Nasaly male singers' what's the fix??

Ribbon's can be good at smoothing ssss's, I wonder if a particular ribbon mic could smooth out nasal?

Anyone use a ribbon for a nasaly voice? 

Not a Ribbon, but if you (or the talent) choose to ignore varying mic techniques to sort the problem... you can always grab a Sennheiser 441 and let it sort it out for you. It is a nasal honky sound killer.

How does your voice translate on the R84? I would think that through your Heritage would be the ticket for smoothing out that midrange peak. I did some stuff for a young opera singer that had a beautiful voice, but for the life of me couldn't figure out how to handle the shrill midrange peak. When she'd hit certain notes it made your ears buzz so bad they tickled. The R84 was like magic. It translated the breath and subtleties of her vice as well as the condensers I was trying at the time (can't remember what we had there) but subtracted the buzz when she got shrill. We actually got the mic to try on that session and I bought one immediately.

I'm finding that this is a big key - multiband compression. The problem I always had was this continual stripping of problem frequencies would rob the vocal when the problem wasn't happening. This really seems to be the best way to handle it.

hell to the yes! a room can/will have modes and nodes, those offending frequencies can be amplified/attenuated wildly over its original loudness depending. It's funny how we spend literally thou$ands on our gear, when the best mic/pre/compressor you will ever buy, is a great sounding room, it will make every piece you own sound 5 times better imv. i'm in the process of completely decking out the acoustics in my room, i did some before samples with my C12 in omni dead center room, some sweeps, loud electric guitar, vocals, drums and some acoustic guitar. I will be performing the same tasks through identical chains/setting when its finished, i will post the samples before/after as well as pics on a new thread, should be quite interesting?

who? lol

John, what are the dimensions of your room? whats on, and under the floor? how tall are the ceilings and what material? what are the wall materials? Where is your desk in the room? where do you track in the room primarily? Maybe use google sketchup to make a drawing, or use a piece of paper and take a picture and post it up.

higher frequencies are directional, think of a flashlight beam in a room covered with mirrors, low freq's are omni directional, the only way to deal with those is with huge amounts of space, or trapping.
here are some general guidelines to use..

rectangular is MUCH better than square, a perfect square room is a nightmare, move lol.
in your rectangle, set your desk at the end of the long side, facing parallel to the short side of the rectangle, as far off the walls as possible(within 30%) in a smallish room

absorb the front of the room(desk area short wall, out to just before your ears on the side walls or absorb first reflection points on side walls, think flashlight/mirrors from your monitors

diffuse as much as possible behind you, only absorb as much as needed to give you good ambience, dead sucks imo

diffuse the rear wall

and of course bass trap your corners as much as possible, you CAN bass trap unnecessarily, but you cannot over bass trap

low ceilings definitely need to be treated above your monitoring position, and at least above your tracking positions(again, first reflection points, flashlight/mirrors).

carpet always sounds bad(sorry fella's, just does)

Ultimately, the sound of your room takes on the characteristics of the materials it's built with, meaning, drywall and carpet sound uninteresting and bad, what sounds good is.. wood, stone, concrete(love concrete floors!), cotton, metal and such, convex surfaces are great, concave focus's to points(no good).

i hope this helps a little

+1 on that. This and double bass are my number one source for multiband comp. On double bass sometimes you need to control the boomyness, but you don't want the bass to sound thin on higher notes, so I a have another C4 preset prepared for that 
I'm mixing a jazz project now with a super talented female singer singing very old school jazz style, reminding of Billie Holiday and also Judy Garland. A LOT of nose! On the loud parts it's sometimes quite piercing. Still, this is her style so I don't want to take away too much. But she seems to be happy with the sound so I think I've got it balanced ok. To save me some headache while mixing I lent a mic for the recording session. We tried Flea 49, U67 and Lucas CS-1 and we both preferred the Lucas, probably because it's a little scooped. Her voice also needs a little extra top end. Perhaps a tad bit too modern sounding for this album but it works great.

That Flea 49 is slowly becoming my favorite for female jazz vocals (jazz - as in 'often calls for less top end'). But contrary to what you said above about the U67 I feel that Neumann style mics (the Flea 49 too) actually tends to bring out the mids more than other mics. I often cut 1-2dB quite narrow around 2.2-2.5k.