[Rodney Morris]

If you use the MixPre, then you will plug the mic into one of the input channels and set the pan for that input to center. This will give you an output on both the L and R XLR outputs of the mixer, no need for a split. However you want to pad the outputs of the mixer is up to you, but understand that the line input on the Zoom is on the 1/4″ connector, not the XLR (at least that’s the case with the H4, not positive about the H4n). So you could put line to mic attenuators on the the XLR and record on the mic level, XLR inputs of the H4 or you could pad the outputs of the MixPre with simple line level attenuators and adaptors/cables to turn the XLRs into 1/4″. The H4 allows you to set levels on the inputs independently. In other words you can set Ch. 1 of the H4 at one level and then set Ch. 2 at a higher/lower level in increments of 1 db. This is accomplished through one of the input menus of the recorder.

I use my H4 for lots of recordings using the mic level XLR inputs. I use it with my SD 442 and set the outputs to mic level. Yes I know I’m using the mic pres on both units, but for the stuff I’m recording you’ll never hear the difference. When I try to pad/adapt my way into the line level inputs of the H4, I always run into problems (adapters not fitting properly).

Hope this helps.

Freelance Sound Technician/Mixer

[Rodney Morris]

Ty, as I said earlier I’ve not used the 3630 in a studio, so I can’t really comment on it’s performance there, but in a live situation it’s not been terrible, certainly not worse than the other budget compressors I’m accustomed to using (dbx, presonus). I know there are better sounding units for a lot more money (to which the studio guys all agree), but for only $100 I expected this unit to sound like crap and I don’t think it does. I normally set it to compress at a ratio of 3:1, fastest response and release times possible, attenuating 5-8 dBs. With those settings it doesn’t sound that bad to me.

That being said, the RNC may very well be a better unit – I’ve not used it.

Freelance Sound Technician/Mixer

[Rodney Morris]

Well Shaun I wouldn’t have recommended this unit until a few months ago when a friend of mine turned me on to it, but the Alesis 3630 is a dual channel compressor (and a darn fine one) for only $100. It’s similar in design to the dbx units. Being the gear snob I am, I would never have given any Alesis compressors a second glance. Now after using it on vocals in a live situation, I must say I’m impressed for the price. I’ve not used it in a studio situation (though my friend does) but I don’t think you will go wrong with it.

https://www.sweetwater.com/store/detail/3630/

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

Hello Jeremey.

*Disclaimer – I’m not a Lectro expert and my brain is slightly fried after working the A-Rod fiasco today with the Yankees, but I’ll try to answer some of your questions.

The R200A is a model I’m not familiar with. It’s not listed on Lectro’s website as either a current or discontinued model. But I’m guessing by the nomenclature that it’s simply a rackmounted version of the 200 series receivers that were popular earlier this decade. It’s good technology, very solid, just not the latest, greatest…

There is a difference between the two transmitters you listed besides just an output power figure. The UM400A has some servo bias built into its input jack that makes it a bit more friendly to a wide variety of electret mics. Does this mean the LMa works best with the Lectro lav that is normally provided – I’m not sure. Also, the UM400 has some extra output staging. I’m not familiar with much of the tech involved, but it’s built into the UM and not into the LM. There’s the obvious build quality difference between the two – the UM being a bit more robust, but that doesn’t mean the LMa is fragile.

The power output differences are not as critical in a controlled studio environment where the antennas can be placed close to talent. However, if you have interference coming from another source, it’s best to have more mW to help combat it. If it’s a large studio and there’s some distance between the transmitter and receiver antennas, then the UM400a would be a better choice.

So, depending on your application, the LMa may be just fine. Considering you are looking at what must be an older, used Lecto rackmount system, budget must be an issue. If that’s the case and you don’t have any difficult applications for this, I would say the LMa would be fine and will save you money.

I hope this makes sense to you – my brain may not be working at full capacity at the moment!

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

All suggestions here are good thus far. Brian, when I read Min’s post about AC hum, I read air conditioning hum, in which case the mixers HPF would work to cut down on. Many mixers have variable HPF settings (some continuously variable) and work well for low level audible (not induced) hums and what not. However, not all clients want you to roll off the low end. I’ve done a lot of live shots where the studio didn’t want me to roll off the low end, even though it gets rid of pesky background noises but doesn’t really affect the voice reproduction.

Freelance Sound Technician/Mixer

[Rodney Morris]

Hire a sound mixer – it’ll make your life easier.

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

Is it possible for you to mount the transmitters on the person’s body using an ace bandage? I’m thinking their body heat would help keep the transmitters/batteries at appropriate temps.

I live and work in Florida so I’m certainly not the cold weather expert.

Freelance Sound Technician/Mixer

[Rodney Morris]

David, it sounds to me like the client doesn’t want to capture good audio. If they did they would allow you to a) mic the piano and b) place a microphone as needed for the vocalist. I’d say this is what you need to do it right and if they didn’t agree, I’d walk away, especially if they’re not paying you. Two years from now, nobody will remember why it sounded crappy, but they’ll remember who recorded it.

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

I don’t know for certain, but I would start with -20 at UCR211 and see what kind of levels you get at the camera. If you are still cranking the gain at the camera, then up the mic output of the UCR to -10 and check the levels. Just keep adjusting until you have a usable range on level control on your camera.

I hope this is clear – my kids are yelling in the background…

Rodney

Freelance Sound Technician/Mixer

[Rodney Morris]

Let me start off by asking a few questions. What kind of budget do you have for audio? Which camera are you using?

Yes, a wired lav mic will give you the best results assuming that the subject is fairly stationary. Lav mics need power to operate, either phantom power (which your camera does not supply) or a power supply with a battery compartment. Not all power supplies have this compartment; some only convert phantom power to the necessary voltage for the mic.

Tram TR-50 https://www.trewaudio.com/store/product.php?productid=383&cat=45&page=1

Sony ECM-77 https://www.trewaudio.com/store/product.php?productid=786&cat=122&page=1

Both of these mics are available with battery powered supplies for under $400. You will get high quality sound with these mics.

Next you have to get the mic signals into the camera, which means you’ll need a special XLR to 1/8″ adapter, such as the one found here:
https://www.trewaudio.com/store/product.php?productid=146&cat=31&page=1

The next big question is: how much control does your camera allow over the audio levels? You need to be able to adjust the levels at the camera.

Hope this helps.

Rodney

Freelance Sound Technician/Mixer