# Vocal effects processing in musical theatre



## saint360 (Oct 10, 2014)

I first learned to mix musicals in the 90s from a sound designer who was a decided minimalist--rent the best, most linear mics and the best, most linear speakers you can and apply the least possible amount of EQ, little-to-no compression, and no effects processing except for special effects. 

I've generally carried on with his approach in my work, although I tend to use a bit more EQ and compression than he did, especially when using a digital console. I still rarely apply any effects to the vocals, other than perhaps a very subtle plate reverb to put a little space around the voices.

However, the impression I get is that most designers apply reverb more judiciously than I do, and also use delay frequently. I'd be interested to hear what effects you typically add to vox in musical theatre, and why--especially if you use delays.


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## jkowtko (Oct 11, 2014)

I only ever used a bit of room reverb on the vocals, to fill in the voices. I also had rear fills in our small black box type theater to help pull the vocals into the room a bit more. Not enough to really hear it, but enough to improve clarity of the voices.


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## ThatsoundguyChris (Oct 11, 2014)

In working musicals I've used pitch shift a few times as a way to bring out the character. I've also used .5 second delay along pitch shift in one production as we needed the God to reverberate around the room and be really low


Sent from my iPhone using Tapatalk


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## themuzicman (Oct 11, 2014)

On every musical I do I like to have input delay on every microphone input, and at least 2 fx returns. Input delay is to change delay imaging based on the actors upstage/downstage position so they are aligned with the entire system. I do delay cues as needed throughout the show, to a reasonable point. 

For fx returns, I usually dedicate 1 DCA to Vocal Verb and 1 DCA to Band Verb. Depending on the show, vocal verb comes in only on songs, just to fill out singing. Band verb comes in whenever they play at a low level to fill out the strings and the winds. I usually just send MIDI cues to the Vocal Verb to change scenes because what verb levels may be right for a duet may not be right for the ensemble, but on more simple shows it may be just a single non-changing verb. While I work primarily on digital consoles, I do like running analog out to traditional outboard verbs - can't beat old school Lexicon's and a new TC System 6000 is a total work horse if you can swing it on a show and need total verb customization.


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## carproelsofly (Oct 11, 2014)

^What themuzicman said.

The variable delay is a luxury, but even an overall delay on the vocals will help tremendously in imaging.

I, when gear is available, will drop the orchestra verb into side/rear fill speakers (since the musicians are usually in the pit, upstage, or otherwise out of the acoustic space of the hall). Vocal verb I will use judiciously - sometimes on backing vocals, leaving the leads dry, and sometimes as an extra push on lead vocals during solos (primarily on ballads or the "power song" - think "Rose's Turn" from Gypsy).

If you're mixing a more contemporary musical, with more contemporary music, the rules change. People have probably listened to the soundtrack in their cars and on their devices, and getting the mix in line with those expectations will most likely be the goal of the director or producer. That usually means more volume and more compression. Leaving things "acoustic" will make them sound dull in comparison.

HTH
Jen


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## Dionysus (Oct 15, 2014)

I say indeed that it depends on the show completely. With a 1920s musical yes light on the effects, clarity is great. Just a little to make it nicer.
Now a couple years ago I did Rocky Horror, and I tell you I used a LOT of various effects through the show. Still not so much as to knock back intelligibility but I really wanted it to sound like Rocky Horror. Experimentation necessary.

The possibilities are endless depending on what gear etc is available, things like splitting vocals out into a centre cluster etc. As I said experimentation is nice if you can play with it. I've heard of many different approaches, everyone has their own ideas of course.


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## AlexDavila (Oct 19, 2014)

I don't understand, what is the purpose of the delay? Is is just compensating for the difference in distance between the performers and the speakers?


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## themuzicman (Oct 19, 2014)

AlexDavila said:


> I don't understand, what is the purpose of the delay? Is is just compensating for the difference in distance between the performers and the speakers?



Yep - in simple systems you will delay the speakers in regards to each other and then delay the actors to the "zero" point you set in order to have a somewhat natural sounding image in the sound system. In more complex systems, you will have zones on stage and a matrix that changes the relationship between inputs and outputs all around for everything. The end goal is transparency - to make it seem like all the sound is originating with the actor.


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## carproelsofly (Oct 19, 2014)

In case this is part of the confusion, Alex, there are two things in audio commonly referred to as "delay". One is the guitar pedal kind of delay, which creates echoes of the input (usually "tapped in" to match the tempo of a song), and the other is simply adding some time between the input and the output.

The first is used for effect, and is usually adjusted in increments measured in seconds or beats per minute.

The second is usually measured in milliseconds, and compensates for the difference in speed between the acoustic sound and electronic signals (speed of sound cf. speed of electricity). This one allows the operator (or system designer) to adjust the timing of the sound coming from the speakers so that they arrive at the listener at the same time, or slightly later than, the acoustic sound.

Here's a great video from John Huntington that illustrates the effect:
http://videosift.com/video/Seeing-Sound-Waves-1130-ft-second-Obama-Inauguration

Speakers further back in the crowd were delayed to keep the sound coherent at different distances from the stage.

HTH,
Jen


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