Jordan Wolf
Forum Replies Created
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That should work fine. A Countryman B3 would work, as well. A headset microphone would help keep the audio level more consistent, since it stays the same distance from the source when they turn their head, etc.
It sounds to me like you were having trouble with the wireless bodypack being overloaded by a loud talker/yeller. Read the manual for the wireless system you have and look for a way to pad down the input from the microphone. No matter what you do back at the console, the signal will still distort and sound nasty since that problem comes before the console.
Set your gains conservatively. I have learned to leave about 3dB less than what I think it should be, especially during soundchecks. People almost always perform louder than they practice.
Maybe you should try some of the other steps first before buying a new microphone. Oh, and learn how to use a parametric EQ if you don’t already. Put that on the mic, maybe with some compression if you have an open unit, and that should help keep things under control.
Wolf
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Make sure the television is set to the correct input (“VGA” or “Computer” would be my guess).
If that’s not it, then you might want to try this:
1. Connect the VGA-MiniDVI adapter to the VGA cable.
2. With both the computer AND television powered OFF, plug the adapter into the MiniDVI slot.
3. Power on the television.
4. Power on the computer.Sometimes Macs have trouble sensing an external display if they are already on.
Wolf
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Have you tried using a trackball? Or try looking around for a Transport controller that you can hook up via USB or Firewire.
They won’t be cheap, but if this is your livelihood…
The real question, then, is: how much is the health of your wrists worth to you?
I have been using a Digidesign 003 extensively for a 45-minute film I am doing the sound design/recording, etc. for and it has been a life- and wrist-saver due to the jog/shuttle wheels that it has built-in. You could look into a Mackie Universal Control, maybe. I think they run around $1,100.
Here’s a standalone type:
JLCooper MCS3-SP-USB Media Control StationWolf
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Hey there Jordan – nice to have someone with the same name here! 🙂
I wouldn’t discount Audio-Technica’s wireless mics, but I have gotten great use out of Sennheiser. We have 7 of the ENG/EFP Field Kits and they have been nice and versatile.
https://www.bhphotovideo.com/c/product/324273-REG/Sennheiser_EW122PG2_B_Evolution_G2_100_Series.html
I would recommend buying a new microphone to use with the beltpack. A Countryman B3 or B6 would be nice – a DPA would be even nicer.
Good luck!
Wolf
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This thread applies more to live sound, but you could make it fit your situation…
https://srforums.prosoundweb.com/index.php/m/417170/16730/?srch=chant#msg_417170
Wolf
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I see. Thanks for the input. It’ll have to wait until the end of the semester, but that’s what we’ll do.
Thanks again!
Wolf
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1. From what my ears tell me, much of the music nowadays has an average level that is much higher than music in the past. That is to say, the dynamic range has decreased.
2. Not really – the hardware has, though. I use earphones (Shure E3/SCL3) to listen to most of my music now, so I’m turning down the volume controls on my devices since they take care of external noises (at least above 60Hz-80Hz).
3. Dynamics, to me, refer to the overall pattern of how loud or soft a given sound is at a given time.
4. To be nit-picky: yes, it is. But there has always been a limit of dynamic range. Records (LPs, etc.), analog tape/8-track – all had limited dynamic range compared to what the human ear could discern and also due to the limitations of technology at the time (needles skipping off of records because of too much low end). Now, with the advent of digital technology with lower noise floors, larger dynamic range, and better consistency between products, the human ear’s range for dynamics can finally be matched by the devices recording and outputting said music.
Mastering is definitely a required process in my mind, however I think that if one was to listen and look at how the process was done with many of the hits that have been around for decades, it would remain relatively unchanged. Comparing that to today, I think that it was much more of an art. I do have great respect for those who produce and master songs/pieces, I just don’t always agree with the way they go about it.
Wolf
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Some might be able to help you here, but I guarantee you will get the results you are looking for if you post on this forum. ProSoundWeb is the single best resource for Live Sound/Sound Reinforcement on the web…I have yet to find another that has the professionals on it that this place does.
You do have to register, but if you’re asking about stuff like this, it will be of great benefit to you.
Wolf
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One way to do this is to use a signal generator (found in many DAW’s), route it to an audio channel, and record it that way. You can sweep up and down and change the type of wave (sine, square, triangle, etc.). You won’t get a perfectly swept wave, though, since the realm of digital uses sampling to encode audio. It will always be somewhat stepped in nature…though, if the sample rate is high enough (192kHz?) it wouldn’t be too noticeable.
Wolf
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Ty is right in that, in order to spec the right gear, more information is needed. So, I will give my usual answer when confronted with such a question:
It depends.
Now, in reply to Ty’s post, I’ll add some of my experience as a person who works in live sound…
If there’s a PA involved, there will likely be less trouble (read: feedback) if a directional microphone is used. Whether it’s dynamic or condenser won’t matter all too much. As long as the off-axis pickup pattern of the microphone is uniform, any feedback can be dealt with a minimal amount of equalization – though, more likely, the feedback is due to less-than-optimal microphone and/or speaker placement, be they monitors/floor wedges or main speakers. EQ will never fix problems that are due to that.
Condenser mics tend to have a smoother response over their frequency range (though many are tailored and have boosts/cuts here and there) and their pickup patterns tend to be more uniform, both on- and off-axis.
Dynamic microphones are )more often) cheaper, more-durable, and don’t require phantom power, which every condenser mic requires. The reason that the “venerable” SM58 is chosen so often is not because it sounds amazing (though I’ve heard worse), it is that the microphone’s sound (timbre, for you musicians) is consistent through the product line and engineers and artists know what to expect. It lessens the unpredictability of the situation, which is fairly unpredictable anyway.
Wolf
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