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Adventures of a new live venue engineer

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  • #31
    Originally posted by agedhorse View Post
    Was there a reason why you weren't able to balance the kms-105 to the shure mics better?
    Sorry, I typed that incorrectly. The mics were mostly balanced in the mix, but to get them balanced the Shure mics were pushed to a higher level on their channels than the Neumann was. About -5 to -3dB for the Neumann and +5dB for the Shure mics. And the +5db for the Shure mics was just enough to get them over the stage volume. By the third set, bass and guitars were no longer in the house mix. It was drums and vocals only. So, a typical night for me in other words...

    If the guys using the Shure mics had even the slightest change in mouth to mic position, it was enough to cause them drop out (of a barely balanced mix) and then the complaints started.

    "We can't hear Jack."
    "Well, tell Jack to turn down his amp."

    This drawing should be good enough.

    http://www.stlband.com
    http://www.youtube.com/sweepthelegband
    http://www.facebook.com/sweepthelegband

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    • #32
      Where were your trims set? Different sensitivity mics will require different gain Different patterns will respond differently to sound source position.

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      • #33
        When there is background music in a place, I frequently use that to set a baseline on the trim for all vocal mics.

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        • #34
          Originally posted by WynnD View Post
          When there is background music in a place, I frequently use that to set a baseline on the trim for all vocal mics.
          Use what? The background music to set vocal mic trims?
          I love to sing, and I love to drink scotch. Most people would rather hear me drink scotch.

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          • #35
            Originally posted by agedhorse View Post
            Where were your trims set? Different sensitivity mics will require different gain Different patterns will respond differently to sound source position.
            All three were set to just below clipping when each singer gave me their loudest signal. I can't say the exact position.
            http://www.stlband.com
            http://www.youtube.com/sweepthelegband
            http://www.facebook.com/sweepthelegband

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            • #36
              Originally posted by trevcda View Post

              Use what? The background music to set vocal mic trims?
              Exactly. I set them all to the same low level of mic input. When I know that one singer needs more than others, I'll add another 3-5 db on that mic channel. If I've got a real big mouth, they get cut back some. You've got to start somewhere and I generally like the channel faders to be about 0 db at the start of a gig. If I've done a pretty good job, the faders won't move during the night. (That makes my life easier when mixing from the stage.)

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              • #37
                Seems like that would really mess up a monitor mix, if you were running monitors from the FOH board. And it's effectiveness would vary greatly depending on the pattern of the mic being used and how much of the background music it was actually picking up. Why not just use the PFL meters and check each vocalist individually at sound check as was intended?
                I love to sing, and I love to drink scotch. Most people would rather hear me drink scotch.

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                • #38
                  You don't mix to the loudest signal, you mix to the relative vocal levels during the show. If a singer sings loud during sound check but backs off during the show, the mix will need to compensate for this with different levels.

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                  • #39
                    Many singers cant belt it out either.

                    Most club singers do not have a clue on how to work a vocal mic from my experience.

                    I could get myself into trouble for that statement.


                    Watch Aretha Franklin or Gladys Knight if you want to see "BELT it out"

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                    • #40
                      Originally posted by Pro Sound Guy View Post
                      Many singers cant belt it out either.

                      Most club singers do not have a clue on how to work a vocal mic from my experience.

                      I could get myself into trouble for that statement.


                      Watch Aretha Franklin or Gladys Knight if you want to see "BELT it out"
                      Even with my limited experience, I can concur. Too far away and too quiet when singing in front of a loud band are the biggest offenders.

                      The band last night took every piece of advice I gave regarding stage volume. And it WORKED. They soundchecked with Sweet Emotion and it was way too loud. I had the guitar player turn his amp to the rear wall, the bass player turned down his amp, and the drummer played with softer hands. It actually lasted until the last set too. By then, things were getting out of control again, but now I simply had to push up the guitar, bass, and vocals to match the drum volume. Sweet. nice guys too, and very appreciative to have me there. We're one of two venues with a house system. The other does nothing but punk shows. So we're it for everything else. Local bands bring their own gear and mix from the stage at all the other venues.
                      http://www.stlband.com
                      http://www.youtube.com/sweepthelegband
                      http://www.facebook.com/sweepthelegband

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