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  • TMV World Team
    What is a vocalist's gig bag?
    Generally speaking, a vocalist's gig bag is a bag in which you will keep all of your tools as a serious vocalist so that you will always have everything you need for the gig, practice or your voice lessons. I have been training contemporary vocalists for over 10 years and performing live and recording since I was a teenager. The following recommendations are field tested.
    If you have any questions about these products, please feel free to contact me on The Modern Vocalist or send me an email at robert@thevocaliststudio.com and we can talk your specific application.
    Recommended Vocal Gear
    Microphones
     
     
     
    RODE M1 (dynamic) RODE M2 (condenser)Electro -Voice N/D 767a
    Electro-Voice N/D 967a Electro-Voice PL80aSENNHEISER e935
    AKG D7 Lampifier 111TC-Helicon MP-75
    Neumann 104
    The Samson Airline 77 (Wireless Microphone Solution)
     
    Vocal Effect Pedals
     
     
    TC-Helicon Mic Mechanic
    TC-Helicon VoiceTone Create XT

    TC-Helicon Doubler (simulates studio doubling)
    TC-Helicon Correct (compression)TC-Helicon VoiceTone Singles D1
     
    Digital Audio Work Stations (DAW) & Plug-ins
     

     
    LogicPro X (The DAW from Apple. Can be found on a Mac Book) Nector 2 Suite (DAW Vocal Plug-in)Waves (DAW Vocal Plug-ins)
    Vocal Rider
    Vitamin
    Doubler
    Olympus LS-12 Live Recorder (for quick plug-in play demos) 
    Microphone Pre-Amps
     
    Universal Audio Twin-Finity 710 (Professional Level)

    Focusrite ISA One (Professional Level)
    Focusrite Scarlett 2i2 (Home Recording Solution) Focusrite Scarlett 18i8 (Home Recording Solution) 
    Headphones
     
       
    Extreme Isolation Headphones X-29s
     
    Other Vocal Gear
     
    Master Writer Sofware
     
     
    Singer's Tea & The Vocal Inhaler
    Olympus Hand held Digital Recorder (The WS SeriesHercules Microphone Stands
    Pocket Tone or purchase the PocketTones app. on iPhone. Vocal booth to go or Sterling Reflection Filter 
    Spectrum Software Recommendations
     
    PC: " Voce Vista"  Click HERE >>>
    Apple (iPhone & iPad only): "Spectrum Analyzer" by ONYX
    Settings:
    FFT Size - 8192 / Window - Rect / Average - Fast / Graph - Mixed / Scale Log
    CLICK HERE TO PURCHASE RECOMMENDED VOCAL GEAR
    * This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
  • TMV World Team
    INTRODUCING THE TC HELICON VOICE LIVE TOUCH 2
    They call it a "Vocal-Designer". Interesting, I thought to myself while unpacking the TC Helicon VoiceLive Touch 2 from its box. As the name implies TC-Helicon has released a new version of its innovative 'Touch' series which builds upon the original Voice Live Touch. I'll be upfront and say that I never had the opportunity to try out the original Voice Live Touch so this review will strictly be based on my experience with the new unit: the TC Helicon VoiceLive Touch 2. Gone are the colorful touch pads and diminutive LED screen. Instead, the Touch 2 is more serious wrapped in subdued grey with a much more usable LCD screen. Being this is a very menu driven device I imagine this is a welcome change to the original Touch users.
    TC Helicon VoiceLive Touch 2: Build

    This product can be purchased at The Vocal Gear Store. 
    As with all TC-Helicon gear, the build quality of the TC Helicon VoiceLive Touch 2 makes it feel like every bit of its $500 street value. There are no manual knobs and buttons on the Touch 2. Instead, every control aside from a mic gain knob is a touch pad. It's an interesting design concept that is going to work for some but may be troublesome for others.  The layout is generally straightforward and once you get a hold of the basics of how to drive into settings, the TC Helicon VoiceLive Touch 2 is fairly intuitive. I wish TC Helicon had given thought to backlighting their pads as I can see having issues in a dark club environment finding the right pad to hit, especially if you prefer as I do to not stand mount it. As a workaround, I highly recommend using their 3 button foot control available for purchase separately. TC Helicon touts the VL2 as giving singers "unprecedented creative control of their live sound with state-of-the-art vocal effects and performance looping in an intuitive touch layout." This I agree with. The TC Helicon VoiceLive Touch 2 packs an enormous catalog of preset effects to get you started sorted by genre such as Rock, Pop, Alternative etc. that mock the vocal effects used on a large v ariety of hit socks. If that isn't enough they are continually updating the catalog that is downloadable directly to the VLT2's using VoiceLive support.

