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Fix my setup


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Right now I'm running my Washburn HB-30 through a POD line 6 into a Yamaha mixer along with one mic on percussion and two mics on vocals, and then grouping all those tracks and sending them to a Boomerang phrase sampler, which goes right back into the mixer. Then all this goes into a Crown 402 powering two JBL speakers while a separate out goes into a Fender 1270 stage monitor powered by a Crown 202. e are micing the 2 congas and 2 bongos with one mic pointing under and in bt the bongos (so that the head of the mic is closer to the bottom edge of the bongos and pointing to the congo heads.) The mic is a Samson Q mic.

 

Is this the ideal way to setup up a small gig for a duo?

 

Shouldn't I use my Fender Twin Reverb (its hard to get the sound levels right with the need for looping).

 

The problems I'm having are:

 

Getting the sampled loops to sound as loud and clean as the original sound.

 

Hearing the stage monitor.

 

Anything will probably help! Thanks.

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The Fender monitor is awful, no surprise you can't hear it. There's nothing that can be done with it other than perhaps recycling it. Maybe in its next life it'll be a real speaker...

 

The sampled loop should be made louder by simply increasing the volume on the return channel (you do return it to a channel, right?). Clearer? It won't be, since it's a copy of the original signal.

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Since you both sing, maybe this will help. I recently built and began using a headset mike while playing my percusion. I'm not talking typical headset, but a very inconspicous electret element on an ear hook made of copper wire. By slighly increasing the gain and moving it out 1/2 inch from my face, it will pickup whatever I'm playing. You'll have to experiment with the gain so you don't get the whole band. Because it's a condenser, it doesn't have proximity effect, so my voice sounds the same in any position of the mike. Your percussion miking setup may be less that optimum, depending on how much you want it in themix, and it may introduce some unwanted effects from the stage with one mike so close to the bottom of the bongos (extra air rush on the mike when you play them.) At our next gig, I'm going to use two samson r21 mikes on claws for my four congas, and the headset element for my bongos and concert bells, chimes,etc. They will be closer than before and run at reduced gain from before, since the headset mike will make up the difference. Because i play four congas, my bongos are at the side, but i would still use two mikes with a three conga setup and the bongos in the middle. I'd keep the mike away from the bottom of any of my drums for the best crisp sound to cut through the mix. I always mike the top. In my three conga setup, the bongos are off axis on both mikes, but still come through fine. Realize the headset is still in the trial stage, but preliminary testing in the practice studio is what I base the new setup on. If it is no good live, I'll put the mike right up close, turn the gain back down and forget about using it for miking the bongos. I'llpost back with the results after the next gig.

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Thanks you two.

 

Craigv, yeah its going back in the return, but when I turn it up there is this fuzz that I think is coming from some bleeding in the mics. Whats happens then is each time you add a layer the fuzz gets louder. Maybe some better mics that won't bleed? Any suggestions?

 

congaron, thanks for the headset advice. I actually got one of those because I do a lot of moving on stage while looping {censored}. But I think I'll let Ariel try that out, not a bad idea.

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