Karaoke Bar Voice

[Cherish Asleson]

XIf I would need a computer software to convert my analog voice from microphones to laptop, please name some and guide me in specific way (connecting mics to laptop, then transfer voice through laptop to TV)?

Y) If I would need a Audio Mixer/ Amplifier/ Pre-amplifier, since I am very confused which one among them and which way I do, so please specify which one and how I do with them, (mics to that device to laptop to TV OR mics to that device to TV), as the laptop must always play the background sound for karaoke.

A simple sound mixer should do it. I use the Peavey PV-6 for a lot of live jobs. You can put the computer sound into one of the high level inputs of the mixer and the microphone into one of the mic channels. The Line-Out or Tape-Out of the mixer goes to the TV.

I am using Adobe Audition CS6. Stereo Imagery -> Center Channel Extractor (CCE) -> Presets (Karaoke -20dB) + Frequency (Male Voice). The end result is just a suppressed / distorted vocals that's all. I even tried to reduce the center channel to -40dB instead of -20dB, Still no use. I tried this on multiple songs (with Male Voices) and all have the same effect.

I read in another forum that if the original song has slight reverb CCE may not work. Is this true? But almost all songs have a bit of reverb on the vocals. I have a 'not so helpful' colleague of mine who brings out pure Karaoke and claims it to be from Adobe Audition 3.0 (a much older verison than what I am using).

It's true, I'm afraid. The Center Channel 'Eliminator' operates on a very narrow part of the stereo field, and if you widen it you start to lose a lot of original music. The reverb is almost invariably spread wider than the mono voice, and will leave a ghostly presence of it, whatever you do. And you have to be careful with it anyway, as it will also remove anything else that's in the centre - like the bass, for instance.

The chances are that your colleague isn't doing what he says at all - there are plenty of Karaoke track providers around who can create backing tracks that sound remarkably like the original, but they do this from scratch, not from vocal removal. It's almost a dead cert that this is what he's doing.

The thing with vocal removal is that the effectiveness varies hugely from track to track. Sometimes I've had almost perfect results, other times getting rid of even part of the vocal makes a total hash of the music.

As Steve says, commercial karaoke tracks aren't made by eliminating vocals on the original tracks (that would violate a ton of copyright laws anyway). Basically a musician with a keyboard/synth sits down and records a duplicate. Indeed, I have a friend in the UK who made a fairly good living doing just that between gigs doing film and TV music (which is what he really wanted to do). Some of his imitations were very good indeed!

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Recently I picked up a karaoke microphone (cost me about $15, so clearly - most entry level). It has an unbalanced output and I've used it with my PC (connecting it to the "mic" input) to record audio in Audacity, and also directly plugged to my small practise guitar amp (15W, 6.5" speaker).

For my untrained ears, the recording quality is not too different compared to what I have with some of the el-cheapo headphone+mic sets one uses with PCs. Probably, that is expected. Another observation is that the karaoke microphone seems to be able to pickup sound only when held very close to my mouth.

Wondering as to, in what all ways are microphones used for recording vocals different ? I am not talking of the high-end studio microphones, but microphones used by people who do gig in clubs, or sidewalks etc.?

"Bad" is situational and in the ear of the beholder. You will not get the same sound quality that is present on most (but not all) professional, famous recordings, since most (but not all) of those recordings were made with high-end studio microphones like the Neumann U87 or the AKG C2. However, some famous recordings (like Michael Jackson's Thriller album) have been made with much more affordable microphones that some might consider "less good" (maybe not "bad") for studio recording in general.

Your specific mic could be just the ticket for a punk, rap, metal, or industrial recording, either for vocals or instruments. Or there could be a silky jazz singer out there who loves the sound of their voice through that specific microphone. Production is an art, and like all artist's tools, no one can tell you what you should be using, and choice of tools is part of the process of artistic expression.

Store brand karaoke mics which cost $15 and have the 1/8" plug on the end to plug into a karaoke machine are likely not going to sound very good, but this has more to do with build quality and parts than anything. They build them cheap to sell them cheap and the audience they are trying to reach isn't really concerned with sound quality. However, if this is what you have to record with then by all means go for it. This is exactly what I started out recording with and a radio shack condenser mic for drums. We all have to start somewhere. Working with "bad" equipment and squeezing every ounce of life you can out of it will help you hone your skills and you will be more able to appreciate the "better" equipment when you get it.

When it comes to live and recording, there is actually a lot of crossover between mics that are used live on stage and in the recording studio. For example, the Shure SM57 is a standard for guitar amps and drums both live and in the studio. Mics used for kick drum/bass cab will work the same both live and in the studio. Drum overheads will also work the same.

A main difference between recording/studio and live/PA is that condenser microphones are very common for vocals in the studio, but for live they are less common because condenser mics in general are more sensitive and thus are more prone to feedback. Microphones that work well live will also work well in the studio. Todd Wilcox mentioned Michael Jackson's Thriller being recorded on an affordable mic...this mic was the Shure SM7 / SM7b which brand new is $350 (extremely inexpensive compared to many studio vocal mics). This mic was actually created as a broadcast mic, but people loved it for studio and live so it kept getting used. The list of pro recordings that have used this mic is off the charts from Metallica, Incubus, Red Hot Chili Peppers, Smashing Pumpkins, John Mayer, etc., it's also used frequently live, and in broadcast the SM7b along with the EV RE20 completely dominate the field.

So really the main issue is whether the mic itself sounds good, not its price or what it's intended purpose was. The SM7b is not an expensive studio mic and it was not created for recording or live use, but it sounded amazing in these applications so now it's used all the time even by studios with essentially an unlimited budget...when a mic sounds good then it IS good! :)

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