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[Andre Vare]

The trouble with "proper mic technique" is that the tone thins when the singer backs off.  And usually the singer's tone thins when s/he gets loud.  Two thins are not a good thing.

What you are describing is not "proper mic technique."  That involves appropriate distances, not excesses.

Well distanced,
Andre

[Jerome Malsack]

if you have a feedback point set for U.  and the compressor set for 2:1 and threshold of -10 than you can reduce the ability of the sing from sending the monitors into feedback because his weaker parts will come through without control and as he gets above the -10 threshold his strong parts will be controlled and hopefully be held below the U where the feedback will start.  With vocals it is compression in stages is less noticible  -10 db  2:1, then second compressor  -4 with 3:1 and another stage as limiter 0 db 10:1 or greater. 

[Paul Dershem]

If you're running sound from the stage, you oughta be close enough to administer a dope slap to the back of the singer's head when he starts acting like a fool.

[Mac Kerr]

if you have a feedback point set for U.  and the compressor set for 2:1 and threshold of -10 than you can reduce the ability of the sing from sending the monitors into feedback because his weaker parts will come through without control and as he gets above the -10 threshold his strong parts will be controlled and hopefully be held below the U where the feedback will start.

This is not what happens when have gain reduction via compression. If anything it will cause more feedback. When the audio level is below the threshold there is no gain reduction, what goes in comes out. When the audio level is above the threshold the gain is reduced so that what goes in comes out, but at a lower level than it would have below threshold. This means there is less chance of feedback when the audio is above threshold because there is less gain. The highest gain in the system will be below threshold. Higher gain means more likelyhood of feedback.

Mac

[Ken Crook]

I'm glad I don't run into too many guys like this but when I do I try to protect the overall sound and my equipment by inserting a compressor but set it as more of a limiter.  If the guy is clipping the channel then there is likely distortion in the Mains, everyone hears it. Again, set it to control the loud bursts everything else being normal.
You may want to let the compressor control the monitors for the same reason. On the other hand...split the channel, tell the singer to buy his own wedge then get his monitor mix as loud as it will go and let him rip his own head off until the speaker blows. Meanwhile FOH is controlled.
From what's been said, my guess is this guy will have a tough time changing his technique.

Ken

[Mario Maric]

I'm glad I don't run into too many guys like this but when I do I try to protect the overall sound and my equipment by inserting a compressor but set it as more of a limiter.  If the guy is clipping the channel then there is likely distortion in the Mains, everyone hears it. Again, set it to control the loud bursts everything else being normal.
You may want to let the compressor control the monitors for the same reason. On the other hand...split the channel, tell the singer to buy his own wedge then get his monitor mix as loud as it will go and let him rip his own head off until the speaker blows. Meanwhile FOH is controlled.
From what's been said, my guess is this guy will have a tough time changing his technique.

Ken

Channel clipping happens at the mixwiz at +21dB at channel. So on the compressor even if compressing gave me trouble would I set the limiter at 21 or a little less to have some extra headroom?

[Mario Maric]

Anyone?

Also, the pre-fade aux on mixwiz 3(edit) is Pre-insert, pre-EQ, and post-mute in case anyone is wondering for future reference. Meaning the compression insert won't hurt the monitor mix

[g'bye, Dick Rees]

Anyone?

Also, the pre-fade aux on mixwiz is Pre-insert, pre-EQ, and post-mute in case anyone is wondering for future reference. Meaning the compression insert won't hurt the monitor mix

That depends on which generation of the Wiz you have. 

[Ned Ward]

+1.....or 2......since this is essentially what I advocated in response #3 in this thread.....

In that response I asked about the monitor situation but have not gotten a response.  I asked because I suspect that it's a "problem" which might be best addressed via the monitor(s).  Monitor mix can/will affect the singers level, weak (or compressed) monitor leading to louder/over singing.  And since it is a "mix from the stage" situation, giving the singer the ability to regulate the voice content of their mix themselves might be helpful.  Something like a Rolls personal mixer

http://www.zzounds.com/item--RLLPM350

where they can adjust their own level relative to an aux mix might work.  Of course, this means that the singer would have to have 'phones or buds.

Mario - we have a similar version (the Rolls PM50S) for our singer. She doesn't move around, so wired ears is fine. Allows her to hear herself much better than floor wedges, and as a result the stage volume has dropped; previously had to use 2 HPR122i's just for her... For $60, it's a worthwhile investment.

[Mario Maric]

Mario - we have a similar version (the Rolls PM50S) for our singer. She doesn't move around, so wired ears is fine. Allows her to hear herself much better than floor wedges, and as a result the stage volume has dropped; previously had to use 2 HPR122i's just for her... For $60, it's a worthwhile investment.

Though do you guys need to set-up mic's going out to the audience? Also, can she here the other bandmates?

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