    The TC Helicon VoiceLive Touch 2 In Practice
    The TC Helicon VoiceLive Touch 2 is pretty much ready to go out of the box.  Built in is TC's fabulous adaptive tone which automagically applies adaptive EQ, compression and de-ess to your voice.  It almost always sounds great and it certainly does on the Touch 2. Every effect is just about infinitely customizable on the Touch 2 including all the usual suspects of HardTune, tap delay, reverb, harmony, doubling, choir, and transducer. However, I generally found myself starting with one of the built-in presets and then customizing it to fit my sound.  
    One of the more interesting features added on the Touch 2 is an effects "slider" that allows you to a choc tweak with your sound as you go. TC has come a long ways with their harmony algorithms by syncing them up with instrument input to ensure they are always on point and realistic sounding. The Touch 2 adds to the flexility of this by incorporating 8 total voices (more than you'd likely every need) and  what they call "RoomSense". If one doesn't have an instrument to plug into the VoiceLive, the two onboard microphones take it the chord structures based off what its hearing in the room to decide how to apply the harmonies. I would argue there's no replacement for real harmonies, but this comes so damn close that admittedly even I have started using them.
    Another key feature to point out is the 6 track TC VLOOP performance looper. This is where things can really get creative with the ability to record your vocals on the fly for up to 30 seconds. The Touch 2 is so intelligent that it will even quantize those for you for perfect loops. One you have your loops you than then add Reverse, Filter, Slow Speed, Squeeze and Squeeze Auto to really make things interesting. Overall I felt that the looper was well done and simple enough that it could be used in a live situation.  
     
    CONCLUSIONS about The TC Helicon VoiceLive Touch 2
    The TC Helicon VoiceLive Touch 2 is without question an extremely powerful tool. At the end of the day, it does however, cater itself slightly more towards the studio and solo artist than it does to more of a rocker like myself. I felt the menu-driven design and touch interface left me spending more time in trial and error before finding a sound than I would have spent flipping a knob or hitting a switch on the Voice Tone series pedals.  In my opinion, though, TC has found a niche within a niche market with the VLT2. If this looks like it might be your kinda thing I recommend you check it out.

     

  • TMV World Team
    INTRODUCING THE TC HELICON HARMONY SINGER
    I would argue that the TC-Helicons pedal style vocal effects are some of the best ideas to come out of their facility in Vancouver, BC. They are small form factor, intuitive to control and easy to get a great sound out of. No menu's to navigate, just simple  rotary knobs, buttons and a master on/off footswitch. They are in my opinion a joy to use. The TC Helicon Harmony Singer is no different. Rotary controls for harmony type, wetness and reverb line the top along with a Tone button borrowed from the Mic Mechanic and a master switch flesh out the top. On the sides are the typical mic control switch along with instrument in and through as well as a thoughtful ground lift. On the back you'll usually find mic in/through as well as power and USB ports for firmware updates. What makes the magic happen, though, is the instrument in port.
    TC Helicon calls the Harmony Singer "Guitar Controlled". I imagine you could plug any kind of instrument generating tone and a line level signal but if you opt to use the TC Helicon Harmony Singer without anything you'd be selling yourself short. Why? Because the real beauty behind this TCH box is that it uses instrument pitch to perfectly dictate the harmonies produced. Aptly put your harmonies will always be in the correct key. Always. And that is what makes the Harmony Singer awesome.
     
    Don't miss the chance!
    Use the 50% Discount Code for "Review my singing" Forum:  
    TMVWorld50 
    THE TC HELICON HARMONY SINGER: IN PRACTICE
    In practice, it took me little time to dial in something that sounded pretty convincing. The Harmony Singer gives you a pretty reasonable selection of harmonies from a 6th below all the way to a 5th above as well as mixes of the two so provided you don't have a lead vocal that's completely bonkers chances are you'll be able to find something that will fit. The key here to maintain realism is to use harmonies sparingly and to find the right place for them to sit in the mix in relation to the lead vocals using the Level knob. It would also help if you do have some basic understanding of chord structure to determine the optimal sounding harmony for the particular application.
    THE TC HELICON HARMONY SINGER: WRAP UP  


    All in after spending a few weeks with the TC Helicon Harmony singer I can honestly say this is the first harmony effects box I've used that is both easy to use and produces realistic harmonies. It's not the real thing and I wouldn't use it in place of human produced harmonies in the studio but in a live situation its one more useful tool to add to your vocal toolbox.
    THE TC HELICON HARMONY SINGER: SPECIFICATIONS


    Mic Input Level @ 0 dBFS: -42dBu to +1dBu Mic input SNR: >104 dB Phantom Power: 24V (always on) Guitar Input Impedance: 1 MOhm Guitar Input Level @ 0 dBFS: -7 dBU to 17 dBu Guitar Input SNR: >115dB Dynamic Range: >104 dB, 20 Hz to 20 kHz Frequency Response: +0/-0.3 dB, 20 Hz to 20 kHz Control: USB for firmware and control Mic Control: using TC-Helicon MP-75 Microphone or Sennheiser e 835 fx mic

    For more info: www.tchelicon.com
    Review by Travis North *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International. 
     
