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Request Advice on General PA Setup / Purchase


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Hello,

 

I've popped in and out of some threads here looking at what people have said given other users' setups and questions on new equipment. Got a few ideas, but nothing sure. I'd appreciate any advice you might have regarding my current PA Setup at my Church.

 

Number one question is am I missing something (e.g. an EQ)? What do people think of the DriveRack in my situation (I was considering one, but if it won't really contribute for my setup then there isn't much point getting it)?

 

A side question could be how do I fix that lavalier problem, but I can save that for another thread.

 

Technical Specs -- All of them

The room is roughly 30 x 50 feet long. Stage wall (four foot window either side) and stage right wall (three four foot windows) are outside, hard walls. Stage left and back are indoor walls. The audio booth is toward the back, stage right of the room.

 

Mixer: Allen & Heath ZED 22FX.

 

Amplifier: QSC GX5. A&H L & R channels are plugged into the QSC separately, then the Speakers are plugged into the QSC separately from there. (Stereo). Knobs are set at -10db presently.

 

Speakers: 2 x Yamaha S115V. The singers are pretty close to the Stage Right Speaker, one foot back; the speakers are roughly six feet ahead of the pulpit. This could be pushed forward, but that'd require moving a chair out of the first row of the side pews (2 aisle sanctuary setup). I'm guessing doing this might dull the sound heard by anyone in the very front row (which usually isn't populated, but...)

 

Monitor: 1 x Fender Speaker that came with a Fender PASSPORT PD250+ (unknown RMS, but the Passport amp was 125 W per channel, so I'm wagering somewhere in there). I'm using this as a monitor because money's tight and the Yamaha's replaced it/them as the FOH Speakers.

 

Monitor Amplifier: Peavey XR 600E (was used prior to building becoming a church for overhead/ambient music, I'll get to why I'm using it and not the fender further down). 105 W per channel.

 

Back-Fill Speakers: One in either back corner, small Peaveys. I don't know their model, but I do know they do not like going anywhere near FOH (obviously). I keep the volume low on them so they don't buzz but they're audible enough. These are powered off the Peavey XR 600E as well.

 

* Monitor is run through PA1 Input using Balanced 1/4" from the A&H's AUX1 (direct to amplifier, skip the Peavey controls, my mixer handles the volume).

 

* Back speakers get their feed from the A&H REC OUT RCA fed to the TAPE IN on the Peavey, their volume is controlled on the Peavey.

 

* Reason I'm using the Peavey and not the Fender as an amp is because the Peavey has four 1/4" outputs on the back, 2 PA1 and 2 PA2. PA2 is handling the back speakers, that left me PA1 for the monitor (with one PA1 left open). The Fender only had two outputs.

 

A&H AUX 2 is used for the Presenter or Pastor run through Balanced 1/4" to the Left Channel on the M-AUDIO Audiophile 192 in the Computer.

 

A&H AUX 3 is used for the Praise & Worship Team run through Balanced 1/4" to the Right Channel on the M-AUDIO Audiophile 192 in the Computer.

 

We have 2 Shure PGX SM58 Wireless Mics; & an OM-2 Wired Mic and a Unspecified Wired Mic that run through a snake to the Sound Booth. These are primarily for the Praise & Worship Team.

 

We also have 1 Shure PGX Lavalier Mic (Super Cardioid & Omnidirectional attachments, currently the Super Cardioid is being used). This is the Mic I'm having the most trouble with (the others were cleaned up when I could finally move the speakers out in front of the singers, though the wired mics still have a good amount of hiss left in them when idle and not muted).

 

Computer is plugged into the A&H to provide MP3 or CD Sound. There's a CD Changer also plugged in, and a TASCAM CD Recorder (what they used before I started using the computer as the primary recording device).

 

Gain / Volume

So, that's the long and the short of everything I have.

 

Wireless mics tend to live around 0 or Unity, or lower, with Main Volume set around Unity.

 

Wired mics tend to near +7db Fader (in part due to soft singers or distant mics--working on it; while feedback isn't as troublesome as it was before it's there when the Gain goes higher than +20db Mic).

 

Lavalier's settings are in flux. Still trying to find a setting where the Pastor's voice is even, doesn't sound tinny, and I don't get that lovely piercing ear screech from feedback trying to pump up the volume (often he's defaulting back to one of the wireless mics which sounds fuller/deeper and can get much louder without a hint of feedback).

