Behringer ULTRA-VOICE DIGITAL VX2496 Bedienungsanleitung PDF herunterladen (Seite 8)

ULTRA-VOICE DIGITAL VX2496

5. LIVE APPLICATIONS WITH THE ULTRA-VOICE DIGITAL

+ To avoid having to compress the signal too much,

try to maintain a constant distance between the

vocalist and the microphone while recording.

Backing vocals should be highly compressed so they can be

present throughout the recording without volume fluctuations.

4) The voice-optimized EQ allows you to equalize deficiencies

in the sound image that could not be corrected in advance.

However, do not use extreme settings here either, as you

can add more EQ when mixing. The voice-optimized EQ

can be used to deal with the following problems:

s If the vocals sound muddy in the bass range, you

can cut the low-frequency area of the signal by using

the WARMTH control. Set the control to full cut and

locate the intrusive frequency range with the TUNING

control so that the voice sounds more balanced.

You should try this in solo mode first. Then, listen

to the voice with the rest of the mix and adjust the

WARMTH control until the overall sound is right.

s If the voice sounds too edgy, use the ABSENCE button

on the voice-optimized EQ. This will attenuate these

harsh frequencies without compromising the natural

quality of the overall sound. In addition, you can boost

the low frequencies with the WARMTH control or, if

necessary, improve the peaky characteristic of the

signal by lowering the BREATH or PRESENCE control.

s If the voice is getting lost in the mix, increase the

PRESENCE control. Boosting this range will help the

voice to cut through more.

s If the vocal sound is not brilliant enough, you can

add peaks using either the PRESENCE or the

BREATH control. Additionally, you can use the

opto-compressor enhancer to add upper harmonics

artificially.

5) If the signal contains unwanted frequency areas, use the

expander and the opto de-esser to remove them. Sibilance

can be removed with the opto de-esser, but first you must

isolate the intrusive frequency range:

s Activate the voice-optimized EQ and turn the BREATH

control up to exaggerate sibilant frequencies. If you

have already used the EQ, first make a note of the

original settings so they can be subsequently reset.

s Activate the opto de-esser and, using a low

threshold, turn the CUT FREQ control until the

sibilance is reduced.

s Now turn the voice-optimized EQ off again and reset

the BREATH control to its original position.

s Now set the threshold so the ACTIVE LED only lights

up when sibilance is present.

The expander enables you to remove intrusive noise from

quiet passages. To do this, turn the THRESHOLD control to the

far left and turn it up slowly with DEPTH set at medium. Find the

value at which you notice an audible suppression of the quiet

spots without impairing the vocal sound. Only use the gate in

exceptional casesif, for instance, you want to achieve a

specific effect. It radically affects the sound and could thus ruin

your recording.

6) Use the tube emulation for a classic analog tape recording

sound.

7) Finally, use the MASTER FADER to regulate the

ULTRA-VOICE DIGITALs output.

4. MIXING WITH THE

ULTRA-VOICE DIGITAL

Go ahead and experiment with the mixing possibilities of the

ULTRA-VOICE DIGITAL and push it to its limits. It is often the case

that extreme effect and filter settings are needed to optimally

integrate a signal into the mix. If a voice ultimately appears as

very full and present in the mix, it usually means the signal has

been thoroughly and truly tweaked.

Vocals usually have reverb added during the mix. If you notice

intrusive noise (e.g. sibilance) in the reverb, use the opto

de-esser to remove it as follows:

s Remove the sibilance from the vocal as previously

described in chapter 3.5 and drive the reverb unit

via one of the main outputs (not via the INSERT path

as it is sourced before the de-esser). Make sure

the reverb unit is set to 100% wet, i.e. there is no

dry direct signal present.

s The reverb signal can now be mixed at the console

with the signal from the VX2496s RECORDING output.

This is sourced before the de-esser, and in this

way sibilance is removed only from the reverb

signal, not the main voice itself.

The expander can be used to remove spill from other

instruments which, for example, may have been picked up by

the microphone from the vocalists headphones. Remember that

compression would have the opposite effect, as the signal is

limited at the loudest spots. Any spill would then become

effectively louder.

Although the ULTRA-VOICE DIGITAL was principally designed

to record vocals, you can of course also use it to record and mix

other signals.

5. LIVE APPLICATIONS WITH THE

ULTRA-VOICE DIGITAL

The ULTRA-VOICE DIGITAL is a versatile problem-solver and

sound-shaper both in live and studio environments.

On a small stage, short distances between the microphone

and the monitor speaker can lead to unpleasant feedback. In this

case the VX2496 opto de-esser could be used to suppress

feedback:

s Set the THRESHOLD control relatively low.

s Use the CUT FREQ control to find the frequency

causing the feedback.

s Now turn the threshold up far enough to eliminate

the feedback while maintaining an unaffected vocal

signal as much as possible.

Loud volume can lead to large amounts of spill on stage, i.e.

the microphones do not just pick up one signal (e.g. vocal), but

many other signals from the stage. This can be a major problem,

as the individual signals cannot be easily controlled independently.

Use the expander to isolate individual signals and to lessen of

spill. The level of the spill is lowered while the louder wanted

signal is unaffected. The gate function also lends itself well to

this application as unwanted signals can be completely eliminated

in this way. You must be careful, however, to ensure that the

main signal is not clipped as the gate cuts off when it falls below

the threshold. This could even cause quiet passages to disappear

even though they are meant to be heard. The gate is also ideally

suited to processing impulse sounds (e.g. snare, bass drum,

toms etc.) as these are relatively short signals that neither swell

nor ring out.

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