  • TMV World Team
    Recently a new platform for music professionals called Music Gateway was launched. Music Gateway is a business platform connecting music professionals from around the globe in one simple, easy to use website. It's not so much a LinkedIn of the music industry as a complete collaboration solution where you can post and receive projects and collaborate on them in a secure environment.
    If you are looking for ways to find paid session work or find new talent to collaborate with beyond your direct network, Music Gateway might be just the thing you need. You can reach out o n a global scale and provide your services to other professionals, equally you can hire & source other music pro's and develop your career with feedback following each project. Your profile acts as a portfolio for other users to review.
    Interview With Jon Skinner, Managing Director Music Gateway

    To find out more about Music Gateway and how it could benefit individual musicians, we met up with Jon Skinner, Managing Director of Music Gateway and initiator of the platform.
    Q: Tell our audience something about yourself and your personal relation to music and the music industry
    My name is Jon Skinner, I have been in the industry since 1987, so getting on f or 27 years. Very similar to most people's stories, music at an early age was a passion and I got a drum kit when I was 6 years old. I've always had a good ear for music and was so lucky that the DJ's around where I lived as a teenager introduced me to Motown, Northern Soul, Two Tone and a wide variety of musical styles.
    When hop hip and break dance broke in 1983, I was hooked and started buying underground records & US imports from the states, those were special times for me. As far as Industry goes, I set up my own independent record shop in 1991 and I never looking back.
    Q: What made you decide to start Music Gateway?
    My experiences in the industry became the backbone of the system, it was very clear to me that there was this big hole in the industry regarding the connection between all the creation roles, especially on a global scale. I've felt the pain & struggled through that journey, I know the pitfalls and barriers people face and still face to this day. For me, Music Gateway is about empowering people to A&R their own projects, as relying on others most of the time doesn't work.
    Q: What sets Music Gateway apart from social media platforms targeted at musicians?
    First and foremost we aren't a social media platform, this is a fundamental point. We are strictly a business to business website and you only make a connection to another user if there is a purpose, a goal and end result for your recording. You don't built up followers or connections, we are about generating work and connecting professionals to the right people and their music projects.
    Q: Can you explain how music gateway will be a unique service especially for singers?
    Producers need singers, singers need producers. The key issue is finding the right person who is first of all, like-minded musically, and can work either to your budget or wants to co-write and or collaborate with you. Music Gateway is a targeted way of connecting to the right person for your project.
    You can receive work opportunities free of any charge, we only charge a fee if you receive paid work or a meaningful connection to another pro.
    Furthermore, reaching out to other singers, songwriters and professionals is essential to learn and develop your experience and skills in the industry. Finally, it's important that people understand we are in the bu siness of music and therefore if you are new to the industry you need help, guidance & support, this is what we offer.
    Q: You have received support for Music Gateway from many big names in the music industry. What is it you think that won them over? How did they respond when you first contacted them?
    The main response has been, wow OK it's so simple why didn't I think of it? I think there will have been hundreds of people who have had the same idea, that's the easy bit, the hard bit is developing such a system, which handling transactions, files and pretty complex functionality in the backend, whilst keeping it ultra simple for the users.
    In a word 'Unique'. We are the only website which is focused on the creative process, hooking up like-minded musicians on a global scale. We are a very clear benefit to the industry as a whole and this is why I believe we have received so much support from the core industry organizations.
    Q: Tell us something about the technology behind the platform and how it sets you apart from other platforms?
    We are very functional, it's about project management and allowing anyone on the site to Post a Project defining their need. When you create a project, you can define what it is you want to get done or who you want to reach out to, for example as a singer, you may want to connect with a producer to record a song, or look to hire a remixer to remix an existing song. You may need a song from a songwriter or seek to co-write with a musician. The options are endless.
    Equally, when you set up your profile and define your skills, we notify you of relevant projects which you can review and decide to PITCH (apply) for the work, this whole process and project management is unique.
    When a project starts the users are granted access to a workspace area, which is where you can manage your project files, this makes it easy to manage any project with anyone in the world, with message systems for communication and timeline feedback on audio files.
    Q: What is it about the unique community of singers at The Modern Vocalist World that interests you?
    Having spoken at length with Robert the founder and reviewing the resources on the website, it's clear that there is a great community of singers engaging through the forum and seeking advice & support. We feel that Music Gateway compliments the site perfectly, as we are focused on session work and music creation, which is a natural progression for anyone new to the world of singing and the industry.
    Q: Last but not least: why do you feel individual musicians should sign up for Music Gateway? What are the direct benefits?
    It's free for starters, it's free to pitch for project work and free to receive work opportunities. If you want to further your career, receive targeted and relevant work based on your skills, there is no other website like Music Gateway.
    For protection, you can manage any client work via the site and receive secure payments through the system and your account wallet. Reaching out and developing your own projects is fundamental if you are going to get ahead in the industry, staying local all the time, doesn't cut it anymore, you have to look further afield and work on a global scale.
    We only make a charge if you benefit through project work, so it's 100% fair.
    Without question Music Gateway has just shifted the power to the independent and helps remove industry barriers,
    register for free and create a Music Gateway Account.
     
