Scott,

Where is your report on the Voice Prism? I need all the help I can get with my singing.

Tom

My Impressions of the "VoicePrism"

I currently own a Digitech brand "Vocalist Workstation EX" so was extremely anxious to checkout the new competition from TC Helicon at the NAMM show.

The "VoicePrism" is a 2 space rack mountable vocal processor. You can also purchase an optional "Voicecraft" human modeling upgrade card which adds additional DSP vocal processing capabilities. Then there is the newest model: the "VoicePrism PLUS" which is a "VoicePrism" with the "Voicecraft upgrade card" and digital ins/outs features included. The "VoicePrism" does not included digital ins/outs.

The VoicePrism allows you to add up to 4 additional vocal harmonies to your voice (the Digitech provides up to 5). Here is where where the VoicePrism & VoicePrism PLUS leave the Digitech Vocalist Workstation "in the dust":

The VoicePrism allows you to easily adjust each harmony individually (eq, delay,chorus, flange, reverb, timbre, pitch, vol). With the Voicecraft card you can also add breathiness, growl, (head & chest) resonance, inflection, rasp, vibrato to your lead voice. VERY COOL!! The lead vocal and harmonies sounded CLEAN and the harmony voices the best (most realistic & natural) I've heard yet. The other BIG thing I LOVE about the VoicePrism is that it supplies mic power to allow you to plug a phantom power condenser mic (like my AKG C2000) directly into it. Even better, the VoicePrism features Mic Pre-EQ, a feature I really missed on the Digitech brand vocalizers. In conclusion, the VoicePrismPLUS is definitely a WINNER! and a BIG STEP forward. I'm planning to purchase a "VoicePrism PLUS" even before deciding on a new arranger keyboard.

One pressing reason I want the VoicePrism right away is because I realized that I need a "vocal compressor" (the VoicePrism includes this) in order to balance (compress the dynamic 'range') of my vocals to match the synth keyboard/arranger backup parts which in turn produces a more polished sounding recording. Apparently this is used on all professional recordings.

I had noticed that my vocals on my demo song "Route66" seemed 'out of balance dynamically' in relation to my instrumental keyboard playing and arranger backup (bass,drums) parts. I was recommended to use a vocal compressor to achieve a more polished sounding recording. Uncle Dave, DonM, Donny, Fran, and John Smies, did any of you guys use any type of vocal compression on your demo songs? If so, which brand/model? I know that the Yamaha PSR9000/9000pro includes a vocal compression feature built in. The Technics KN5000 does not. How about the other brand/model arranger keyboards?

Checkout the pictures I took at NAMM. It includes a picture of the TC Helicon booth which includes a shot of the "VoicePrism" unit mounted on a stand above the keyboard (Roland VA7). Go to my website http://scottyee.tripod.com/scottyee/
and then click on the "NAMM pictures" page link.


Scott



[This message has been edited by Scottyee (edited 01-23-2001).]

Scott,
I use the compressor/limiter in the 9000 quite a bit. I believe it was on when I did the two songs on my page. I find it extremely useful in bringing up the volume of low, soft notes. You can whisper into the mic and the level is adjusted to where the vocal can be heard.
It is also useful for those "guest artists" who do not know how to properly use a microphone.
DonM

Hi folks !

Scott you probably missed 'our song' (The one you liked so much.... remember ?)

In our setup we do use a compressor for vocals.
We use the Behringer Shark DSP as a mike-preamp, compressor, intelligent anti-feedback filter and noise-gate.
The shark's signal is lead into the Korg ih vocalizer.
I'm pretty happy with this equipment !
(Have a look at www.behringer.com for details of the Shark... great machine for little money !)


I also tried the Voice Prism in my home-studio and the results were not that good because of :

Noise (hiss and small DC peaks like crickets)

Complexity in operation. (On stage we only need four buttons to switch each voice ON or OFF..... The ih does the rest and it's costs are only 1/4 of the VP's price... ;-)

