[John Livings]

Hi Jordan,

Thanks for the reply, All the responses have been very helpful.

I have used some of that equipment for several years now, and have concentrated on getting the most out of it.

I am now leaning towards a new mixer with some features that improve the sound for Live Shows while allowing me to record more than 1 channel and keep the setup Simple. Maybe even the ProSonus Mixer:)

That would be something I could use for the shows and also back in the studio. (And I could rack it)

Thanks for your thoughts,

John

[John Livings]

Hi Greg,

Of Course (Just Kidding) I have Lots of help.

I teach a Multi Media Production Class for our local school district, an enrichment class, And I ask for student volunteers. The multi Media Classes and the Theater Classes are held at the same Schools.

All 4 cameras are hooked up to a rack mounted 19″ focus monitor(LCD TV) and I monitor them from the audio table along with the audio. 3 of the cameras are on tripods operated by students or parents. Camera #1(also on a tripod) I operate from my work station, It has a remote pan/tilt and focus/zoom . As I can monitor all of the cameras I send a “runner” to the problem camera with instructions to fix the issue( We tried walkie talkies but they were to disruptive.

I give the signal to roll the cameras and I start the HD-P2 recorder and Camera #1 a couple of minutes before the production starts, After about 1 minute of rolling (we need handles for editing) I have one of the Crew go to the front of the stage and use the clap board to get a spike in the waveform for syncing everything up in post (FCP)

The lighting is handled by the students (we use Mole Richardson Movie lights, they look cool and do the job)

There are a lot of things the students do, they love it, we all have a great time and I always include the Crew (Volunteers) in the slow moving,Rolling, large type, Credits. (along with a FREE Crew T-Shirt)

I always show the Multi Media Class the closing scene from Meryl Streep’s Postcards from the Edge singing Heartbreak Hotel. The second time thru the cameras pull back and show the many extras and crew the studios use. Our class promotes doing anything you can do, You will start as a 1 person production crew. This way when you do have the budget to hire Professionals, You will know whom to choose.

Anyway that is kind of how we Roll

John

[John Livings]

Hi Jordan,

Thanks for responding to my post.

I am using 2 mixers, A Behringer Europower PMH2000 which is being fed by a Behringer Eurorack Pro RX1202FX.

I use 6 corded and 2 cordless Mics going into the RX1202FX and coming out of the “Mains Out” and then going into the #9 Channel of the Main Mixer (the PMH2000).

The first 8 channels of the PMH2000 (1-8) are used for 8 wireless mics.

Channel #10 is used to input Music (Tape In) . It is also used as an output to my HD-P2 recorder, I also come off the HD-P2 with my headphones.

All 16 mics are used for vocals and dialogue (No live instruments) The 6 wired mics are locked down, and the 10 wireless are used by the lead Performers (Singing, Dancing, moving around a lot).

My question had to do with Running Sound and capturing Video and Audio to be Edited and made into a DVD

The Live Musical Performances take place in 500 seat Auditoriums (over flow crowds and lots of Noise)

My original question had to do with better monitoring of the separate mic channels, But now has evolved into thinking about upgrading some of my consumer gear to equipment with more features.

I try to rack everything I can, as we do 4 shows in one day and break everything down and load up in less than 1 hour. I like to be able to set up in less than 1 hour also.

Thanks for any suggestions you may have

John

[John Livings]

Hi Sam,

Thanks for the information on the PreSonus Studio Live. I have been looking at that for about a month and read the reviews from Musician’s Friend. They are all 5 star ratings. I was hoping one of the COW contributers might review that mixer.

How would that work with FCP-Studio 2 on a Mac Pro? Would it be as simple as just plugging in a firewire cable?

The PreSonus would rack up nicely, however, my mains and monitors are passive (2-JBLs JRX115 Mains and 2- JBLs JRX112 Monitors) What type of power amp would you recommend?

Thank You for the heads up on the Shark-110s.

Again, Thanks

John

[John Livings]

Hi Greg,

Thanks for the information, As you might be able to tell from the image I posted, Most of my gear is consumer quality, (It’s all we can afford right now). And we are upgrading as our budget permits.

For right now I am going to consider 5 more of the Shark DSP 110s as they have the LED ladder and a Gain Pot next to the LEDs, And $60 dollars each.

I am recording to a Tascam HD-P2 that is comes off my Main Mixer. I also use the Tascam HD-P2 to monitor the mix as the main mixer does Not have a Headphone Jack.
The Recorder is set to “Mono Summed”.

3 of the 4 cameras are recording in duel mono and the fourth is recording in stereo.

During editing I Sync the 4 cameras and recorder up (The TC is not Jam Synced) I just sync them to a “clap board” and that is a good starting point. I then choose from the best video and audio that I have.

Again Thanks for your input.

John

[John Livings]

Hi Greg,

Thanks for responding, The venues I am having issues with are Amateur events, With 25-50 performers,Singing,Dancing, And moving all over the stage, The Floor in front of the stage, And up and down aisles, And it is unpredictable.

We use 16 mics, (10 Wireless and 6 Wired) I do use the Shark DP-110 on 5 of the wireless channels, And this works out well as they have a row of LEDs that that I can monitor.

I do not have a limiters on either of the 2 mixers, Only on the 5 Shark DP-110s.

My main objective is to capture the best quality AUDIO and VIDEO I can. (As I must Edit and Produce a DVD)

The Show Directors objective is to “Put On The Best Live Performance He Can”, This is usually in conflict with my objectives, But I stay focused on my objectives.

I run the sound and video (3 or 4 Cameras with mics and 1 Digital Recorder) And the Sound Board) With the objective of Editing and creating a DVD.
I know, I know,

I just want something that “Helps”.

I did find a “Stand alone VU Meter”
https://www.bhphotovideo.com/bnh/controller/home?ci=0&shs=SM+Pro+Audio+SMVU8+Stand-Alone+Audio%2FVU+Meter&sb=ps&pn=1&sq=desc&InitialSearch=yes&O=jsp%2FRootPage.jsp&A=search&Q=*&bhs=t&Go.x=13&Go.y=7&Go=submit

Part of the setup

Any suggestions will be Welcome.

John

[John Livings]

Hi All,

I found this a while back;

https://www.blueguitar.org/new/articles/other/ground_loop.pdf

I have heard of cutting the wire connection from the #1 pin and the “shell” leaving the shielding connected to the #1 pin ? ( If you look closely at your XLR connection, You will see that the #1 pin is soldered to both the cable shielding and a small wire that connects to the connector shell).

If you remove the #1 pin which is connected to both the shielding and the shell, And you were using a Condenser Mic (Phantom Power) Are you not removing the Ground to that Mic?

John

[John Livings]

Thanks Captain,

Just what I had been looking for.

Mahalo, John

[John Livings]

Hi Gary,

I am trying to sync the Audio to the Video (Extreme Close Up) And a 1 frame adjustment is not close enough.

The Audio and Video are from different cameras and a Digital Audio Recorder.

It only makes a difference on the short clips of the ECU Shots.

Thanks,

John

[John Livings]

Hi Tom ,
Thanks for the response.
I did find a Post by David Weiss that talks about sub-frames (Page 308 in the FCP online users manual)
https://forums.creativecow.net/thread/8/994247#994291

However there was another post that had a different and simpler way to move/cut Less then 1 frame that I can’t find.

Again Thanks,

John