Behringer X32 Mixer - how do I compress the lead vocal?

[Richard Heathfield]

How does one compress the lead vocal on a Behringer X32 Mixer? The lead
singer's volume varies from almost inaudible to really quite stonkingly
loud, and it's a real challenge for our (volunteer) sound-person. I'm
guessing that compressing the signal will make it easier to reinforce
the vocal without getting feedback (at the expense of not having quite
as much fine control, which we can live with).

Any ideas? (I've tried the manual, the *English* manual, and I swear
it's written in Greek.)

[geoff]

Post by Richard Heathfield
How does one compress the lead vocal on a Behringer X32 Mixer? The
lead singer's volume varies from almost inaudible to really quite
stonkingly loud, and it's a real challenge for our (volunteer)
sound-person. I'm guessing that compressing the signal will make it
easier to reinforce the vocal without getting feedback (at the expense
of not having quite as much fine control, which we can live with).
Any ideas? (I've tried the manual, the *English* manual, and I swear
it's written in Greek.)

If the manual doesn't do it for you, a google search for "Behringer X32
compressor" will find heaps of info on this basic function, including
videos.

geoff

[Richard Heathfield]

On 26/01/16 21:52, geoff wrote:

<snip>

Post by geoff
If the manual doesn't do it for you, a google search for "Behringer X32
compressor" will find heaps of info on this basic function, including
videos.

Thanks, I'll give that a try. (I get the distinct feeling that I really
should have tried that before asking here!)

[Peter Larsen]

Post by Richard Heathfield
How does one compress the lead vocal on a Behringer X32 Mixer? The lead
singer's volume varies from almost inaudible to really quite stonkingly
loud,

Fix the vocalist. If it is a problem of mic distance consider a headset.

Post by Richard Heathfield
and it's a real challenge for our (volunteer) sound-person. I'm
guessing that compressing the signal will make it easier to reinforce
the vocal without getting feedback

No. It will make it more difficult.

Kind regards

Peter Larsen

Post by Richard Heathfield
(at the expense of not having quite
as much fine control, which we can live with).
Any ideas? (I've tried the manual, the *English* manual, and I swear
it's written in Greek.)

[t***@gmail.com]

Peter Larsen wrote: "No. It will make it more difficult"

W O W.

Modest compression is the first thing
any engineer would do to get a more
consistent sounding vocal. Even a
"Mr. Squashed remasters" like me
would recommend that.

[Peter Larsen]

Post by t***@gmail.com
Peter Larsen wrote: "No. It will make it more difficult"
W O W.
Modest compression is the first thing
any engineer would do to get a more
consistent sounding vocal. Even a
"Mr. Squashed remasters" like me
would recommend that.

You omit the question, which was whether compression would make feedback
prevention easier. Automated gain changes make it more difficult.

I am right and you failed to read what it actually was about.

Kind regards

Peter Larsen

[Phil Allison]

Post by Peter Larsen

Post by t***@gmail.com
Peter Larsen wrote: "No. It will make it more difficult"
W O W.
Modest compression is the first thing
any engineer would do to get a more
consistent sounding vocal. Even a
"Mr. Squashed remasters" like me
would recommend that.

You omit the question, which was whether compression would make feedback
prevention easier. Automated gain changes make it more difficult.
I am right and you failed to read what it actually was about.

** To thekma:

Compressors reduce system gain - right ?

So while one of them is doing just that, faders can be moved up and/or the mic moved closer to the FB/FOH speakers.

Soon as the vocalist stops, the gain returns & whole shebang howls like banshee.


... Phil

[p***@hotmail.com]

Post by Peter Larsen

Post by t***@gmail.com
Peter Larsen wrote: "No. It will make it more difficult"
W O W.
Modest compression is the first thing
any engineer would do to get a more
consistent sounding vocal. Even a
"Mr. Squashed remasters" like me
would recommend that.

You omit the question, which was whether compression would make feedback
prevention easier. Automated gain changes make it more difficult.
I am right and you failed to read what it actually was about.
Kind regards
Peter Larsen

Totally correct because of 'gain make up'. Far easier for feedback to occur.

Graham

[p***@hotmail.com]

Post by p***@hotmail.com

Post by Peter Larsen

Post by t***@gmail.com
Peter Larsen wrote: "No. It will make it more difficult"

I am right and you failed to read what it actually was about.
Kind regards
Peter Larsen

Totally correct because of 'gain make up'. Far easier for feedback to occur.
Graham

I think the 'fix the vocalist' was by far the best answer. Preferably using a large heavy object or precise Charicature, like speaking very softly to him/her for ages and then shouting unexpectedly.

Graham

[Richard Heathfield]

On 19/03/16 01:46, ***@hotmail.com wrote:

<snip>

Post by p***@hotmail.com
I think the 'fix the vocalist' was by far the best answer.

This is actually the route I've decided to try first.

Post by p***@hotmail.com
Preferably using a large heavy object or precise Charicature,
like speaking very softly to him/her for ages and then shouting

unexpectedly.

If all else fails, I might try that. At the moment, I'm bribing her with
Jakemans Throat and Chest Sweets. So far, it seems to be working, at
least for anything from about 440Hz upwards. Lower than that, and her
volume drops dramatically (even when she's singing 'unplugged', so it's
not an EQ thing).

It would be pleasant if there were some kind of graded learning path
from "What a lot of buttons" to "Master of the Black Art of PA" that
didn't involve occasional twenty-foot leaps into the dark and the odd
sacrifice of a goat under the oak tree at midnight.

It's pretty obvious that you know a hell of a lot about PA (and even
more obvious that I don't). How did you get to that state from the
initial ignorance that everybody starts with?