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Been expecting to hear from you today.....Sure hoping it went well for you...I'm getting kinda concerned and wondering if all is well after 12 hour gig.

Hi sweetie- thank you for thinking of me.
It was exhausting!!!!!

It turned out really nice. It was pleasantly surprising how organized
it was. Extremely professional looking, all the security had bright green
shirts on and the workers had bright orange on. The tents were awesome
with built in lighting and fans. Even with the rain we pulled in nearly $6000
for the family. The best part was they had me stay inside because of the rain.
When it was time for announcements I would make 2, one outside then one
inside. I did all raffles inside. The only snag we had was one of the bands did
not show. They had me fill the time singing. I stretched the time out to save my voice for later by playing games with the audience.

I started at 2 in the afternoon and finished at 3am. Man I was bushed!! The family was very appreciative. There were lots of tears and laughter that day.

The only down part for me was at the end of the night my tip jar was mostly filled with garbage. My feelings were a bit hurt by that. That's okay it felt wonderful to help these people.

The owner of the bar walked me to my car and handed me $200 out of his pocket.
He told me he would be lucky to break even that day, but wanted me to have it. He said they could have never pulled it off without my help and the family was amazed
at everything I did. I tried not to take the money, but he insisted.

Thank you all for helping me with my tech questions for this day.  :hug:

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[updown]~*~ MONKEY BUSINESS KARAOKE~*~ [/shadow][/updown][/glow]

Yep, I knew you would give 110% and kinda figured you would be tuckered out.

Well, how did your sound system hold up?....Was it adequate to cover the territory afterall?...and did the vocals stand out?

It was no problem.
I am still looking into the compressor though. I believe it will be my
next toy.  :D

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[shadow=pink][glow=deepskyblue]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
[updown]~*~ MONKEY BUSINESS KARAOKE~*~ [/shadow][/updown][/glow]

Great! glad you sounded good!

This compressor thang.......Don't expect it to be a cure-all.....Work hardest at learning proper gain structure from mic thru board first.....only then can a compressor improve on your best efforts. It cannot polish a, er, a...you know, it can't fix stinky lump of litter pan effluent.

Gee, look at me...I'm learning to talk CAT!

P.S. We now have a kitten for a mascot at the plant......The campus is full of wild cats, but this one strayed up tame.....All of us feed it and pet on it.....I'm thinking someone tossed it out....but don't let yourself think I actually like cats, ok?

Don't worry I won't give you any credit for being nice to a
cat.

As far as the compressor. I am mainly looking for it to help me with singers that
have a huge variance in projection. One minute they sound like a whisper in their
low range and the next the are like blowhorns in their higher register.

I have some singers that are boarder line scream singers and it is hard to control.

If the compressor will help with this I am all over it.

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[updown]~*~ MONKEY BUSINESS KARAOKE~*~ [/shadow][/updown][/glow]

It will help once they get to the loud point.  It will help keep their volume more normal, won't really help those who sing so low you have to boost all to hear them then blow your speakers when they finally get into their comfort range.

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Thanks Lon  - I think it is worth it for that reason alone.
I'm tired of running for the volume because I know the chorus
is coming and so & so is going to start screaming out high notes.

My only worry would be the people who sing really soft. Am I going to
loose some volume on their vocals?

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[shadow=pink][glow=deepskyblue]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
[updown]~*~ MONKEY BUSINESS KARAOKE~*~ [/shadow][/updown][/glow]

You shouldn't lose anything if it's set up correctly.  A compressor is only going to engage when it hits a certain threshold (The point that must be exceeded to begin producing a given effect or result ), once it hits the volume it needs to compress then it will engage.  Anything under that point won't be affected at all.

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Lonman, "sing so low ..." are you talking register or volume?  I ask because when I hit a note on the bottom of my range it pretty much just makes the woofers rumble.

I'm talking volume.  The ones that I need to keep turning the fader up just to hear them then they hit a note that they just happen to raise the volume on their own voice 10X to blow everyone out, then back down to hardly hearing them.

If the woofers are rumbling, the kj needs to adjust the mic to cut the lows out a bit - usually most mixers have a low cut filter of some kind, this should be engaged on all mics.

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Exactly!.......witha decent compressor tweeked in properly, you can then increase mic gain for those soft parts and just leave it there. You will be able to hear the weak passages and the comp will take care of the too loud stuff......you won't have to ride the sliders all night like before.

I will add some paras from compression 101

In speech or singing, there are often periods of silence. Hard consonants such as the letter `T' create high initial sound pressure levels, whereas most vowels tend to be more even. The average volume level of a word may be fairly low, but because of an initial loud consonant, we can only boost up that word so far before we run out of headroom. If there's music playing under the voice, even with the vocal level boosted as high as possible without distortion on the initial attack, part of the word may end up being far enough below the level of the music to become inaudible or misunderstood.

By processing the voice with a compressor and adjusting it so that the loud attack causes the onset of gain reduction, the compressed word can be boosted to a level high enough to be understood over the music. Of course you can't adjust the compressor for every word in the song (well . . . you could on a digital workstation if you had the patience), but a combination of a good average setting and a singer with some control will yield effective results.

Compensating for a Poor Performance:  Compression can often be used to overcome weaknesses of the performer. For example, experienced singers move away from the mike when they sing loudly and towards the mike when they sing softly. Less experienced singers generally don't do this at all or, even worse, do the opposite. Even with an experienced singer, it can be desirable to get that "close-miked" sound even during the loud passages. Other instruments suffer, too: it can take years of experience to play evenly and with carefully controlled dynamics. Sometimes even great musicians will do a great take with bad dynamics. In all these cases, compression is essential because the dynamic range of the performance is wider than it should be and compression can bring it back into the correct range.


The main advantage of vocal compression is reducing the overall peaks  and bringingn the average level above the music and still staying below the headroom.


It is not that complicated you reduce the overall dynamic range and increase the level to compensate with the music level so to bring the vocal above the music..As you attenuatethe peaks then you increase the level to bring the quiets to a level above the music.. Plez dont complicate it

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