 

The Request

Right, so after all that, I'd appreciate any recommendations you have (should I purchase anything? What's with the lavalier feedback?). A few items that've popped up from forum searching: the DBX DriveRack 260, a DBX or Peavey Equalizer, a Crown XTi 2000 Amp, etc.

 

Budget? Let's say $1,000 for the sake of getting ideas (I'd like to go no where near it, but I know you get what you pay for).

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Okay, I'm a little confused. Lots of info but I don't know if you ever stated what your technical problem is.

 

If nothing is wrong (to your ears anyway) with your PA, why do you want to fix it? In other words, is there a particualr problem you would like to address?

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Hello,


Gain / Volume


Wireless mics tend to live around 0 or Unity, Main Volume set around Unity.


Wired mics tend to near +10db (in part due to soft singers or distant mics--working on it; while feedback isn't as troublesome as it was before it's there when the gain goes higher than +20db Mic).


Lavalier's settings are in flux. Still trying to find a setting where the Pastor's voice is even, doesn't sound tinny, and I don't get that lovely piercing ear screech from feedback trying to pump up the volume (often he's defaulting back to one of the wireless mics which sounds fuller/deeper and can get much louder without a hint of feedback). Side note, the transmitter pack is set to "Mic" (I presume +10db); lowering it to 0db or -10db seems to draw in substantial amount of hiss.


Budget? Let's say $1,000 for the sake of getting ideas (I'd like to go no where near it, but I know you get what you pay for).

 

 

Don't ask me why, but I'm taking another stab at this. I personally think you've got enough stuff for three or four threads so I'll just start with a few things.

 

1. Your system seems overly complicated. This isn't causing your feedback, but it can't be helping. That's all for now.

 

2. When you say the mics are near +20dB are you talking about the fader? What fader goes to +20dB? And if you're talking about the gain, oh never mind. Maybe check your gain structure or get new singers;)

 

3. Dump the Lavs and get wireless headsets. As you've found out, you can't rewrite the rules of sound. Even a good lav probably wouldn't work the way you want it to - in your situation.

 

4. Yes, you need some kind of an EQ. No don't get a Driverack - yes they're great, but tell me, how many people in your church (besides you) would EVER learn to use it? Start with a stereo 31 band EQ (DBX 231 for example) and learn how to ring your system. If you've got a bunch of keen sound enthusiats, then maybe down the road you can look at a Driverack, but I would start with the basics.

 

5. Good mics will aid somewhat in lowering GBF (Gain before feedback) but only so much. At this point the Lav is the real problem. that and maybe speaker placement and EQ.

 

Obviously all points above are my opinions, not fact - but hey you asked!

 

Hopefully others here won't be afraid to wade in. I know your post seemed a little daunting at first:eek:

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Reading the original post made me dizzy. For now, I am going to respond to only one issue.

 

If you have to use a lavaliere mic, it is one area that you can't cut corners on to stay within budget. The good news is, one of Shure's best "gain before feedback" lav mics is one of their less expensive. The Shure WL185 is not the best sounding mic they manufacture but it gets quite loud without drastic EQing. It's a Cardioid pattern which might be a little more friendly than Super Cardioid. I feel this mic should be paired up with a reasonable quality wireless system...Shure ULXS or better. Shaster's suggestion of headset (or earset) mics is a good call but some people don't want to wear them and, in that case, you have to deal with lavalieres.

 

Dennis

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Yes, we need more description of what problems you are having.

If it is feedback, than in addition to what Shaster said, I'll ask about a common issue I see at our Church when others mix. Are you muting mics that aren't in use? Especially when trying to get level out of the lav, make sure any other mics that aren't being spoken or sung into are muted. Every time you double the number of open mics you lose roughly 6dB of GBF.

 

Winston

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Thought it might be a bit much information, but I was trying to give the whole picture in case there was any obvious missing pieces. Thanks for the ideas so far.

 

Number one question is am I missing something (e.g. an EQ)? What do people think of the DriveRack in my situation (I was considering one, but if it won't really contribute for my setup then there isn't much point getting it)?

 

A side question could be how do I fix that lavalier problem, but I can save that for another thread.

 

"1. Your system seems overly complicated."

 

Regarding the back speakers and/or monitor? The back speakers aren't loud enough to make it to the stage, though I am still working on the monitor's volume (I think the thing's acting as a front fill unintentionally because of reflection and might cause problems; since I just set that up last week I'm still working on it).

