We tend to find, although this isn’t always the rule, that imbalanced unison male vocals, especially, are really egregious even if they’re lower in the mix. More aggressive EQ’ing on background singers is usually OK for the mix, just be sure that volume-wise, the leading tone (harmonically, that is), gets the most volume.įor background vocals in unison (not harmonized), try your best to level-match them for best results, at a volume that’s not competing with the main vocal line.
You can feel free to experiment here a bit more if feedback suppression is a concern (see our previous article for more on that). For starters, EQ’ing background vocalists is a bit different than your lead. But since many groups feature background harmonies, there are some ways to make sure those sound good in a live setting, as well. So far, we’ve been talking almost exclusively about lead vocalists in the mix, since they’re typically the focus of the song. If you must use compression, we recommend trying a ratio no higher than 3:1 for live use, along with shorter release/attack times. In a live setting, try dialing back the compression settings, if you’re using compression at all on your vocal channel, and instead use the volume fader to control how the vocals sit in the mix. One of the problems this creates is a lack of dynamics in what should be one of the most dynamic parts of the track: the vocals.
For portable PA users, this can be a life-saver, since a lot of bands setting up these units will likely be in charge of their own sound mixes.Īs it relates to the studio, we continually hear a lot of albums that have far too much vocal compression applied. You can still get great vocal sounds either for music or speech with the sweep of one dummy-proof knob. What’s great about this is that if you aren’t a trained engineer who knows every single instrument and vocalist’s frequency range, it doesn’t matter. One of the settings we really like on the STAGEPAS lineup is located in the Master control section, and it’s the 1-Knob Master EQ. Since HPF’s only allow frequencies higher than a certain cutoff point through the filter, you can eliminate boomy bleed from drums, bass or other on-stage instruments coming through the vocal mic when you’re performing in more intimate stage settings. One thing that can oftentimes come in handy is a high-pass filter for live vocals. Now, if the problem is simply that the vocals are too low in the mix, then yes, go ahead and gently increase the volume until it’s as clear as you’d like in the overall sonic balance. For live mixing, especially, killing the problem can be the solution you’re really looking for in order to get a better sound, rather than just boosting something without addressing the underlying issue. While that seems like a natural instinct (bigger is better, right?), we recommend that you try identifying and cutting offending or troublesome frequencies first using EQ and volume trims.
Which leads us to… CUT FIRST, OR “LESS IS MORE”įor vocals especially, when fine-tuning a mix, oftentimes you’ll have the urge to “ride the faders,” thereby increasing either the volume of the vocal channel, aspects of its EQ curve, or both. Since most sibilance can be traced to the 5-8kHz range, a slight trim using the High EQ knob on your portable PA’s mixing board might be all you need to tame the problem. And this doesn’t just affect vocalists in a musical setting there’s nothing worse than a public speaker whose speech is ruined by unwieldy sibilance.
So, if you find that your vocalist is hitting those “s” sounds a bit too harshly, learn which frequencies to cut and you may be able to nix the issue at the board. Unless you’re covering Phil Collins, those annoying “s” sounds can be problematic in a live mix, especially if your portable PA system doesn’t have an on-board de-esser (and most won’t).