Hi, bobalooie (Mark Mallett):

There *is* another approach one can take to helping the vocal to "stand out" from the accompaniment, which can be effective even with a single L1.

The "trick" is to add some "delay" or "reverb" effect to JUST the accompaniment ... but not to the primary vocal channel.

This can help (sometimes, a lot!) to aurally "push" the vocals out in front of the accompaniment without having to make the overall volume of the vocal a lot louder.

This effect was most recently reported on by "Wynn" in the Solo Acts topic Outrageous Sound!; after 5 months of using the L1 with some delay effect on all the sound, he recently took the effects OFF of just the vocal mic -- and the listeners noticed the difference (improvement) in the overall sound.

quote:

Originally posted by bobalooie:
... I was thinking that the tracks should be in stereo. However, I would like to hear more from folks here... does that make much difference? And If I do go with the tracks in stereo, how do I mix in the voice (or perhaps "where" is the better question)?

In our current church setup we use 3 L1's ... but one is primarily for the eDrums.

All of the vocal mics are panned to come completely from one (and only one) L1 or the other --- half to one side, half to the other.

When a stereo pre-recorded accompaniment is used, that *is* fed to both of the "vocal" L1's ... but the "improvement" of stereo sound is not too dramatic because the room is rather naturally 'live'.

Most instruments only go to one L1; for example, one keyboard goes to only one L1. The primary instrumental exception (to the "one L1" rule) is the electronic pipe organ; its output is inherently stereo (e.g.: Great & Swell) and those L & R outputs are sent to separate L1's.

Hi bobalooie,

Earlier in this discussion I posted a link to some references on Dual Mono

There is a lot of valuable information there, but here is a section that is particularly relevant.

>>> Avoid Dual Mono <<<

This specifically addresses the matter of "a vocal center-panned".