 

"2. And if you're talking about the gain, oh never mind. Maybe check your gain structure or get new singers"

 

I am talking about the gain. The wired microphone faders are at +7db, Gain is at +15-20db Mic (not line). I do have more headroom with the main volume now that the main speakers have moved forward, but you're right that I may need to redo the entire gain structure or really stress the singers need to be louder.

 

"3. Dump the Lavs and get wireless headsets."

 

If it comes down to it we could try that, but the Pastor would really prefer a lavalier instead.

 

"4. Yes, you need some kind of an EQ. No don't get a Driverack [...] stereo 31 band EQ (DBX 231 for example)"

 

Thank you for the recommendation.

 

"The Shure WL185"

 

I double checked and the one I got was the WL184. When the Pastor's chin is down and he's speaking straight into it sound is good, clear, and deep. When his chin's level is when the volume drops and it's a fight of getting the volume up vs. feedback. I'll keep the WL185 in mind, however.

 

"Are you muting mics that aren't in use?"

 

I mute any mic not currently in use (keeps unwanted noise out, and reduces hiss in the speakers). With the lavalier I test it with everything else muted.

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I double checked and the one I got was the WL184. When the Pastor's chin is down and he's speaking straight into it sound is good, clear, and deep. When his chin's level is when the volume drops and it's a fight of getting the volume up vs. feedback. I'll keep the WL185 in mind, however.

 

 

I have used WL184s and not had any big problems. In addition to adding a stereo 31 band GEQ to the main Left and Right, try inserting a 31 band GEQ in the Lav channel. Tune the system musically with the main L&R EQ and then use the inserted EQ to deal with lavaliere issues only.

 

Dennis

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A side question could be how do I fix that lavalier problem, but I can save that for another thread.


"2. And if you're talking about the gain, oh never mind. Maybe check your gain structure or get new singers"


I am talking about the gain. The wired microphone faders are at +7db, Gain is at +15-20db Mic (not line). I do have more headroom with the main volume now that the main speakers have moved forward, but you're right that I may need to redo the entire gain structure or really stress the singers need to be louder.


"3. Dump the Lavs and get wireless headsets."


If it comes down to it we could try that, but the Pastor would really prefer a lavalier instead.


"Are you muting mics that aren't in use?"


I mute any mic not currently in use (keeps unwanted noise out, and reduces hiss in the speakers). With the lavalier I test it with everything else muted.

 

 

 

Your lav problem seems to be your number one issue, although the solution might reside in other portions of your system, as well as with your lav mic. I agree with Winston, quality mics in that area are essential - but they still might not work the way you want, depending on your room, system limitations, and so on. Also muting is a good thing, forgot to mention that.

 

Your gain sturcture still seems strange to me. I personally wouldn't want to be running my mics at +7dB on the faders (on a constant basis). That seems too high. It would appear that either your masters are down too low or your "trim" isn't set correctly, or (fill in the blanks). Do you PFL the channel sources (mics and so on) to set gain to "your products" unity?

 

I deal with school productions on a semi-regular basis. Speaker and mic placement can make a huge difference between success and failure.

 

There used to be some info on feedback... posted on the Shure website. You might take a look and see if you can find anything. Basically the further away from you mic sources your speakers are, AND the closer and louder your sources are to your mics, the better your GBF will be. Obvious, but sometimes we want to change those rules, and turn lead into gold. Can't do it yet, maybe someday:)

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I think in this case, a picture or two might be worth a thousand words. Can you post a picture of your set-up? Especially where the mains are positioned in the room and in relation to the pulpit.

 

Without addressing every little thing that might be wrong with your system, here's a few things I can tell you right off the bat:

 

Lavaliere mics suck. They're horrible things that should have never left the confines of the TV studio. They weren't meant for live sound. If they were, they'd perform better, wouldn't they? Do everything you can to convince your pastor that spreading the word of God is much better done through:

a. a podium mic or vocal mic on a stand (if he doesn't move a lot)

b. a handheld wireless mic

c. a headset/earset mic

 

Back-fill speakers? Unless you're doing Pink Floyd in quad or using directional sound effects, it's NEVER a good idea to use rear fill speakers in the audience. I can pretty much guarantee that they're doing more harm than good. The Yamaha speakers you have should be able to reach the back of the room OK, if they're positioned correctly. Re-purpose the Peaveys, maybe as front fills.

