quote:

Originally posted by Mikey Ace:
Hey, I just realized that the proper name of the proximity effect I am talking about is called Sibilance.

I'm by no means an expert in this area, but I think sibilance starts with the singer and then is either amplified or minimized by the mic. I've heard quite a few singers singing the same thing into two mics and getting dramatically different results concerning that issue.

What I haven't found, heard, or read, is that it's ALL the mic. I think there are simply good and bad vocalist/mic combinations which is why there isn't one perfect mic out there. So the answer may not be to get a better mic, but to find a way to reduce the sibilance after the fact.

I'm gonna guess there's some De-esser software out there. Or better yet, take the money you were going to spend on a mic and add a de-esser to your hardware chain.

http://www.drawmer.com/products/mx-series/mx50-de-esser.php

You can pick that unit up for the same or less money as a K2 and then you won't have to worry about sibilance with any vocalist/mic combo again.

Siblance is almost always around the 7khz area. For now, just add an eq plug in with a narrow band. Then move it around close to 7khz until you hear it go away. Should only take a few db.

Mics that are bright on top will pick up more of the "SSSSS" sound. Mics that are darker on top will not.

You could always buy a Shure SM7 which is a great rock mic. That in combination of the Neve and Distressor will yield great results! I think the SM7 is about $400 or so.

JD

quote:

Mics that are bright on top will pick up more of the "SSSSS" sound. Mics that are darker on top will not.
JD

I'd never thought about that but it makes sense, doesn't it. It probably also partly explains why I love my voice through my AKG SolidTube.

Ehh...the sm7 has a LOT of silibance. In fact, having worked with plenty of much "brighter" mics--it's one of the few I've ever had to watch closely on my own voice. There's a big upper mid presence.

Hey Popman, good talking to ya again. I know you use the SM7 quite a bit. Is it only silibance when compressed heavily, or is it always? I have not used the newer Sm7, but have used the older one as well as the Sm5b (I think that is the number..it's been awhile).

I ended up grabing a RE20 for simular uses, as I it is not bright at all...though it might not be as articulate.

I still think the Neve, distressor and an SM7 would be a great rock vocal setup.

JD

The SM7 works on people that need the upper mid bump. It always needs EQ in my usage.
It also works well for loud singers..it creates a focused pocket for the vocal.

I just recored a guy that ONLY sounded good on the SM7....we tried like 10 different mics...it just did the trick. We even added the Presence bump switch and the Low Cut for him.

jmp