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[Tommy Peel]

One more reason to avoid compression in the monitors, if it's not set and watched carefully (e.g. too much compression, wrong threshold, or a lot of makeup gain) you are more likely to end up with feedback in the monitors when the you stop singing and the gain reduction process releases. Someone else can probably explain this better, I gotta run off to work.

+1

I run sound for a band who's lead singer plays piano/keys and has a hard time "backing off" so I run some moderately high compression on him too keep me from having to ride the fader so much and it helps him cut through the mix. Our monitors are fed from the auxs(post insert) on our board so the monitors are compressed also. If I don't have the comp set just right(which changes sometimes song to song) feedback becomes a bad problem when the comp unclamps. Having a fixed compressor would probably cause more problems than it would fix.

Sent from my iPad using Tapatalk HD

[Tim McCulloch]

Hi Gene-

You're considering some kind of electronic intervention to help with the the consistency of your vocal, necessitated by the combination of microphone and vocal techniques used in your performance.  Until I hear you, I won't make a judgment about good or bad and I think anything reasonable you do to preserve your voice is a smart thing to do.  I strongly suggest Mark's Elbow Compressor as it requires no 120v mains connection, is completely portable and has a relatively short learning curve.

Ultimately it's up to the mixerperson to deliver a result satisfactory to the performers.  It's your show, and the mixer owes you his/her best and first-to-last-note attention.  You indicate that there is variance in the quality of the people providing this service.  One solution is to hire your own mixerperson.

You presume that the addition of a black box with a power cord will overcome the ineptitude or ignorance of the SoundDude du jour.  Don't count on it.  You need a human solution to this human problem.  You can practice the Marks' Elbow and/or get your very own mixerperson.

Have fun, good luck.

Tim Mc

[Bob Leonard]

Agreed with all the above. compression is probably the worst bandaid for this problem you could use. If you need louder vocals then mic technique is only the beggining. The right mic, good use of the EQ and someone at the board who has the ability to actually bring the vocals to the front of the mix is what you need here.

Compression can and will;

Limit your vocal output and reduce loudness
Limit the ability to put feeling into the song
Create more feedback than you have now
Cause more problems than you may be able to deal with

I'll also mention that the compressor doesn't belong on the stage, it belongs in the rack after the channel strip.

There is no magic bullet for the problem you have. The solution will start with you and the mic and end with the speakers with each step in the signal chain being a possible reason for the problem at hand.

[John Chiara]

Before gear became the solution for every problem, singers learned how to "work the mic" to get the desired result.

Yeah, if you can hear your monitor can't you hear it getting too loud and move the mic. IMO Johnson sings in a wimpy falsetto, not with a developed head voice. When you go to "sing from the diaphragm" try pushing out on your abdomen instead of tightening up. It can yield a similar tone with less bombastic input overloading  volume. Just thoughts. YMMV

[brian maddox]

Hi Gene-

You're considering some kind of electronic intervention to help with the the consistency of your vocal, necessitated by the combination of microphone and vocal techniques used in your performance.  Until I hear you, I won't make a judgment about good or bad and I think anything reasonable you do to preserve your voice is a smart thing to do.  I strongly suggest Mark's Elbow Compressor as it requires no 120v mains connection, is completely portable and has a relatively short learning curve.

In addition to the advantages Tim lists, it's also a Real Time Look Ahead Compressor (RTLAC).  It's like the best plug-in ever.  Like somehow it just KNOWS when the loud vocal is gonna happen and manages to turn down the volume BEFORE it happens in a seamless inaudible manner.  Miraculous!

All kidding aside, mic technique is your friend and the real answer to this issue.  It's more reliable, and will sound better more consistently than any electronic device you may wish to throw at the problem.  And the cost is very attractive as well....

[Jay Barracato]

So the vocalist says to me:

"I want to use the RE320 as a vocal mic so it doesn't change tonally when I work the mic."

I stopped and bought an extra lottery ticket that day.

[Patrick Tracy]

So the vocalist says to me:

"I want to use the RE320 as a vocal mic so it doesn't change tonally when I work the mic."

I stopped and bought an extra lottery ticket that day.

I was just going to say that the one downside of working the mic is the interaction with proximity effect, but that it's still worth it and anyway you can get yourself an EV Variable D mic to overcome it.

[g'bye, Dick Rees]

I was just going to say that the one downside of working the mic is the interaction with proximity effect, but that it's still worth it and anyway you can get yourself an EV Variable D mic to overcome it.

A lot of the more accomplished "old-school" vocalists with whom I've worked used the proximity effect as well as on/off axis orientation as an integral part of their overall performance "dynamic".  They certainly did not regard proximity LF boost as a detriment, instead choosing to use it as another "color" on their vocal palette.

[Patrick Tracy]

A lot of the more accomplished "old-school" vocalists with whom I've worked used the proximity effect as well as on/off axis orientation as an integral part of their overall performance "dynamic".  They certainly did not regard proximity LF boost as a detriment, instead choosing to use it as another "color" on their vocal palette.

Yep, I didn't mean to say proximity effect is universally undesirable but that some singers may prefer a mic without it. I think proximity effect can be an advantage for multiple singers who alternate between lead and backing.

[Jerome Malsack]

Another side to the question would be the sound person telling the singer to keep the mic in close and to not move it away.  He will be fighting some of the other sound engineers out there and that your not there to run his sound.  He might be getting this from some of the other engineers that want to have the compression. 

[ProSoundWeb Community]