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Re: Vox in industrial music

Posted: Thu Dec 11, 2008 12:45 am
by OriginalJambo
Yoozer wrote:FL Studio has a bunch of compressors. Test it using a dynamic (classical!) piece of music; see what happens when you put the ratio at 1:15 and then start modifying the attack and release. Take your time to listen and study the differences. It's pretty much useless to try out compressors on any material on CD made after 1990 or so, because those are already compressed to h**l and back.
Don't forget to modify the "threshold" too. If it's at 0 dB then the compressor won't be doing much work at all, not matter what the settings are for attack, release and ratio. :)

Re: Vox in industrial music

Posted: Tue Dec 23, 2008 4:13 am
by zmd
i use a lot of vocal fx live, but, i can never really get a good distortion live, so i tend to mangle instead.

i currently use an old dod vofx for the pixellator, and once in a cheesy while, the pitch shifter. the 'verbs and delays are fine too.
i also use a yamaha su200 for the ring mod effect in one or our songs. very nasty sound when cranked.
and the electro harmonix frequency analyzer pedal...holy moly, it's my signature sound.

i have a fellow building me a combo pedal based on old maestro fx...the fuzz and the filter. i plan on making these a huge part of my live sound.

i tried a cheap ART tube mp (the original one), and could not get a usable dirt sound out of it (tho i like it's warmth on other things). i've seen a woman in another local band use one to great distorting effect, but she also has a high end stage condensor mic (i forget what one now), but, i can't blow 500 bones on a high end mic....c'mon music store job

next mission is to add vocoder live, i have the ion, i just have to figure out where to put the vocoding.

my point? use lots of vocal fx. use lots of wrong ones and see what happens when you twist the knob the opposite way from where you think you should.

Re: Vox in industrial music

Posted: Tue Dec 23, 2008 4:45 am
by Stab Frenzy
zmd wrote:i tried a cheap ART tube mp (the original one), and could not get a usable dirt sound out of it (tho i like it's warmth on other things). i've seen a woman in another local band use one to great distorting effect, but she also has a high end stage condensor mic (i forget what one now), but, i can't blow 500 bones on a high end mic....c'mon music store job
You don't need a high end mic for a distortion effect, that's crazy. As long as the response is flat enough that you don't get feedback through the wedges you can use any mic.

Re: Vox in industrial music

Posted: Tue Dec 23, 2008 9:29 pm
by derma_tek
to put it as simple as possible for suicide commando type vocal fx.

get a boss se-50, use the pitchshifter on it and set the 4 parts to +2,+1,-1,-2

i'd advise you to play with the settings a bit though, and maybe try some other fx as well, as most likely you'll end up gettting a clone or other nasty things.

try to make your vocals unique in some way. as a lot of people said on here, you can do a lot with just your voice and simple fx like delay and reverb, with practice.

Re: Vox in industrial music

Posted: Wed Dec 24, 2008 1:53 am
by zmd
Stab Frenzy wrote:
zmd wrote:i tried a cheap ART tube mp (the original one), and could not get a usable dirt sound out of it (tho i like it's warmth on other things). i've seen a woman in another local band use one to great distorting effect, but she also has a high end stage condensor mic (i forget what one now), but, i can't blow 500 bones on a high end mic....c'mon music store job
You don't need a high end mic for a distortion effect, that's crazy. As long as the response is flat enough that you don't get feedback through the wedges you can use any mic.
yea,i've tried a pretty wide variety of mics, shure sm57 and 58, betas too, and an 87...and a 421 (also a wide variety of s**t mics of course). no luck anywhere avoiding feedback.

