guitarplayerjax

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  1. Has anyone here tried these? Unlike pop blockers used with condesors for recording, they install inside the mic ball head of the mic for live use. Probably simple to make your own for even cheaper. I saw a you tube video a while back that seemed to indicate in the demonstration it can reduce unintentional plosives like P's. Of course, having (or if needed, working on improving) good mic and vocal technique should greatly reduce those plosives anyway. If these really work, could sort of be insurance especially if the mic doesn't good pop blocking ability (some dynamics ball grills naturally block plosives to a good degree). With that said, if they may degrade tonal quality would probably be better off with no pop blocker.
  2. Ask this guy http://www.victorlams.com/etc/images/pitchguy.jpg I think i've seen ad in every guitar and music related magazine for this perfect pitch program...
  3. Roy Orbison had such a distinctive sound from which his vibrato was an integral part. Layne Staley (one of my all time favorite singers) had really great/cool vibrato. He was known to sing rock. Steven Tyler by contrast (also one of my all time favorite singers) mostly sings with no or only subtle vibrato (but can and has sung before with really good vibrato too). Generally in rock i don't think heavy vibrato always would work well especially continuously throughout a song but more just every here and there could work very well(with more moderate to subtle vibrato). Of course, it really depends on the song and style of music i guess.
  4. I know this is an old thread but is this resolved? If not, how is your mic placed in relation to all the pa speakers and or monitors in the room? Beta 58 is a supercardoid pattern to the best feedback rejection is technically not exactly the same as for standard cardoid (ie sm58) mic. Are you right up against wall(s) with reflective surfaces? If so, the sound from speaker(s) even if properly aligned with mic to prevent feedback in ordinary situation could be getting feedback loop from the sound bouncing off the wall and back into the mic. If there isn't much room, perhaps some acoustical treatment might help a little. The mic placement would be the 1st thing i'd check. Also, the input gain and eq on your mic channel. If you don't have as naturally loud voice as the others you may need input gain set a little higher as opposed to cranking the channel volume for you higher. Other suggestions (which may or not be/been applicable in this situation: Make sure you are right up on the mic which i know can be sometimes be tough especially when playing guitar(for example) at the same time. Also, you don't happen to have lot of reverb on your channel in the monitors? If so, try turning it either way back or off in the monitors would help reducing feedback as well along with help you hear your voice more clearly. Especially if the feedback is low frequency in nature, if you have option for hi pass filter for the vocal channels, that may help. If only vocals are going in the pa and there is no hi pass, if there is a master eq section with something various bands of ed, dialing down the very low eq can help too (especially anything below 75hz)
  5. Some free plugins that i like include From Kjaerhus Audio is the classic series. I like the classic master limiter and compressor (which has some good presets as starting points) in that series most but the eq, reverb, delay and chorus can come in useful as can phaser, flanger in the series (but id seldom use them). From Anvidasoft DX Reverb Light --this is my favorite free reverb plugin From Voxego, Old Skool Reverb - cool reverb plugin From, TalReverb II -another cool reverb plugin From Antress Modern Series Analoger (they also have various other free plugins in that series like compressor limiters, etc)
  6. As to setting up, 1st thing would be when setting input gain on that vocal mic channel to have vocalist sing the loudest they expect to to sing in that song as distance they will be at the mic. Then set the input gain so its not yet the red and in fact with at least some extra buffer below in-case they were holding back some. Good mic technique is important for various reasons and will help here too. If you really want to be extra careful, via software or hardware technically a limiter could be used for safety which it would be set to limit the level to a max that's before clipping the channel.
  7. I have a zoom h1 which is great little recorder. I've mainly used it mostly for recording band practices and live gigs direct from board to the line in. One thing i learned the hard way (just recently) there is actual two input gain levels. The 1st of the two is analog fixed input gain that you have no viability to. 2nd one is the one you can see and adjust with the input gain controls. The level of signal from different boards can vary and some can put out too hot a signal for this recorder. The problem is with too hot a signal from a direct out or tape out from mixing board, you can easily overload that analog input stage and not know it. The levels on the meter can show well below clipping but actually be recording clipping from overdriving that 1st stage. For example, my acoustic trio played a show at an event using band members mackie powered mixer and i recorded the rca direct outs to the Zoom h1 and input gain on unit was set to 12 %. No clipping on levels when checked and recording has no clipping. Same input gain level and levels again well below showing clipping at a gig using a phnoc passive board with the rca outs and the recording is fully of clipping. Then most recent gig out of a presonus digital board rca tape outs and i set the input gain even lower 8% even though 12 was still well clipping (this was full band gig) and the recording from that gig is full of clipping (little less then the prior gig). Anyway after research the solution (which is on the way) is i ordered an attenuator cable that drops the signal 20db. This way i can prevent overloading that initial input fixed input gain stage and can make up for it with the input gain adjustment (still leaving plenty of headroom) and ultimately with some mastering plugin to bring up levels when converting to mp3.
  8. I use a Rode M1 as my primary live mic. Great mic all around. It's a little heavier then some of my other mics so if your mic clip is loose you may have to tighten it bit (take less then a min) but then your good to go.
  9. I have a akg d-5 and its a good mic especially for the price. There is definite good tonal quality and clarity with it. With that said, I have been using Rode m1 as main live mic. The m1 really is a great mic in my opinion. Compared to the D5, I likethe pickup pattern a better on the m1 which makes it a drop more forgiving about not staying right on mic. I play guitar and sing (mostly backing and harmony vocals) i have a bad habit at times of pulling away from mic or to the side some without even noticing it while singing anf playing at same time. It is something i've been making an effort to get better at but either way the extra buffer wider pattern from the mic helps a drop.