c1 ssssibilance

C

CUSETOWN

New member
I recently (3 days ago) got a SP c1 to see what all the talks about.. For $200 bucks can't go wrong.. Anyway, I love the thing, sounds super smooth & downright pretty! In fact so pretty, I wonder if it will sound 'mushy' on some voices..
Anyway, I digress..

I've noticed a real problem with s's. Not that theyre getting washy like key jangles.. But they seem more pronounced. My main mic for vox until now had been a cad e-200.. Which I loved, & still love, but that thing sounds real sterile compared to this. And a lil dark & nasally..

Anyway, does anyone else feel the need for a de-esser with the c1? I do almost 100% hip hop vox so maybe theyre more pronounced.. But I never had this prob. w/ my e200..

I'm surprised I havent heard anyone on here mention this. It was immediately prevelent to me. As well as the almost 'synthesized' smooth response.. Which believe me, I can live with! The thing sounds sexy!

PS: Joemeek vc6q is the pre & thats with no comp or eq engaged. Just for a/b comparison w/ my e200.
 
That's the thing with mics like the C1, with the midrange scoop and jacked-up high end.


On the right singer, it sounds like magic.

On the wrong one, it sounds like someone's taking a cheese grater to your ear canal.
 
That's one of the problems with buying mic's without auditioning them first. As I've said in the past... the 797 Audio Studio Projects C1 is a bright mic and sometimes even a little harsh sounding IMO... but, it's perfect for some voices and sucks on others. CUSETOWN, the C1 may not be the best mic for your voice... and rather than dicking around trying to get it to work you'd most likely be better off auditioning some other mic's and just buy the mic(s) that work better with your voice.
 
I'm sure there's someone out there whose voice sounds like ass when singing through a U47 or a C12. The single most important thing is to find a vocal mic that you sound good through, and the only way to do that is to audition them. If you can't find one locally, use an online retailer that has a very liberal return policy.
 
Another way to de-ess is to use a competent parametric EQ, like the DBX 242, and a VCA type compressor like the Fmr. Audio RNC.

By boosting the offending frequency via EQ, you can use the compressor to squash it back down to a managable level. Are you familiar with "sidechain" de-essing?

The advantage of this method is that you're either using what you have now, or should get to use for other tasks besides de-essing.

While the Meek compressor is fine for "character", it's not fast enough for this kind of level control.

Chris
 
I agree that the C-1 is hot on S's. If you are using a cheap limiter of compresser its alot more pronounced.

when i track without a limiter the S's are fine.

Its not that easy to EQ the S's out.
 
I agree it's not that easy to EQ the Ss out as they tend to move for each song and you really can't EQ them out. You're just minimizing the annoyance as much as you can.

I prefer matching the vocalist with the mic up front so there's nothing to take out.

Steve
www.mojopie.com
 
indeed

Yeah chess, I have 3 rnc's..

I know I can tame it, I'm just surprised I havent heard anyone make mention of it..


Anyway,
Thanks for the replys!
 
Ive found the C1 to suit certain singing styles I do, and some I need to grab another mic. Like when I do the Seger like songs the C1 wins...but I use my MK319 for soulful stuff.
 
That's great you have those RNC's, Cuse.

If you put one in "supernice" mode and combine it with a parametric EQ, it's quite effective.

The "Q" on a Meek equalizer is pretty wide,
so that's why an adjustable parametric is better for this purpose.

I also have posted previously on the same issue with the C1. Using a B1 is simpler for me.
Still think the C1 is a good vocal mic too.

Chris
 
some antisibilant vocal mics would be the ev re20 or the shure sm7.

if you've got crappy preamps, then the studio projects b1 might be the antisibilant vocal mic if you're one of the few who sounds good through it on vocals.

but, mics with almost shrill grating highs that bring out a lot of sibilance have been in fashion for quite a bit now and are the sound of a lot of pop music.

steve
www.mojopie.com
 
Some pro engineers like to record the top end "hot", then use de-essing and/or sometimes the best vocal microphone available still needs de-essing. On Sinatra's vocals at Capitol, they regularly de-essed them when he was using a U47, for example. I agree that sometimes it's simpler, especially for an amateur like myself, to avoid that situation in the first place.

Chris
 
Here is a trick you can try with mic placement - it helped me out of the same problem.

If you tilt the mic back slightly so the capsule points at your forehead (but is still directly in front of your mouth) it will make your performance sound brighter. Slightly more sibilance, but will help the vocal stand out in a dense mix (maybe one with lots of harmony vocals...)

If you keep the mic exactly perpendicular to the floor, it will produce the clearest sound, with the most even sibilance and high-end detail to voice ratio.

If you tilt the mic forward slightly to point at your chest or neck, it will provide a warmer, righer sound - more voice but less sibilance and high end detail.

Of course, moderation is the key, and try in-between settings for more subtle effects.

I learned this trick from a BLUE MIC manual, but it works on my C1 as well.



This holds true if the mic is right-side up. I think the same would hold true if you are hanging it upside-down, but then the directions might need to be reversed - I think...
 
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