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    And if you want to improve your vocal skills, we have the right product just for: 

  • TMV World Team
    RODE Microphones brings the big guns to iOS with the iXY
    RODE i-XY Podcast
    However good they claim to be I've always been a bit leary of using iOS devices along with the loads of 3rd party plug-in devices for anything remotely related to audio.  Most surmount to little more than toys with sketchy build quality and laughable user interfaces that inevitably result in more irritation and poor quality sound than the price of admission.  Australia-based Rode Microphones hopes to change that perception with the introduction of their iXY Stereo Microphone.
    Immediately out of the box its clear that Rode has brought the proverbial gun to a knife fight.  The i-XY is unquestionably one of the most professional looking iThings to plug into the 30 pin dock of an iOS device.  Side note - sorry iPhone 5 adopters there isn't an i-XY for you - yet. The Rode i-XY features twin stereo capsules in a clever X/Y stereo configuration and is housed in a rather attractive silver alloy casing.  Machined allen-head screws complete with Rode's trademark gold pickup area dot and a b uilt-in power on indicator light fill out the look.  Construction is in fact so robust that in hand it feels almost as if Rode constructed the iXY out of a solid block of aluminum.  The 30 pin connector fits rather tightly into the base of your iOS device leaving little concern for getting dislodged.  Along with the iX Y unit comes twin foam wind screens as well as a compact hard zipped carrying case. Rode also provides a recording app  - RØDE Rec - for download in the iTunes store. More on that below.

     Order RODE i-XY Recording Microphone for iPhone and iPad from The Vocal Gear Store
    I tested the i-XY with a variety of sound sources from spoken voice to acoustic guitar as well as a rather l oud metal concert. The i-XY seemed to handle all with relative ease and had more than enough headroom to preserve the original recording without clipping or phasing issues.  The noise floor was reasonably low for a field recording microphone with minimal background noise when recording in quieter settings such as acoustic guitar. However, as expected,  the Rode did prefer to be as close to the source as possible especially when dealing with soft-spoken tracks.  Overall the iXY gives any high-quality field recording array some solid competition from the standpoint of preserving the original source.
    While the Rode i-XY is an impressive piece of hardware on its own the available Rode Rec iOS app is what makes the i-XY shine. Starting with the ability to track in 24-bit 96 kHz resolution the Rode Rec app also features built-in editing much like a DAW as well as the ability to add various effects such as compression, EQ and some additional processing courtesy of Izotope.  While recording you also have the option of live monitoring through the iPhone/iPads build in 1/8" mini jack. The main recording transport screen features quick rather accurate metering that's a nice bonus and when the device is flipped sideways the transport gives way to simple yet intui tive editing screen which allows for simple to more complex fades and trimming.  Once you complete your recording tapping the 'Share' tab reveals a rather complete set of file sharing including SoundCloud, Dropbox and the usual email and iTunes options.
    Talking about iPhones and iPads, take a look on this wonderful iPad accessory  -  Hercules DG305B iPad Holder, order online from The Vocal Gear Store
    When it comes high-quality field recording for iOS devices Rode brings their A-Game with the iXY. They've managed to package high-quality hardware with a clever and complete recording application that in our opinion negates the need to carry around a separate field recording device.  The Rode iXY is available now for $199.00 on the street.  The Rode Rec (not included) is available for $5.99 in the iTunes store. ~TN
     
    i -XY Specifications
     
     
    Acoustic PrinciplePressure GradientCapsule0.50"Polar PatternAddress TypeEndFrequency Range20Hz - 20kHzMaximum SPL120dB SPL (@ 1kHz, 1% THD into 1KΩ load)Sensitivity-42.0dB re 1 Volt/Pascal (8.52mV @ 94 dB SPL) +/- 2 dB @ 1kHzEquivalent Noise Level (A-weighted)18dB-APower Options(Powered by iOS device)Weight40.00gm  46.00mmH x 55.00mmW x 40.00mmD  
    http://www.rode.com/microphones/ixy
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International. 
     

  • TMV World Team
    Kick the nasties coating your mic to the curb with Mic Wipes
    INTRODICUNG MIC CHECK WIPES 

    If you ever find yourself in the situation of being at the mercy of using a crusty club mic then you're going to want to know about Mic Check Mic Wipes. Because god only knows where one of those things has been. You may have even improvised and gone as far as to pick up a box of GASP chemical laden Kitchen wipes to do the job. Thanks to Mic Wipes you no longer have to ingest green crusties or chemicals.
    Mic Wipes are a specially formulated single use packet cleaning and disinfecting wipe designed just for your microphone. According to the company Mic Check Mic Wipes have a higher alcohol content of 70% than normal wipes which is effective at killing 99.9% of all germs. Unlike chemicals in other wipes the Ethyl Alcohol used in Mic Wipes is completely safe so there is no concern of inhaling anything toxic to your body. In addition, the wipe material used is a more porous material which is better suited at cleaning all the crevices of the microphone grill.
    IN PRACTICE

    I found Mic Wipes to be fairly effective in not only cleaning the grill but the body of the mic as well. There is enough moisture in a single wipe to easily clean the average handheld microphone such as a Shure SM58 with enough left over to go wipe off something else sitting nearby which over the course of my review I found myself compulsively doing. Everything cleaned with Mic Wipes is left with a subtle yet fresh minty smell.

