Quote:
Originally Posted by DiSt
Sorry to intrude and partially hijack this thread, but: I beg to differ on that specific point. We also use a feedback destroyer (in conjunction with a large diaphragm condenser mic, so it's almost a necessity), and on most every gig we get compliments on the "airy", "transparent" vocal sound. Granted, those digital filters do indeed tweak the sound, but apparently in a manner that's not necessarily detrimental, at least to the average listener. Or maybe it's because our typical audience is predominantly in the 55+ demographic 
Then again, them youngins are used to listen to grossly compressed and distorted MP3s... |
Well, reading your comments, I'm not sure we actually do "differ", but if I'm mistaken, all's good as it's subjective to begin with. Having said that, let me add some specific logic (my logic); if the human voice and, your instrument (acoustic guitar in my case) is made up of multiple frequencies, of which the sum equals the tonal quality and what the human ear hears. And one or more of them causes feedback, the destroyer "kills" it, then at some threshold the human ear will be able to discern that... so, my "take" on your characterization of your experience is either 1. You've done an excellent job of using other techniques to control the condensor mic, and the destroyer has not "killed" enough freqs to discern a dulling of tonal quality or, 2. The "offending" frequencies are coming from the channel your instrument is on and, therefore not affecting your vocals. The unit I've used has both level and filter shot indicator lights, so as I play/sing I can see input level on both the instrument and vocal channels, when filter shots deployed get above 3-4, I can hear the tonal quality getting "duller", and it gets worse as more are deployed. It's more pronounced on my vocals than guitar, but I can clearly hear it. So, I stand by my comment, albeit we've had different experiences.