 

Sound booth? Is this enclosed or open to the space?

 

Monitor - is this a stage monitor? For whom?

 

Also, can you give us an idea of what's going on with the music? Are there musicians involved? Just singers? Does the pastor sing? Rocking gospel or hymns to an organ?

 

I'd agree that a drive rack is not the answer to your problems, but a graphic EQ can help.

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Agree with what everyone said about the Lav mics - get rid of it, and if you must use it (yeah, i know some pastors insist on it) get a single channel EQ to insert into it.

 

Your mixer and speakers are adequate (although i guess it does depend on the type of music). If you're looking for a modern "rock style" church music, you'd love some subs but i suspect with your budget that may be a question for another day.

 

I'm also in the "lose the rear fills" category. 50 feet should be fine for people to hear the FOH speakers. If it isnt, maybe try getting them up higher. Often churches have sound systems that have sort of evolved from the days of using those "100v" style roof mounted speakers where they have heaps of speakers (completely unsuited to music and even pretty poor for preaching) and the church guys have the idea in their head that the solution is "lots of speakers". No!

 

You'll find an EQ of some sort (+1 on the DBX 231 as a cheap but solid option) really helpful.

 

Maybe someone from another local church who's ahead of you but knows this stuff could help you out? Where are you?

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Good grief, I completely missed the "back fill " speakers, so confused was I.

 

Yes and yes, lose the back fill speakers, unless there is something really peculiar with your set up. Think about it - your lav mic (as troublesome as they are) now has more places from which to feedback. And two of them are in front of the mic!

 

I believe as stated, we need some "pictures at eleven". Or maybe a diagram or some detailed dimensions.

 

This is like doing an install over the internet. Fascinating in a way. But I must say, I'm not a "licensed" (manner of speaking) install guy. I have placed systems, but that's not my day job.

 

Of course if your church has the bucks you might look for someone to come out and assess your situation (also as suggested).

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Lose the back speakers sounds like a good idea, especially with the Yamahas up there now. I was listening for that this week actually and I think they cover the sides and center seating just fine on their own.

 

Sound booth is open.

 

Monitor is pointed at the singer/instrument pit (typically we don't have musicians at the moment, but we do have an electric piano--that likes to add hiss when it's on--and a drum set--which as you can imagine can be excessively loud in the wrong hands).

 

Music is a variety, but often contemporary Christian. Kirk Franklin, Donnie McClurkin, Hezekiah Walker, Nicole C. Mullen, etc. Rarely do straight hymns. Current Interim Worship Leader buys accompaniment CDs so they can use the Demo (includes leader singer) or the Background Vocals only track. Pastor rarely sings with them.

 

Here's a picture of the mixer I took just today after the Praise & Worship and Sermon was over. I'm still working off the base I made when we had the Fender speakers up there, so don't yell at me too loudly if these look horrible ;) We have a PRaise and Worship practice tomorrow that might help me readjust now that the speaker situation has improved drastically.

 

IMG_0174_Web.jpg

 

Main volume is usually kept at unity/0db, the picture shows it was a little lower as I was fiddling trying to compensate for a low-speaking congregation member that had the mic toward the end.

 

Also, here's Stage Right:

 

IMG_0151_Web.jpg

 

And Stage/Stage Left:

 

IMG_0152_Web.jpg

 

I appreciate everyone's recommendations thus far. I'll look into some local opinion and advice regarding the setup on site as well. We're located in the Austin area, so there's plenty of possibilities, just need to find one.

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Forget PA equipment. What the church needs to invest in is an electronic drum kit and some carpeting. In your current setup, the vocal mics are going to pick up that drum kit and amplify it, while it's already probably too loud for the room on it's own. For the time being, move the singers and their mics behind, or at least to the side the drum kit. This will also serve to get them further from the speaker. Put down an area rug under the drums and the singers and if you can, hang some more of those curtainy tapestry things like are hanging behind stage left and center. Hard surfaces are the enemy.

 

Also, I'd extend out those speaker stands until the cross-braces are parallel to the floor and raise those yamahas up some more.

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thanks for the pics, they really help.

 

Tile!!! Well, you really do have problems.

 

+1 on carpeting, probably not feasible though. Doesn't even look like there's a carpet under the drums, at least start there.

