Blending 9 Senheizer G3 mics at one time with no compressors

[Jeffery Wood]

Yes they use stage monitors and the reason of compressors is that they would set the limit of how much output each mic has so they will not go above the set level!!

[Steve Kownacki]

Also consider asking the talent to work with you. Treat them as professionals and they in turn should help you by keeping the mic at a proper distance and deliver a consistent performance, this will help minimize variables in levels from the source. And like Ty pointed out, make sure they can hear themselves so they feel themselves in the mix – it’s not a competition.

Steve

[Ty Ford]

Once you have a proper monitor mix that accurately reflect what’s going on, they will be able to blend a lot better on their own and your job will be exponentially easier.

Regards,

Ty Ford

Cow Audio Forum Leader
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide

[Ty Ford]

Jeffrey,

Actually limiters keep a signal from going over a set level. Compressors reduce dynamic range.

Is their performance so erratic that you need something like that?

First find out if they are each hearing themselves enough in the monitors to blend. Help them do that by tweeking the monitor mix. Then once they have a blend, mix each mic to the main PA.

Regards,

Ty Ford

Cow Audio Forum Leader
Want better production audio?: Ty Ford’s Audio Bootcamp Field Guide

[Jordan Wolf]

“[What] I am having a probelm with is mixing the audio so everyone sounds Blended together with Soloist I try to Blend them so they are just above the rest of the group. What need help with are they any Techniques or mixing procedures that are available that can help me with mixing them!!”

Okay, well let’s see…

My first question is: what is the purpose behind you mixing this group? Do they want an accurate representation of their sound to the audience, or are they wanting a “CD quality” type of performance?

I have always felt that sound reinforcement was just that – a way to reproduce what is coming in and getting that same experience to every seat.

My recommendation is to have the group do a run through of one of their songs while you sit back in the audience. Listen for what is lacking…probably the basses and tenors and maybe even some low altos, if there are any. Those are what you need to reinforce simply because they do not carry well.

I enjoy using compression, but in small amounts. What you may want to look into is using buss compression. If you are able to, route each voice section (bass, tenor, alto, soprano) to it own subgroup. Compress each subgroup separately so that the relation of the voices is maintained. I wouldn’t go for more than a 3:1 ratio and would keep the attack fairly fast and the release slower, to prevent pumping on fast movements.

When there’s a solo, you can do a quick switch on their channel by taking it out of the subgroup and putting it into the main buss so it isn’t affected by the compression.

One other thing to try is to boost the high mids (i.e. intelligibility) on the solo channel. That could make them “pop” a bit more from the background.

I hope these ideas get you thinking. Don’t be afraid to try stuff, but do your best to make it during rehearsals and not soundcheck.

Keep us posted!

Wolf
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[Steve Kownacki]

This may also be of interest. Richard Crowley posted in a recent thread about classroom recording. https://www.homestudiocorner.com/the-31-rule/
Or the whole thread https://mobi.creativecow.net/thread/30/867182

Steve