Behringer ULTRA-VOICE DIGITAL VX2496 - Manual (Page 8)

8
ULTRA-VOICE DIGITAL VX2496
5. LIVE APPLICATIONS WITH THE ULTRA-VOICE DIGITAL
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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.