 

Not that it's going to make a huge difference, but your gain structure on your wired mics looks off. You've got your aux sends pinned, and your faders are almost out of room. Lower or zero your fader and aux sends (first) and THEN increase the trim and THEN adjust your aux and channel fader levels again until things "look" normal.

 

Can't remember what mics you're using, but I'm wondering why the gain structure is so off.

 

You've got windscreens on your mics, I would take them off. It will get the singers 1/4" closer.

 

One trenches trick I use in situations like these is to pan the offending feedback mics partially (or all the way) to the opposite FOH side. So for instance, if you're having trouble with feedback re: the singers, pan them to the opposite stack. It effectively moves their mics a few more feet away from your FOH. It's such a small room, the audience might not even notice (or at least be bothered by it). Worth a try.

 

I don't know how much higher you can get your speakers without losing audience access to your horns, but as suggested you might try that. Also they're very close to the action. Any chance you can move them forward?

 

The speakers are also very close to the wall, and you're getting high end bouncing back into everything. If you can move them forrward a bit and then angle them in some more that might help. I realize they're almost on top of the front row, so you might be out of luck.

 

You've got your piano sweep mid "down low" but the cut'boost pot is flat. Do you normally have a different piano?

 

Also, if you've got problems with your singer's mics, you could certainly try using the sweep mid to tame them, it can sometimes be effective. I see you've tried to do this with the lav mic. Too bad it's a house of worship. If it was a bar you could just accidentally step on the mic. But being where you are, the consequences for such an action might be dire:)

 

And as we've all said before, get a 31 band EQ. I think it will help considerably - but again, it's not a magic box.

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As long as your pastor mostly stays up on the dais, I don't see why your lav should be a problem with a little EQ. I have two lavs open pretty much every Sunday with the "speakers" slightly in front of the speakers.

 

Try a 31 band EQ on your main out or on the Lav channel insert and ring out the first 3 offending frequencies and I bet you'll be OK.

 

Winston

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We've only had the drum set used twice in the last two months and that's the extent we've used it. Still, the Pastor's keen on someone eventually taking the spot. I hadn't thought about it, but an area rug might help a little--it'd be that much less hard surface to reflect off. Heavy drapes/curtains is definitely something to consider; would help cover up that window behind the drums that is hot white on the video camera even with shades lowered when recording singers.

 

Unfortunately, carpeting the sanctuary is most likely out of the question. I can ask, but our finances are tight at the moment so that's going to be awhile even if they agree.

 

AUX 2 is roughly -15db and AUX 1 is at unity (little triangle at 3 o'clock not visible from the photo angle). Only the Wired mic channels are above unity on AUX 1.

 

AUX 3 is also at unity on all channels, though I'm going to be lowering that soon. Seems my singers are clipping on that Send even though the recording only comes out at -13 db max.

 

Gain structure is off because I tried calibrating on the Fender system we had previously with the speakers behind the singers. Even then I did the hard and fast AMP off, Sing until Clip, lower until not clipping or minimal clip--then lower again when all the mics are on and the wired mics still rang. Restructuring is in my future (speaking of, recommended or preferred method for best results?).

 

dboomer once said, regarding Gain Structure:

 

Play a 400hz sine wave (or 700 or 1K, but lower is better). Hit the solo for the channel. Adjust the trim til you get somewhere around 0dB on the meter. Then take the solo off and turn the subs and main levels till you get just below the clipping light. Now leave everything alone on the mixer.


Move to the next piece in line ... probably the EQ. Set it flat. Adjust it ins and outs till it flashes the clipping light and then back it down just a hair.


Next the limiter if you've got one (at 1:1 or bypass) ... then the x-over ... then the power amp. If you are using Crown's with ODEP or Peavey amps with DDT ... these are NOT clip lights but the beginning of limiting. Go accordingly. Bring the levels up till the clip light comes on and then back it down just a little til it goes out. Don't change anything in the front stages as you move back through the chain.


Now , if all your gear's clip lights were calibrated correctly by the manufacturers you are pretty close to optimal gain structure. Some manufacturers have the clip lights come on before actual clipping. Check the owner's manuals or call them. You'll have to make adjustments for specific cases. If the system is way too loud, back the power amp down to the level you need. Don't go changing anything else. As you are mixing ... don't run the mixer into clipping, but get and stay close to it (more or less).

 

 

Take the windscreens off? I could try that on the wired mics (wireless mic users are good as-is, for the moment). Wired ones don't move from the singing area, so little chance of wind in the speakers.

