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[Garth Engwall]

This is for fun and advice.

I have often pondered why no one has made a vocal processor that can switch between different setups for singing and spoken word. It just seems that the sound processing needs for the two different communications modes of the musical theater actor are so...well...different.

With that in mind, I am wondering from y'all what you think the perfect unit would be like. I am asking this not only because it is fun to contemplate but also because it can be informative to us novices by demonstrating what the different challenges and solutions are for these two different vocal modes in live performance.

[Iain_Macdonald]

Well Garth,

How about anything from the economy end:-

http://www.behringer.com/VX2496/index.cfm?lang=ENG

To

http://www.tc-helicon.com/

and many in between. Midi control from your laptop or the console works just fine. Or else a PM1D/5D or Venue, which are in widespread use. I am making the assumption that you might not have looked closely at any major Broadway or London West End shows. FYI: In the past on a number of shows we had separate speakers/eq/delay etc for voice and music. Times and budget changes along with digital systems and desks mean this is no longer viable or really needed.


Iain.

[Tom Reid]

gengwall wrote on Wed, 07 September 2005 10:20

This is for fun and advice. I have often pondered why no one has made a vocal processor that can switch between different setups for singing and spoken word. It just seems that the sound processing needs for the two different communications modes of the musical theater actor are so...well...different. With that in mind, I am wondering from y'all what you think the perfect unit would be like. I am asking this not only because it is fun to contemplate but also because it can be informative to us novices by demonstrating what the different challenges and solutions are for these two different vocal modes in live performance.

Cause you can "Y" the mic into two different channels and use two processors, one for each scene.  That means the guys can sell two devices, instead of a really expensive all in one.

[David Buckley]

You do have everything with MIDI control capability connected up to your laptop to manage the changes, yes...?

[Andy Peters]

... brain."

Sorry.  I couldn't help myself and just had to do it.

You all know you wanted to do it too.

Back to your regularly-scheduled thread.

=a

[Eric Snodgrass]

"... an opportunity."  This is what's needed.

Vocal processing?  The less the better in a live theatrical situation.

[Michael E.]

How about some vocal lessons for the performers? Seems easier to me or just cast better ones in the first place...

[Mac Kerr]

Michael E. wrote on Wed, 07 September 2005 18:32

How about some vocal lessons for the performers? Seems easier to me or just cast better ones in the first place...

It often has nothing to do with the performers ability. If, for instance, they put on a hat in a scene, the sound quality changes because of reflections off the hat. This one reason automated boards are so common in the theater. It allows us to program a different eq for the scenes with the hat. Or for any other change of timbre because of requirements of the show. If you don't have a board capable of this, the are lots of vocal processors that can react to midi program changes to track the scenes. The gear already exists.

Mac

[ProSoundWeb Community]