Thanks again Michael for being here replying our questions..!

When I track a vocals (sometimes) I use some compressors on the way in..(not slammed though) but I prefer to send just the preamplified signal (with some eq's and fx) to the cans of the singer..

I've noticed that it's easier for some of them to be in pitch without the compressed/limited signal in their cans..

Do you feel the same, ever noticed this? Or it might simply be a personal thing (every performer is different I guess..)?

Any particular setup that works well for you? (workflow-wise speaking).

Thank you so much!

Take care,

Cheu

Cheu-

Yes, I have noticed this on some occasions. I recently did a session where I sent the vocalist one of the two mics she was recording on to monitor in her headphones. This mic was completely unprocessed- no eq, no compression. I found she was able to stay in pitch and follow herself better.

I feel that the very slight variances in amplitude and tone that compression brings can subconsciously affect a singer's performance if he/she is sensitive to that. It really informs you that people can be very responsive to subtleties and that every single element in the monitoring and recording chain matters.

Thank you Micheal!
I wondered if I was the only one experiencing this...



Cheu

One singer I work with a lot is very sensitive to this. She really likes having both the compressed and dry vocal in her cans (kinda parallel compression) so the quiet passages are brought up, but when she really wails she doesn't feel crushed.

Again, vocalists are often very sensitive to slight changes in monitoring- even immediate environment.