>
> > - - 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
> >
> > - --
> >
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