    WRAP UP
    Overalls Mic Wipes are a good addition to the gig bag. A pack of 50 for $34.50 (all the product you can see HERE) on the street would probably last the average singer or sound engineer a reasonable amount a time and it 's hard to put a price on preventing yourself from getting sick. Go check them out. ~TN
    www.checkthatmic.com
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.

  • TMV World Team
    Throw out your vintage effects, this mic does it better.

    You can find Placid Audio products on Vocal Gear Store.    
    Most of the time in either a live or studio situati on when I'm looking to give a vocal track a bit more of a distinctive sound I instinctively either reach for some flavor of an effects processor or my favorite plugin.  Why?  Because generally unless one enjoys combing through Craigslist and eBay listings for that perfectly elusive esoteric microphone, modern effects processors with hundreds if not thousands of available models to choose from often sound quite good in addition to offering nearly infinite control over our sound. Convenience, however comes at a price and there is one effect situation in my experience where the cold unfeeling electronics continually seem come up a bit short of something authentic sounding:  the vintage "telephone" effect.  Sometimes there's no replacement for the real thing and thanks to Mark Pirro of Placid Audio we have something called the Copperphone Mini  that may just fill that niche.
    INTRODUCING THE COPPERPHONE MINI
    Placid Audio was initially spurred by a need of the singer of Pirro's band - The Polyphonic Spree -  to find the perfect vintage sounding microphone. Instead of trying to actually find something authentically old Mark - whom is also a sound engineer - decided to have a crack at creating his own.  After creating a few prototypes, word started to spread around the musician community and in 2003 Pirro started producing small quantities in his garage outside of Dallas, Texas to fill the need.  As popularity grew he created two additional models, one of which is the Copperphone Mini .
     

    One of the most distinctive features about the Copperphone series is Placid Audio builds them out of rather robust looking polished copper housings.  The Copperphone mini is no exception and is rather attractive to look at especially when installed it is removable aluminum shock mount housing.  Construction and fit and finish is high grade and I would say the overall look belies its $299.00 MSRP. Oddly enough the Copperphone Mini was originally designed with Harmonica players in mind but after artists started using it on vocals, guitars, upright basses and the like it became apparent that the point of the Mini isn't the application but rather the creativity it can introduce into the sound.   The Copperphone Mini uses a fairly forgiving dynamic as well as a cardioid pickup pattern to make it fairly versatile both live and in studio.   Contrary to the look the Mini does not use any vintage internal components but rather high-grade modern electronics with an impressively low noise floor. It should be noted that any mic or effects box operating in a limited frequency bandwidth can increase the potential for feedback depending on how much gain you are trying to pump through it.  However, in practice  I didn't find the Mini to be any better or worse compared to other similar devices when pushed beyond realistic limitations.
    THE SOUND OF NOSTALGIA

     

    So then how does the Copperphone Mini sound?  Impressive. On vocals, the Mini finds an excellent balance between that vintage lo-fi effect and leaving a wide enough of a frequency band so the vocals still have some weight to cut through the mix.  The Mini when compared to some telephone effects I had in my signal chain really shined with its warm analog goodness. I found the Mini to inspire more creativity than just a stock telephone effect as I felt generally it had a much more authentic sound  and that could even be varied by careful use of proximity effect.
    WRAP UP
    With its tank-like boutique build quality, killer vintage sound and lifetime warranty the Copperphone Mini is decidedly one to consider adding to the arsenal.  It's not so much IF you'll find a use for it but rather WHEN and I'm willing to bet the first time you do you'll quickly find more and more uses.  We at TMV are certainly having some fun with ours.  ~TN
    Copperphone Mini Specs:

    - Type: Dynamic
     - Polar Pattern: Cardioid
    - Frequency Response: 200Hz , 1.4kHz
    - Impedance: 150 ohms
    - Output: 105 +/- 2dB SPL @ 1 kHz
    - Microphone Dimensions: 1.75 inch x 2.25 inch
    - Shock Mount Dimensions: 6 inch diameter x 0.75 inch
    - Weight: 0.75 lbs
    FEATURES
    - High-grade passive variable reluctance transducer
    - High-quality Switchcraft 3 pin XLR connector
    - Rugged copper housing and components
    - Dismounting kit for optional ergonomic handheld use
    - Handcrafted in the U.S.A
    - Lifetime operational warranty
    - Aircraft aluminum shock mount ring to fit North American style stands
    http://www.placidaudio.com/products/copperphone-mini/  
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.