kind regards,

Roel

Scott,
Compressors are a love/hate issue with me. I agree that they are useful, and even neccissary in some applications, but they can also RUIN a dynamic, passionate vocal track. I like to be in control of as much of my destiny as possible - so I WORK the mic, and I use breathing changes and dymamic interpretation to achieve the desired results. Especially in a live situation, I Never compress vocals, however I sometimes will in the studio to get a more even result. This is more critical in the studio because the noise floor is elevated, due to the higher gain and better range of my studio mics. Live sound is a jumble of unwanted noise and if you bring up a vocal part (by compressing) you may just be bringing up a grungy, noisy signal with it. As in most areas of sound reproduction, the MOST IMPORTANT tools are "Your Ears"
Try using limiters for a leveling effect on vocals, but be stingy with anything you introduce into the signal path. Too much effect, EQ, or even dry signal is NO GOOD.
The best overall advice I have for recording vocals is this:
Treat them like royalty - most listeners can identify with a vocal track, but few are instrumental experts. Make the vocals a priority and blend in the music AROUND them -if there is singing happening....it ALWAYS has the right of way. Always.
It is for that reason that I cannot ever consider using a headset mic - there are too many limiting factors that change my performance capability. Buy a mic that reproduces YOUR range well, and learn to use it to enhance your voice. Mic technique is very important, and often overlooked.
IN the studio - stay AWAY from the mic. It's not the same as "live". Stay a good 8 - 12" away from the mic and always use a windscreen. NOT the little foam sock, the big nylon circle that dissapates the flow of air before it reaches the mic capsule. Pops, and Sizzles are NEVER acceptable in a studio recording. If you have them - DO THEM OVER. Don't make your listener hear your engineering mistakes OVER & OVER. "Live"....it is sometimes un-avoidable, but TRY! Work the "P"s and "S"s away from the axis of the mic. Move IN for breathy, quiet passages, and for goodness sake - BACK UP if you need to shout. Also, try to relax and enjoy the lyrics. A good "FEEL" for a vocal is essential to it's success and believability. Read the lyrics out loud WITHOUT rhythm before you try to sing it. See what the words are saying BEFORE you put them to music.If they don't make sense lyricly, then it will be harder to make them musical. Put it all together with an attitude of humility and the product will be wonderful. Sensible mic technique will pay off BIG TIME in recording. Thanx for listening, and good luck!

Hi Roel,
How's it going ol buddy?
I certainly did "not" miss your wonderful song. I enjoyed you & Weiste's rendition of "Bei mir bist du schoen" very much. Very swingin'arrangement and reminiscent of the music in the 1993 "Swing Kids" movie.
http://imusic.artistdirect.com/soundtracks/swingkids.html

I think the version you sent me earlier had more spontaneity and spark though (just my personal opinion) but both versions sound great.

Thanks for your valuable feedback on the VoicePrism. I auditioned it at the NAMM show and didn't detect noise, but probably it isn't the best listening environment for evaluating noise. I will checkout the Behringer Shark DSP unit you recommend though. Which version of the VoicePrism did you audition? the original VoicePrism or the VoicePrism PLUS? I'm still currently using the Digitech Vocalist Workstation EX. The Digitech Workstation is also very easy to operate and slider controls directly accessible from my keyboard. I guess another option would be to purchase just a mic pre-amp with compressor. Does the Behringer Shark 100DSP include mic pre- EQ too? If not, is there a small easy to use unit which includes mic pre-EQ as well as mic pre-amp and compressor features similar to the Behringer Shark unit?

Thanks,

Scott

Uncle Dave,

Excellent mic tips!
I remember learning these same valuable mic tips from my former vocal coach (Judy Davis), the vocal coach to the stars: Barbara Streisand, En Vogue, etc.

You are 'right on' about lyrics. You had better understand what the lyrics mean away from the context of the music before even singing them. I use a "sub-plot" technique of first memorizing the lyrics like an actor would memorize his lines in a script. I then figure out the: WHO, WHAT, WHERE, WHY, and HOW of the lyrics to develop a personal meaning and understanding and from this evolves a sense of personal vocal phrasing. Afterall, an actor has many lines to speak, but we as singers are limited to the much fewer words to convey our message. Thanks for reminding me of all the wonderful things I've learned from the many great music teachers I've had the opportunity to work with over the years. Sometimes we get so wrapped up in our lives that we forget the little things that mean a lot.

Scott

Scott,

I had the chance to try the VoicePrism... not the PLUS.
About the Shark DSP110:
The Behringer site will give you all the information you need.
Mike preamp, DI-box, phantom power, noise-gate, compressor, 12 band-EQ, delay-line, anti-feedback EQ ..... all parameters adjustable on a display.
Signal levels switchable between 'line' and 'mic'.

It is a super-compact unit (only 6 x 6 x 10 cm), its price was about 150 USD.

The only features we use are noise-gate, compressor, anti-feedback EQ (works great).

Still enjoying 4.5 ?

kind regards,

Roel

Tom, Scott,

I read about the Voice Prism a couple of months ago and was interested then. Scott's assessment makes it appealing. Has anyone seen a price on it yet?

It's well over $600 in Philly, but as a side note...the GC's are blowing out the Digitech Vocalist VR's for $250. Not a bad alternative. I use a Vocalist Access, and it's a pretty good unit. I expect the TC to be better in some ways, but it's too big for me to consider re-racking just for a small change. The most important thing to remember when using ANY harmoniser is to make it as natural as possible. Don't OVERuse it. That's an all too common problem and really cheapens the sound. Use discretion and dynamics and the result is wonderful. I'd be lost without mine. I do the Carpenters, Mills Bros, the Beach Boys, Four Aces, Four Freshman - all the pop vocal groups. (over 25, that is)
No BSB's or N'Sync yet - I'll leave that to the neXt generation of singers to cover. I'll stick to the stuff that I know will be around another 20 years.