Burkhard Woelfel wrote: > -----BEGIN PGP SIGNED MESSAGE----- > Hash: SHA1 > > On Tuesday 06 December 2005 14:35, Dave Phillips wrote: > >>Bill Allen wrote: >> >>>I've been struggling with a technique problem. How do you get your >>>vocals to sound good? I know that you can't make a silk purse from a >>>sow's ear, but you can make the best of what you've got. >> >>Hi Bill: >> >>You also have to remember that you don't hear yourself the way others >>hear you. I'm not especially fond of my voice, but I know how to hit the >>right notes and other people seem to like it. >> >>The *sound* of a voice can be effective enough as a carrier of >>personality. Bob Dylan is often used as an example of a not-so-beautiful >>voice that's perfectly suited to his material. And it's worth mentioning >>that Dylan does know how to sing (check out Girl From The North Country). > > > I'd let somebody else sing first, experiment and learn with his or her voice. > After a bit of training the feeling of embarrassment wrt my own voice > wouldn't be so much of a distraction. > > BTW, a few weeks ago a friend of mine told me that he really liked a > particular song of mine. The voice, he told me, didn't sound like mine at > all. Isn't that strange, I was really happy about that. > > Oh, the miracles of human perception. > Strange, this is exactly what happened to me when I sang on my two tracks, thing is, it doesnt sound like me to me!! Bob > - - Burkhard > > >>>What combination of plugins and settings do you use to get the best >>>sound from vocals particularly in Ardour? >> >>As you say, there are many to choose from. I like Tim Goetze's Versatile >>Plate Reverb, it's easy to control and has some sweet spots that >>complement my voice nicely. I also often use the SC4 compressor >>(pre-fade) and the TAP Scaling Limiter (post-fade) on the master track. >> >>As general advice: Pick an effect, preferably one with only a few >>controls, and learn what each control does to the sound. In the case of >>reverbs, think about the ambience you want to create and make your >>initial settings accordingly. Yes, you'll have to experiment, but IMO >>that's the best way to learn about these things. >> >> >>>I know that this is one of those subjective questions for which the >>>best answer is try it out yourself and find what sounds best, but >>>there are so many plugins (an embarassment of riches), each of which >>>has many settings, that a brute force search of all the combinations >>>would take forever - not to mention that after a while, my poor ears >>>become exhausted with the effort and refuse to hear differences >>>anymore. So what I'm really looking for is good starting points to >>>work from. >> >>It's easy to be overwhelmed: LADSPA, DSSI, VST/VSTi, all provide that >>embarassment of riches. But I figure that the pros don't have the time >>to learn everything about everything, so I don't expect it from myself. >>I think you should plan carefully: think about what sort of sound you >>want to project, think about its characteristics, then start working >>towards it with a minimum number of effects. A little 'verb and some >>judicious compression go a long way towards making a good basic sound, I >>find that for my purposes I use little else. Maybe someday I'll find a >>use for chorus and delays, but they'll probably get used on instruments, >>not on my voice. >> >>A few random tips: Stand when you sing. Use a pop filter (I should >>follow my own advice). Breathe deeply, you can always erase the noise. >>Don't raise your chin when you try to reach notes on the high end of >>your range, it tightens the vocal mechanism and works against your >>attempt. Relax, you won't sing (or play) well with excess tension. >>Consider your input chain, i.e., decent microphones, preamp if >>necessary, good hot signal, etc. Don't record with effects in, you'll >>fool yourself and it will be harder to fix (I like that Ardour forces >>that behaviour). Key your music to complement your available range. >> >>WRT planning: Do you want to recreate the sound of a small group playing >>in a bar ? Or a big band performing in a concert hall ? A rock band >>playing an auditorium ? A jazz quartet in your living room ? Each of >>these scenarios has some salient characteristics that you should try to >>describe and understand in relation to your selected effects. Try >>analyzing the vocal sound on some of your favorite recordings in the >>same manner. >> >>Yes, you have to study up on some terminology, but you don't have to >>become a DSP engineer. That's what we have Steve Harris here for anyway. >>;-) And don't worry about understanding everything right away. It's >>enough to know what a compressor does, the rest you'll learn by fiddling >>with settings and *listening* to the results. For instance, I use the >>SC4 compressor but I'm still sort of blank about exactly what the knee >>radius does. Always more to learn. :) >> >> >>>One combination that I like is GVerb to get depth and L/C/R Delay to >>>get width. Even with those two getting the settings right takes time. >>>For comunication, I've included a jack rack with some settings I've >>>found that work OK. I would love your critiques and suggestions for >>>other setups. >> >>GVerb is more complex than I'd advise for a start, but it is a fine >>effect and definitely worth learning. Have you tried Freeverb or any of >>the other 'verbs from the LADSPA collection ? The TAP reverb is also >>superfine (with presets!), but again I'd suggest something even simpler. >> >>If you really have problems with intonation and pitch acuity you can >>always try fixing it in the mix with a pitch shifter plugin and Ardour's >>automation control, but that's getting elaborate. You can also try that >>infamous vocal "fixer" from Antares, but I don't know if it will run >>under any of the current support systems for VST under Linux. It costs >>$$ though, and frankly at that point I'd suggest singing lessons. >> >>You can also use Ardour's excellent editing tools to correct small (and >>not so small?) errors in timing. A bit tedious, but worth the effort. >> >>I listen a lot to the music made by other members of this list. I love >>the sound of Pete Bessman's F4, I'd like to know how he got it. I'm also >>fond of The Girls, their material is great and their singing is perfect >>for it. I like the overall sound they achieve, though it's quite >>different from my aims. And I'd commit heinous and unconscionable acts >>just to be able to play and sound like Steve Doonan. Lots to be learned >>from the folks using the same software (more or less). So many different >>genres are represented at http://lam.fugal.net, it's a terrific >>resource: if you like a particular piece, you can just write to the >>composer and ask how s/he did it. >> >>Well, there's my contribution to the thread. HTH. :) >> >>Best, >> >>dp > > > - -- > > > Libre Audio, Libre Video, Libre Software: www.AGNULA.org > Get DeMuDi, the GNU/Linux distribution for multimedia creation > Download and information: http://demudi.agnula.org/ > > Public key available here: > <http://blackhole.pca.dfn.de:11371/pks/lookup?op=get&search=0xFD82303B> > key FP 0A65 5E83 F44F 47A5 3DFC 19C5 7779 E411 FD82 303B > -----BEGIN PGP SIGNATURE----- > Version: GnuPG v1.4.1 (GNU/Linux) > > iQEVAwUBQ5g5VGA1EUeMSxn+AQLOBggAiRaP7+pA+taWP0XXA7hywg+Y0h3HX2Ci > sfZNnXo+Hv/HdDG0Ms3Z9IDHiUHwPsWxB2IJQz77Jtfsjk1MuJlmANdFGaGDXHfy > J7m3clM15VFTGiZhR6CwPh82AaviodIg5+hZdBzs9Rb5Wuyjo3KnAnUYCrfhlu6s > xK9fBTyjXMX5jls2gEK5OVD4ImAebiVdyxocSll3VpHmLs7zmAzja44jJYX6eon2 > 5IRUi1fRGCXiLUCDBFSRW2jPw4XzOkbz0n4eLZ7ha4xl6dhf1C7+zc7U6Rkv91j4 > YmiAae7Q8HhSExJJxA7a9ygDTt6EMCw8znCnSl1gTK2kHc4Zars+nQ== > =DfoE > -----END PGP SIGNATURE----- > -- Bearmusic hearmymusic.co.uk <http:www.hearmymusic.co.uk>
