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Boris Dlugosch produced the vocal portions added to the track. Sharon Scott is the backing vocalist. Sharon Scott is the backing vocalist. The track has been remixed by Boris Dlugosch and Michi Lange, Todd Terry , Solar, Ramon " Ray Roc " Checo and Ernest St. Laurent.
This provides a more musician-controllable mix and provides them exactly what they want. This can be achieved by using a separate mixing console (the monitor mixer) and using either a split snake cable or Y-cable splitters cables to allow the required instrument or vocal inputs, to feed both the FOH mixer and monitor mixer.
Starset was formed in 2013 by Downplay vocalist Dustin Bates, who is the band's lead singer, songwriter, and keyboardist. [11] Bates's interest in astronomy was first fueled when acquiring his master's in electrical engineering as he studied at Ohio University.
Typical live use of a multicore (thick cable on stage) Multicores usually create a link between the stage and sound desk, or live room and control room.When used in sound reinforcement, the multicore cable runs from the stage box or microphone splitter to the front-of-house sound desk, where it connects to a mixing console. [2]
Sennheiser 8-Channel Active Ant Splitter / Dist Kit. $1,500.00. Guitar Center. Radial Engineering JS3 Passive Microphone Splitter Direct Box. $329.99. Guitar Center. 8.
An example of a microphone splitter. Let's begin by tracing the signal path from the splitter to the audience. The signal leaves the splitter, typically via an Audio multicore cable, and travels to the Front of House position. Here, the still-mic-level signal enters into a microphone preamplifier, which boosts the signal voltage to line level.
Vocal fry is also used in metal music, usually in combination with air from the diaphragm, [citation needed] in order to create a "growl" or "scream", which sounds aggressive and harsh. [22] The chief use of the vocal fry register in singing is to obtain pitches of very low frequency, which are not available to the singer in the modal register.
Throat singing techniques may be classified under an ethnomusicological approach, which considers cultural aspects, their associations to rituals, religious practices, storytelling, labor songs, vocal games, and other contexts; or a musical approach, which considers their artistic use, the basic acoustical principles, and the physiological and mechanical procedures to learn, train and produce ...
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