  • TMV World Team
    Could the TC Helicon Mic Mechanic replace all your live voice processing?
    Do me a favor to start off by closing your eyes and picturing two things:  Swiss army knives and sport utility vehicles.  Now ask yourself what comes to mind?  General all-purpose-ness?  Usable but not ideal?  If you miss what I'm driving at it's that generally things perform better when they are built for a specific task.
    TC Helicon, on the other hand, may just  have figured out how to  buck  that trend.  I generally try to refrain from waxing ecstatic by maintaining my most professional unbiased opinion when it comes to product reviews here at TMV HQ but TC Helicon's latest offering is making me a bit  giddy.  Why you ask? Well, it's simple really.  I introduce to you the Mic Mechanic: an all-purpose live vocal processor that sounds so good out of the box it nearly made me do a double-take the first time I rigged it into my signal chain.
    INTRODUCING THE TC HELICON MIC MECHANIC

    Order from The Vocal Gear Store NOW Click HERE
    We've been collectively impressed with the concept TC has created with the VoiceTone pedal series with an effort towards studio quality vocal processing with simple analog-style user interfaces. Rotary knobs and stomp switches replace LCD menus and rows of buttons all the while maintaining pretty sophisticated digital design under the hood.  With each generation of new products Helicon has continued to revolutionize what makes for cutting edge vocal processing and they that concept even one step further with the Mic Mechanic.   TC Helicon touts the Mechanic as a complete vocal toolbox and they may not be far off the mark.   Considering its diminutive stomp pedal form factor the Mic Mechanic comes equipped with 3 reverbs, 2 echos as well as combinations of each, automatic chromatic pitch correction, as well as adaptive tone with EQ, compression, de-essing and gating.  That doesn't even take into account the built in mic-pre with phantom power and remote effect control via the MP-75 microphone.
    Obviously at this point you now have a small stomp pedal that is trying to do the job 3 or 4 TC pedals did so on the surface it appears there are compromises. Tone control is either on or off,  pitch correction has a single knob of control and the effects only have a dry/wetness knob and yes changes in effects mid-performance require you to reach down and manually change them. TC has however cleverly integrated a tap tempo into the effects bypass switch if you first hold it down until the effect on light flashes. In the end I found the compromises to be nearly meaningless as the Mic Mechanic sounded so good out of the box I could have cared less about it's supposed limitations.  With adaptive tone my voice cut over the band better than it ever had, big lush effects were dialed that sounded great in seconds and pitch correction was the most natural I have ever heard out of a live rig. All these things acted in unison to really make my vocals 'pop'.
    WRAP-UP
    For $149.00 the TC Helicon Mic Mechanic is in my opinion one of the best sounding new vocal processors on the market that easily sounds as good as voice processors costing 3-4 times as much.  It wraps studio quality effects into a simple compact package that sounds literally fantastic right out of the box.  We at TMV give the Mic Mechanic our highest level of recommendation.
    www.tc-helicon.com 
    Review by Travis North
     *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.

  • TMV World Team
    PUTTING THE RODE PODCASTER USB MICROPHONE TO THE TEST

    While USB microphones have been out on the scene for quite some time now they've more or less been relegated to the lower pro-consumer end of the spectrum as multipurpose general recording devices. No real problem there but start getting serious about any type of reasonable recording and  it becomes pretty clear there's nothing reasonable about their inherent fidelity. As a result over the past few years we've started to see a new influx of higher quality USB microphones more geared towards the recording artist as a convenient means to have a simple all-in-one microphone/monitoring system without the need for breakout converter boxes or relying on an on-board sound card.
    INTRODUCING THE RODE PODCASTER USB MICROPHONE

    Order Rode Podcaster USB Microphone from The Vocal Gear Store  
    A quick check on the interwebs reveals there are a number of other notable manufacturers out there {C}such as Blue and Audio-Technica offering a similar solution to that of the Rode Podcaster USB Microphone but Rode has positioned their microphone at a slightly higher price point than the rest suggesting a moderately more premium product. Interestingly unlike the Podcaster, which looks pretty sweet in its white powdercoat alloy casing and silver grill, most other similar product offerings come in a more pro-consumer plasticky look to their packaging. I should note however that without holding each example in my hand I only have the high-res photos to go off of. Your mileage may vary. Further the only microphone with a similar traditional studio grade housing was the AT-2020 which does not have a integral audio processor and headphone jack. So on the surface the Rode does in fact appear to have the most presentable and functional packaging.

