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[Jamin Lynch]

Back in the day, we used to cover up bad vocals with lots of reverb and delay. Or try to anyway......But WE had control of when and how much.

Now with these vocal pedals, we loose that control.

 

[Debbie Dunkley]

I'll see if I can get away with that wye cord.....I wish I could just hand him the cable once already split but he brings his bag of cables for his little box ( guitar trigger 1/4", mic cord and xlr to mixer) and hands me the XLR input. I have a little splitter box which I could use telling him that it is safer to isolate the box from the mixer this way - to protect his box from any phantom signal. That way he might feel that his precious box is protected in some way.

[Tim McCulloch]

I'll see if I can get away with that wye cord.....I wish I could just hand him the cable once already split but he brings his bag of cables for his little box ( guitar trigger 1/4", mic cord and xlr to mixer) and hands me the XLR input. I have a little splitter box which I could use telling him that it is safer to isolate the box from the mixer this way - to protect his box from any phantom signal. That way he might feel that his precious box is protected in some way.

Excellent idea!

[Nathan Riddle]

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

If that does end up being the case, I believe Debbie is still on the QU series which has individual ch delay which could help to sync back up the dry/wet signals from the split.

At least, that's what came to mind when I read your word of warning.

[Scott Holtzman]

The worst is when the gain of their patches is jumping all over the place.

Because a mic is attached it is 1000x worse than a keyboard


Sent from my XT1254 using Tapatalk

I had that happen this weekend, on a keys patch.  I was standing in the wing with the iPad and the drummer (band leader) was pointing his sticks at the keys player in between measures.  I have to credit him for being able to pick that out in between drum rests and with only 1 ear popped out.

Anyway, he felt it important enough to bring up after the gig and told me he realized that I had it in the mains he just wanted to make sure.  We also both lamented that neither of us noted what song they were playing when it happened.

There are musicians who want to work as a team with their technical crew to attain goals, and they are a pleasure to work with.

[Debbie Dunkley]

One thing I didn't mention but now is relevant to my vocalist 'fix'.... is that the guitar player saturates his sound too. He way over uses distortion and FX so I have that going on too with this band.  Its tough to hear any of the notes he plays sometimes and again - he is a good player (this is too weird)....At the rehearsal I did take a DI out from his amp and blended it with the cab miked sound which gave me a slightly cleaner feed but of course it is still the sound from his pedals.
So I was thinking..... as I was going to split the vocalists signal anyway through my little splitter box , I also own a rack mount 8 channel mic splitter with one direct and one iso output per channel. I could bring that with me - same utilization for vocalist issue and sell it to the guitarist too to get a clean signal before processing.  However, as it is XLR unit, and I want to break his signal before his pedal board, what is the best way to do this?

[Derrick Bordelon]

I find that the fewer things in a signal path the better. Think you may be trying to over complicate things. I would just do the wye/splitter box on the vocal and the DI on the guitar.

[Rick Powell]

I find that the fewer things in a signal path the better. Think you may be trying to over complicate things. I would just do the wye/splitter box on the vocal and the DI on the guitar.

A nasty fizz combined with a super clean DI signal would be like sticking one foot in a bucket of ice and the other in a pot of boiling water, and describing the feeling as "average".

[Debbie Dunkley]

A nasty fizz combined with a super clean DI signal would be like sticking one foot in a bucket of ice and the other in a pot of boiling water, and describing the feeling as "average".

Average is much nicer than too hot or too cold - right?

[Derrick Bordelon]

A nasty fizz combined with a super clean DI signal would be like sticking one foot in a bucket of ice and the other in a pot of boiling water, and describing the feeling as "average".

Well as I agree somewhat, I was responding to what Debbie listed as options. Since it doesn't seem like the guitar player is going to fix his awful over effected sound. I was offering a solution. Instead of running more cables than is really needed(more failure points in the signal chains) I was suggesting keep it simple and still be able to have more control of the mix.

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