Re: Vox in industrial music

Posted: Wed Dec 24, 2008 3:06 am
by Stab Frenzy
zmd wrote:
Stab Frenzy wrote:
zmd wrote:i tried a cheap ART tube mp (the original one), and could not get a usable dirt sound out of it (tho i like it's warmth on other things). i've seen a woman in another local band use one to great distorting effect, but she also has a high end stage condensor mic (i forget what one now), but, i can't blow 500 bones on a high end mic....c'mon music store job
You don't need a high end mic for a distortion effect, that's crazy. As long as the response is flat enough that you don't get feedback through the wedges you can use any mic.
yea,i've tried a pretty wide variety of mics, shure sm57 and 58, betas too, and an 87...and a 421 (also a wide variety of s**t mics of course). no luck anywhere avoiding feedback.
Here's how to make it work:

- Make sure the foldback has been EQed properly so is nice and flat.
- Sing loud. If your voice is really loud in comparison to the signal coming back through the foldback you'll get less chance of feedback. If your voice is quiet then the mic will pick up more fldback signal in comparison and start feeding back.
- Make sure the back of the mic (the null point) is pointed towards the wedge. This will help pick up less of the foldback signal = less feedback.
- Don't cup the mic in your hand. I don't care if you think it looks cool, or you like the way it sounds, it makes the frequency response skewed and the polar pattern omni. These are both causes of feedback.
- Keep stage levels reasonable. If you've got guitar cabs cranked all the way up you'll have to have really hot levels out of the wedges, which will lead to more feedback.

If you do all these things you should be fine. One of the bands I mix run their vocals through a guitar amp on stage to get them nice and crunchy and I mic the amp up and then run that signal through the foldback and still have no problems. If I can run two sources of distorted vocals on stage, one pointed towards the mic and one away, and still not have any feedback problems then you can manage one. :thumbright:

Re: Vox in industrial music

Posted: Mon Jan 05, 2009 3:55 am
by RASP
I can answer your question:

Its a BOSS SE-50 set to the four voice pitchshifter using these settings:

+2
-2
+1
-1

Now go forth and sound like every terror-ebm band. . . .

Re: Vox in industrial music

Posted: Mon Jan 05, 2009 9:54 am
by killedaway
RASP wrote:I can answer your question:

Its a BOSS SE-50 set to the four voice pitchshifter using these settings:

+2
-2
+1
-1

Now go forth and sound like every terror-ebm band. . . .
so close and yet!!.... look three posts above yours.

Re: Vox in industrial music

Posted: Wed Jan 14, 2009 4:59 pm
by nbellum
derma_tek wrote:to put it as simple as possible for suicide commando type vocal fx.

get a boss se-50, use the pitchshifter on it and set the 4 parts to +2,+1,-1,-2

i'd advise you to play with the settings a bit though, and maybe try some other fx as well, as most likely you'll end up gettting a clone or other nasty things.

try to make your vocals unique in some way. as a lot of people said on here, you can do a lot with just your voice and simple fx like delay and reverb, with practice.
Thanks I'll pick one up.

Re: Vox in industrial music

Posted: Sat Jan 24, 2009 8:50 am
by BlackGnosis
redroomrecordings wrote:
nbellum wrote:I messed around for so long with the vocoder feature in FL Studio 8 trying to get the right sound out of it. What I am looking for is how to get my voice to sound the same as the guy from bands such as Suicide Commando, Tactical Sekt, Virtual Embrace, etc... It seemed no matter what sound patch I put on the carrier nothing came close to that. I eventually got my voice to sound like the Decepticons on Transformers but that's not really close to the sound I'm looking for.
thats because none of those acts use vocoders in thier main vocals. you have to train your voice, practice death metal or black metal style vocals. you're voice should sound cool on it's own. the only effect usually used on those types of vocals besides delay and reverb is chorus and or pitch shifter.

for my album stuff i will add a bit of distortion as well but for live i just keep it to delay and reverb to avoid feedback which is what a lot of ebm acts do.

i'm not sure why everyone thinks there is a magic terror ebm vocal effect that you can slap on to get "that" sound.
I loled raeding this
According to Johan Van Roy of suicide commando, the key to his growly secret is a K-station. and some effects to help pick it up within and outside the synth, using this same principle I pulled off Cyclon nine and Suicide Commando style vocals using just my microkorg. so dun get bummed by some of the thigns you read, theres ALWAYS alternatives.