    In addition the Podcaster itself, Rode was generous enough to send along their PSA1 professional studio boom arm and PSM1 shock mount which when used as a complete package along with the Podcaster work beautifully together. What always gets me with Rode is their inherent attention to detail. It's the little things such as the green led on the Podcaster which indicates its powered up and ready to go to the clever cable routing and velcro ties that come with the PSA1 that set them apart from the competition.
    FIRST TMV PRODUCT REVIEW PODCAST
     
    This being a microphone developed with the podcaster in mind I felt it very fitting then that we use the Rode to kick off a new feature of product reviews for TMV which you will now find at the top of each product review from now on. That said setup on the Podcaster was 100% plug and play. My Windows 7 machine instantly installed the drivers and the Rode was ready to go with no drama. Being as I'm a Protools guy I did unfortunately have to find an alternative audio tool so in the interest of a total budget free solution I used Audacity for the podcast. As you can tell if you've listened to the audio sample above the Podcaster has a fairly flat response curve with a slight bump around 10k that should work nice with most voices. I felt no need to muck around with any EQ after the fact. The built-in pop-filter does a great job neutralizing plosives and I feel negates the need for any additional pop-filtering. Additionally with a maximum SPL of 115db the Rode has plenty of headroom to also be useful in grabbing quick demo recordings or song ideas on the fly. It should be noted however that while the Podcaster looks suspiciously like a condenser microphone it is in fact a dynamic so while it can be a subjective subject you may want to experiment with a few different mics when recording sounds which are far away or have a lot of high frequencies such as cymbals or acoustic guitar as it may or may not do them justice.
    WRAP-UP

    With the Podcaster USB Microphone, Rode has produced what is, in my opinion, the most well-engineered execution of the pro-audio grade USB microphone. It looks great, the build quality is up to Rode's typical high-standards and quite honestly it just works and sounds good doing so. Available at your favorite music retailer soon for around $229. ~TN
    www.rodemic.com
    Ph. (805) 566-7777 (USA)
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
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  • TMV World Team
    TESTING THE HERCULES MS401B STAND

     
    Order Hercules MS401B Stand from The Vocal Gear Store
     At the start of the 1900's when Henry Ford was introducing the Ford Model T, a "car for the masses" he once quipped during an interview that "Any customer can have a car painted any colour that he wants so long as it is black" (My Life and Work (1922) Chapter IV, p. 71). Yeah I know its a tired quote and I can already hear you yawning but stick with me for a moment. For those still awake I'm going to apply that analogy to the venerable microphone stand. Since the dawn of time exclusive of Freddie Mercury's accidental bottomless microphone stand creation there have only ever been two distinct flavors of microphone stands for performers: Straight and boom. You might count the variations thereof such as tripod base, 2 and 3 stage adjustable but reduce it down and we're left with just that. See what I did there? As a singer each type of stand presents its own challenges from a standpoint of durability, flexibility, and general use ability. Before diving into the Hercules Stands MS401B review allow me to point out the shortcomings of the current two options.
    THE STATUS-QUO IN MICROPHONE STANDS
    The standard straight stand in theory isn't a terrible thing. By far the easiest to use as a prop in a performance it's rather easy to carry around and when equipped with a round heavy steel base can make for a stable yet durable stand. The tripod versions weigh less and with their jutting legs are significantly more irritating to use. The biggest downfall, however, are friction based extension point locks which consistently go on coffee break in the middle of a performance and cease to hold your microphone at its proper height.
    Unless you are a vocalist with an axe or keyboard or prefer a stationary performance boom stands are the quite possibly the worst solution for a standalone vocalist. Most boom stands found in the wild like straight stands feature friction based adjustment points. Only this time instead of one or two you have five or more. You see where this is going. Ever try using a boom stand as a straight stand with all those loosey -goosey lock points? Many times I've ended up looking like a contortionist with hands at odd angles trying to adjust and lock on the fly while another extension point starts slipping as I'm re-securing another. However if that's what you're going for then this is the stand for you.
     
    MS401B: A BETTER MICROPHONE STAND!
    The Hercules Stands MS401B is actually rather clever. Not so much revolutionary as opposed to evolutionary Hercules has taken the microphone stand and reset the bar both from an engineering and useability standpoint. Let's start with the most interesting feature: The MS401B is essentially a hybrid straight and boom stand in one. With one pivot point at the base of a nicely weighted flat tripod setup it easily serves as both a pivoting straight stand for performers looking for more flexibility than a standard straight stand as well as a pseudo boom that can angle into the right position. While the MS401B comes with a rather innovative quick release mic clip attachment one could easily add other boom extensions and then quick switch back without the need to thread on different attachments. Tired of two hand height adjustments? Hercules has you covered here as this stand features single-handed height adjustment via a stand grip. Why this wasn't done years ago is baffling as its absolutely brilliant to use in practice.
    WRAP-UP
    It's hard to argue when someone takes something and just makes it better. Hercules certainly delivers just that with their MS401B. Think of it as the iPhone5 of microphone stands. It's engineered better, it looks better and certainly works better giving you one less thing to worry about during a performance. The Hercules Stands MS401B is now on sale at many of your favorite music retailers for $75.99. Do yourself a favor and throw away your other stands. This is better. ~TN
    http://www.herculesstands.com/mics/MS401B.html 
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International .
  • TMV World Team
    USING THE NUVOICE PL-2 WIRELESS MICROPHONE PLUG -ON TRANSMITTER
     
