me split the signal. It mainly comes down to how you approach them about the problem without making them feel like it's a big problem.

[Rick Scofield]

A word of caution on the wye split. The processor will impart a slight delay on the signal going thru it, whereas the clean side of the split won't, so you might end up having it sound even worse when the (delayed) effects are mixed with the clean vocal.

I have used a similar unit, and tried the wye split method, and I could hear the wishy washy comb filtery type sound when dry and wet were mixed at the board instead of internally to the unit.

Can't hurt to try it, just sharing my experience.

-Rick

[Tim McCulloch]

A word of caution on the wye split. The processor will impart a slight delay on the signal going thru it, whereas the clean side of the split won't, so you might end up having it sound even worse when the (delayed) effects are mixed with the clean vocal.

I have used a similar unit, and tried the wye split method, and I could hear the wishy washy comb filtery type sound when dry and wet were mixed at the board instead of internally to the unit.

Can't hurt to try it, just sharing my experience.

-Rick

Chances are very good that the balance of dry to processed I like in FOH will strongly favor the dry signal (probably 10 dB or so).  The relative imbalance in a fixed mix from the singer's toybox is why I want the split to begin with, and if I need more it's probably there.  Should there be a time issue the singer's toybox gives me sonic direction to select a similar effect.

You're right though, that the merit of any particular approach is in the audition and realizing that singers, especially, do not hear themselves the way everyone else hears them.  It's due to bone conductivity (which is also partly responsible for the "occlusion effect" in IEMs), and that additional "dry" vocal that only the singer hears is partly why they want a much wetter mix than is appropriate for FOH.

[Scott Carneval]

Maybe tell him last time you used one of those on a mic you got a really nasty ground loop, and the Y-split is just there as a backup in case you get a buzz in the middle of the show.

Regardless, I would record the show. If you're able to get a dry vocal into the mix, you can show him how good he actually sounds without the fx. If you CANT get a dry vocal, you can show him how crappy it sounds.



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[Andrew Henderson]

I just had this happen to me on Saturday too. A Dave Matthews Tribute band, who were quite good, used a TC helicon box on the lead vocal and acoustic guitar. The quality was fine, and I even liked the light, room style reverb on the guitar, but the singer used a doubler and a short slap delay setting on his voice throughout the entire show, and I was kicking myself for not preparing a clean signal as well, so had more control over the wet/dry of the effect. Wye split for me from now on!


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[Keith Broughton]

The problem I see with these "user controlled processors" is that they know the words to what they are singing and have too much effect to allow for a vocal in the FOH that you can actually understand.
That said, sometimes it's meant to be a washy big delay reverb mess fpr some specific part of a song and that's cool but processors should not be on all the time and FOH should have some control.
After all, the FOH mix person is hired to make it sound good. At least that's how I have looked at it for 35 years 

[Wayne Smith2]

Pitch correction is used as an effect. It used to be overused to death and I hope I never have to hear it again. ...

So, like me I see you're not too keen on the 'Modern Country
[grins..

[ProSoundWeb Community]