Jordan Wolf
Forum Replies Created
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And, if you can wait a little bit, I’d look into this one:
https://www.jkaudio.com/bluedriver.htm
Wolf
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“From the audio board, I will feed [the mics] to my record deck. Is this the proper way or should I go to the video switcher and then to the record deck?”
I think that you need to rethink your miking technique. You’ll probably want/need more mics placed throughout the venue. Switching them along with the video might be nice, but if you also have commentator mics, I recommend connecting THOSE in a way that records everything that is said, not as the video switches
“[I]s there anything wrong with purchasing an audio board with a built in amp. I’m pretty sure the amp is not needed in this situation, but I would like to have it in case I need to set up sound for other non-video events.”
A mixer with a built-in amp won’t have the expandability that a separate system will have. I recommend buying a plain, old analog mixer and leave the power amp out of the equation. There WILL be a time when you need more amps…I promise. Also, powered mixers will label you as somewhat of an amateur instead of giving you that professional appearance you will (and should) desire.Wolf
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Whatever you buy, go for a mic that you will NEVER regret having bought. I recommend: an Audio-Technica 4053b or a Sennheiser MKH416. When my university finally bought an MKH416 to supplement our ME66s, I was amazed at the A/B comparison between the two.
A hypercardioid pattern will tend to be better for indoor scenes, whereas a shotgun mic will tend to be better for outdoor scenes. You will NEVER outgrow either of those mics and, if used properly and within their capabilities, they will serve you well.
Wolf
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Why not hook it up so that there is an audio/video split that goes to both projectors, but just use another set of inputs on the projectors themselves (for example, Input 2, if Input 1 is already in use)?
Wolf
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My recommendations for stereo mics (in no particular order):
Shure VP88
Rode NT4
Anything from DPA Microphones, Schoeps, or Neumann. 🙂Wolf
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If you’re using an omni, you’ll get much more room sound in the final product…if it’s a cardioid, you’ll probably want to compensate for the proximity effect in the LF area (try a HPF somewhere between 80Hz and 200Hz; 12dB or 18dB slope should work fine).
I typically place E6s just behind the corner of the talent’s mouth. If they have facial hair (like the Abraham Lincoln impersonator I ran sound for at my college), you may have to adjust the distance away from their face.
Just remember that the inverse square law applies – you have (roughly, since it’s the real world) 6dB of additional gain for every halving of distance.
If the cable with the XLR on it is as thin as the one that I’ve used with wireless microphones, just make sure you treat it gingerly. The quick release connector at the top sometimes develops an intermittent connection if handled too roughly and the strain relief at the XLR barrel should be inspected every-so-often for the same problem.
Wolf
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It depends on how serious you are and how much money you can invest.
The price for an Mbox 2 Mini will pale in comparison to that of a fully-loaded HD3 rig.
I agree with Ty…if you can, go that route.
Wolf
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First, if you can give us some specific gear models, that would help out a lot.
“The way we currently have the system set up is that all of our mics go straight into the mixer, then from the mixer we have four sub-outs going to four different EQs, then to amps for four monitors. We also have the Main Left and Right out, going into individual EQs, then to the amps for the Mains.”
The way you’re describing the “sub-outs”, they sound like Auxiliary Sends. It may sound semantic, but some mixers ALSO have sub-outs (usually called Subgroup Outputs). Which one you are talking about will determine how correct the setup is.
“My question is, will it be best to run each of the vocal mics into an EQ first, then to the mixer and from the mixer, the outs going straight to the amps? I’m thinking this would be the best setup because right now if one mic has a specific frequency that is partial to feedback (let’s just say 500Hz, for example), then when we notch that frequency out of the mains, it gets notched out for every mic.”
Okay, well I see two separate situations here: (1) where the EQ is patched and (2) the desired function of the EQ.
For the first situation, you’ll quickly find that the signal level will be extremely noisy and/or low, if present at all. This is because a microphone’s electrical output is very small and needs to be boosted – the “gain” or “trim” knobs at the top of the mixer are in place to bring this low level up to a level that the rest of the components in the mixer (and further down the signal chain) can use.
Now for situation number 2: There are a number of ways to utilize the functions of an equalizer: feedback-fighting, tone-shaping, and system alignment. EQs used inline or inserted in the the monitor signal path will be primarily used to fight feedback. An EQ that is inline or inserted in the main speaker path will be primarily used for tone-shaping. System processors (usually located near the power amplifiers) use EQ to even out the frequency response of the system.
As for how you should use the EQs you have: if we assume they are graphic equalizers, then the resolution of each band may do more harm than good if inserted on any single channel. Most mixers/mixing consoles have EQs with knobs that (hopefully) allow control of at least one band of boost/cut and the center frequency desired. Some even allow for control over how wide/narrow the boost or cut is.
My recommendation is to “insert” the EQs over the Auxiliary Sends used for monitors and also “insert” them over the main outputs. Using them in this way, as compared to in-line (running a cable from the output of the mixer to the input of the EQ and then out to the amplifiers) will let you hear any changes you make on the EQs through headphones. That may help you learn frequencies and how cutting or boosting certain ones will affect a particular instrument/voice.
If you are interested in learning more about live sound reinforcement, I highly recommend checking out ProSoundWeb’s Study Hall and forums, as it is focused much more on sound reinforcement. This forum is also a great place to ask questions but I have always felt it was more geared towards on-location audio recording and post-production.
Keep asking those questions.
Wolf
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