 

I'll give panning a shot too, see how it sounds.

 

I could move the speakers forward if I take out one of the chairs... couple that with your suggestion to turn the speakers in more so the 90 degree angle slides along (not into) the wall might cover the front rows even with moving the speakers forward. Experimentation is in order.

 

As for the piano, we don't usually use ours in service. It's there for when we get a musician (even then the Pastor would like to get a new, more professional model). Twice in the past two months someone did bring in their own, however, but I left the EQ alone (hence High, Mid, and Low all being at 12 o'clock/flat). Down Low usually means "not used/adjusted" or "off" on my mixer as a visual indicator.

 

I'll get a 31 Band EQ and see if that can help solve some of the trouble with the Lavalier. I won't regard it as a magic fix (it's a band-aid), but if it can help in conjunction with a few other ideas in this thread that'll be good enough given my current environment (a stone box).

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Good grief, setting up adequate gain structure does not have to be so damn hard or complicated or even confusing.

 

Here's a quick and simple way that will work every single time. It might sacrafice a couple dBof noise but that's nothing compared to what you are dealing with now.

 

1. Set your power amp to -6B (6dB lower that full sensitivity) on the GX-5 amp (which BTW is pretty big for your application)

 

2. Set your mixer's master fader to maybe 3dB below the unity shaded gray area on your mixer

 

3. Set your vocal channel fader to roughly 6dB below the shaded gray area on your mixer.

 

4. flatten all eq. on board and any outboard devices.

 

5. Turn the input gain/trim control all the way down (CCW)

 

6. Turn everything on and while talking into the vocal mic at normal levels (like what the program will consist of), slowly increase the channel gain until you are at a volume that is acceptable. Double check with the PFL on that channel that you are at least 6-10dB below the clipping point ofthe channel. (read the manual)

 

7. Repeat for the other inputs.

 

You are good to go, mixing and fine-tuning with the faders.

 

Also, Don, re-read the post that was quoted. If you do itthat way and then turn the power amps down even more, youwill definately clip the drive electronics before hitting the limit point on the amp, defeating entirely the whole concept of putting limiters in the amps.

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Good grief, setting up adequate gain structure does not have to be so damn hard or complicated or even confusing.


Here's a quick and simple way that will work every single time. It might sacrafice a couple dBof noise but that's nothing compared to what you are dealing with now.


1. Set your power amp to -6B (6dB lower that full sensitivity) on the GX-5 amp (which BTW is pretty big for your application)


2. Set your mixer's master fader to maybe 3dB below the unity shaded gray area on your mixer


3. Set your vocal channel fader to roughly 6dB below the shaded gray area on your mixer.


4. flatten all eq. on board and any outboard devices.


5. Turn the input gain/trim control all the way down (CCW)


6. Turn everything on and while talking into the vocal mic at normal levels (like what the program will consist of), slowly increase the channel gain until you are at a volume that is acceptable. Double check with the PFL on that channel that you are at least 6-10dB below the clipping point ofthe channel. (read the manual)


7. Repeat for the other inputs.


You are good to go, mixing and fine-tuning with the faders.


Also, Don, re-read the post that was quoted. If you do itthat way and then turn the power amps down even more, youwill definately clip the drive electronics before hitting the limit point on the amp, defeating entirely the whole concept of putting limiters in the amps.

 

 

Thank you for that. I've heard a few different methods, including in documentation, but hearing more perspectives and experiences on how to properly adjust the equipment is appreciated.

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1. Set your power amp to -6B (6dB lower that full sensitivity) on the GX-5 amp (which BTW is pretty big for your application)


2. Set your mixer's master fader to maybe 3dB below the unity shaded gray area on your mixer


3. Set your vocal channel fader to roughly 6dB below the shaded gray area on your mixer.


4. flatten all eq. on board and any outboard devices.


5. Turn the input gain/trim control all the way down (CCW)


6. Turn everything on and while talking into the vocal mic at normal levels (like what the program will consist of), slowly increase the channel gain until you are at a volume that is acceptable. Double check with the PFL on that channel that you are at least 6-10dB below the clipping point ofthe channel. (read the manual)


7. Repeat for the other inputs.

 

 

This post should be sticky'ed at the top of the forum with the thread title -

Guide to Properly and Easily Setting Gain Structure

 

and at the same time, be treated as gospel.

:phil:

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