    In the course of a rehearsal, recording session, or live performance I occasionally find myself thinking wouldn't it be nice if I had an X. Letter X being fill in the blank for whatever toy/tool/widget that could potentially make your life easier at that given moment in time. New player to the wireless game NuVoice has come up with something that could be the something to fill that gap. Ever wished you could convert whatever wired mic you had lying around into wireless. Are you short a cable or two? {C}I introduce to you the NuVoice PL-2 Wireless Plug -on.
    NUVOICE: THE NEW KID ON THE BLOCK

    Upon opening the box and given the inherent newness of NuVoice, I was initially unsure of what to expect. To my surprise however the PL-2 which currently lists on amazon.com for $239.00 comes quite complete - right down to the rechargeable batteries that are used in the wireless units. Being the PL-2 is a two channel system: along with the receiver unit two transmitter units with wall adapters and charging cables are included. Given the trend of an increasing amount of small devices being chargeable off a computer USB port I was happy to see the transmitter units are capable of this as well. The PL-2 microphone plug -on also arrives with two 1/4" unbalanced cables all enclosed in what looks to be a fairly sturdy plastic carry case.
    The receiver itself is a relatively compact unit not much more than the size of two decks of cards however the solid metal construction alleviates some of my durability concerns. On the face are twin antenna screw on connects along with power and channel select micro switches for each respective channel. Three red leds indicate power and channel status. The back contains 1/4" channel outputs, mini plug 12vdc power and a custom connector input for using the PL-2 in an open port of a VocoPro PA product. While overall the packaging is fairly clever the diminutive size when used standalone seems to potentially lend itself well to becoming the perfect object to be used as a foot propelled projectile. An optional standard rack mounting would be nice.
    The PL-2 transmitter units continue the theme of robust construction and actually appear to be fairly well thought out. The XLR connectors features a safety screw type design to ensure the transmitter firmly locks to the base of the microphone. The face features power, volume up/down and channel select switches along with power status led. Nice touches include phantom power support via side mounted switch and requiring the power button be depressed for 1 second before powering on to prevent accidental turn on. Unfortunately this does not apply to the reverse. The back cover plate slides off for quick battery replacement using two AA-style batteries. As a bonus when attached to a microphone the transmitter also doubles as a club to whack your bandmates with. In fact, I'd wager that the PL-2 transmitters bear strong resemblance to whack-a-mole paddles and ultimately this kicks what otherwise is a clever design down a notch. The square boxy design is ultimately a bit bulky and shows a bit less creativity than the rest of the design. It's almost as if someone got bored halfway through designing it and gave up. When NuVoice decides to come out with Version 2.0 I can only hope they can figure out how to improve and perhaps reduce the size of the form factor.
    THE PL-2 PLUG -ON IN TEST

    Interestingly I had two completely different experiences with the PL-2 microphone plug -on. The first was nearly a non-starter. It's a known fact my rehearsal spot has a questionable grounding situation. Generally speaking it's manageable with strategically placed ground-lifts but some devices just won't play nice. Combine that with unbalanced 1/4" cables and the PL-2 came nearly to the point of being unusable with the amount of 60 cycle hum. It just wasn't going to work. Test 1 concluded - no dice.
    After a few emails back and forth between the helpful guys at NuVoice I fired the PL-2 back up in my home studio and ran a couple test vocal passes. Verdict? Silence. Line noise resolved I could get down to business. After running through a few test vocal tracks using some of my material it became pretty clear the NuVoice sounds pretty darn good. While not a diversity setup like on some of its rather more expensive brethren the PL-2 does admirably well. As a moved around the receiver held onto the signal rather well - definitely good enough for a small-medium sized venue or rehearsal. Signal quality was equally pretty good as I heard only faint traces of diminished "digitalized" signal quality than can occur with less expensive wireless units.
    WRAP-UP

    Although NuVoice isn't the first to the party with the turn-your-wired-mic-into-wireless concept they arguably have built a solid little system. Fortunately for the PL-2 the signal quality and thoughtful bonus features like on-board phantom power and USB charging make up for its whack-a-mole form factor. What the PL-2 does best is to make an excellent utility tool for those occasions where for whatever reason cabling isn't in the cards. Should you be looking to cut back on your cable count you should check them out.
    WHAT WE LIKE ABOUT THE PL-2 MICROPHONE PLUG - ON
    Instant wireless for all microphones (condenser & dynamic) Thoughtful solid construction Great value! Make all your wireline microphones instantly wireless! Ready to go out of the box NOT SO MUCH
    Transmitters resemble the box they came in Non standard size receiver Non balanced outputs Can be noisy with less than ideal power conditions NuVoice
    www.nuvoiceaudio.com
    Review by Travis North
    *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.



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