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 21 
 on: May 13, 2017, 12:50:02 pm 
Started by Mikeyod - Last post by Mikeyod
My Studer A810 Is popping when switching between Input (Inp.) and Rep. on the right channel.
When I swap the line amplifier cards (1.820.714) the pop follows the card.
I swapped the LM393, 5532 and the MM74C374N op amps between the two cards and the pop stuck with the original card.
             It looks like the switching takes place between the 374 , LM393 and the SD211 are these  SD211 the likely culprit. I hope not as they seem hard to find.

 22 
 on: May 12, 2017, 07:36:34 pm 
Started by AusTex64 - Last post by boz6906
Yeah well...

No complaints so far.

IME, monitor engineers often carve out 125Hz down in the wedges, especially if its being recorded.

And back to the OP's question about 2 singers on 1 mic, my 40 years experience informs my opinion that its all about the singers' balance with one another.

Paul and John's superb harmonies were a result of great singing and good mic technique.  Check out the cover of 'Mix' Jan 2017, neither are touching the mic, much less each other.

 23 
 on: May 12, 2017, 07:28:14 pm 
Started by AusTex64 - Last post by J. Mike Perkins
In addition to the standby SM58, I have also used the Sennheiser e935 and e945 live in a club with good results. Same ballpark as the SM58, but the Sennheiser e935/e945 do have slightly higher output than the SM58 which might help a little bit in your situation. However, getting the volume high enough on the monitors to hear yourself sing in a club is more a function of the singer's mic technique, the p.a. system itself, the properties of the room, and the engineer than it is which mic you use (assuming you have an SM58 or something comparable).  If it's a small club and things get loud, you will have to get close to the mic and sing directly into it to be heard.  If 2 people share the same mic, you don't have to kiss each other, but hopefully the other person's breath does not smell too bad! The nightmare situation for the sound engineer in a club is a timid singer who avoids getting close to the mic or who does not sing directly into it because you can't get the vocal volume loud enough to be heard without causing feedback.  No mic I know of will fix that problem.   

 24 
 on: May 12, 2017, 04:58:07 pm 
Started by AusTex64 - Last post by Kai
...singers 'eat the mic' because they can't hear themselves in the monitors...

...One can have great harmonies on one mic but it requires discipline:...
No pun intended, but I guess you've not often tried to sing while listening to your own voice through a monitor or a headphone.
It's a very strange experience, specially if you hear the mix of your acoustic voice combined with the monitoring signal, which, by the nature of the circumstances, always has a latency, so it doesn't mix correctly, but gives obstructive phasing effects.
If you ever try you'll find out why the vocal has to be so fat and that much louder than the music and the acoustic voice.
Only very experienced singers can work around that.

As an audio engineer you will have a hard time to educate singers doing it "your way".

 25 
 on: May 12, 2017, 04:35:22 pm 
Started by John Chiara - Last post by John Chiara
Gear For Sale

DBX 160a(5)-$200
DBX 160xt(2)-$200
DBX 160x-$200
RNC 1773-$140
Aphex 651(3)-$150
COMMUNITY 4x15 Cabinet
Radian Apex 15" coax wedges-$1100/or
Crest X-VCA 40w/ case-$2000
Crest X-Monitor w/built in splitter...40w/case-$1750
Racks with multipin connectors.
56 Ch Snake...Jensen transformer split plus passive split with Pin 1 switch. 200' FOH/50' monitor trunks. Full size rack with 3 full size wood drawers.-$2500
Yamaha SPX 990-$175
Roland SRV 330-$100
Roland SRV 3030-$200
Range C4 Compressor-$300
Rate G4 Gate-$300
Crest 7001 amps
JBL MP255s 2x15 subs-$600/pair
Peavey SP 4G 2x15"+ horn speakers-$800/pr
Allen Heath MixWiz 2...$250

 26 
 on: May 11, 2017, 10:22:40 am 
Started by AusTex64 - Last post by boz6906
You might try a foam windscreen...

IME, singers 'eat the mic' because they can't hear themselves in the monitors.  Just turn them up in the wedge and they may back off.

Why 2 singers on one mic, are you out of channels?

IMHO, eating the mic adds too much bass (proximity effect gets worse the tighter the card and leads to nasty plosives).

One can have great harmonies on one mic but it requires discipline:

http://media.npr.org/assets/img/2014/03/07/dell2-ac92966fbd50c5433fccdc955b652414f804f064-s1000-c85.jpg

 27 
 on: May 11, 2017, 12:23:38 am 
Started by AusTex64 - Last post by AusTex64
There have been some comments from the bass player about his lips nearly touching the other singer's lips on the SM58. Evidently that kind of thing is not his bag.  :o 

The Sennheiser e835 is going to be tried next, I'm told. Looks like it has a bit wider cardioid polar pattern than the SM58.

 28 
 on: May 10, 2017, 04:52:21 pm 
Started by AusTex64 - Last post by Kai
In any case, I'd avoid condensers for live, they feedback faster than dynamics.
This is a myth that origins from the fact that condensers are much more sensitive (=louder, more gain). If you compensate for same loudness (high quality) condensers are superior even in this area.
But those HQ ones are five times more expensive then a SM58.
In-ear monitoring is the best way to prevent feedback if this is a problem at all.
The thread starter asked for alternatives to the SM58, in my opinion these exist.

 29 
 on: May 10, 2017, 11:58:00 am 
Started by AusTex64 - Last post by boz6906
Yep, SM58 is the #1 choice for live vocals, its card pattern is just wide enough for 2 singers.  Its important that they be able to balance themselves, you can't put a shouter with a crooner.  Bluegrass bands have been getting great harmonies on one mic for years (see Del McCoury).

In any case, I'd avoid condensers for live, they feedback faster than dynamics.

And there's no question you can record a hit record with SM58s and SM57s, just ask Bono, Daniel Lanois, Andy Johns, etc.

 30 
 on: May 09, 2017, 03:33:50 pm 
Started by AusTex64 - Last post by J. Mike Perkins
I assume you guys are performing live in a small to moderate sized club?  I have mixed live sound in clubs for many years and the main consideration in any live vocal mic used in a club is "gain before feedback."  A lot mics which produce great sound in a studio setting, don't work so well in a smaller club because they are so sensitive and pickup pattern pattern so wide they will start to produce feedback at lower levels compared to something like a Shure SM58 which is pretty resistant to feedback.  Most live vocal mics are cardioid pattern as this helps control feedback. Something with a wider pattern, like an omni pattern mic, seems like it might make sense on paper because it picks up a wider area, but that might cause feedback issues in a club p.a.  I've seen 2 singers successfully use the same SM58 for vocals hundreds of times and it can work just fine as long as the 2 singers get close enough to the mic.  Having one singer play left handed bass and the other one play right handed guitar helps with singing on the same mic because the guitars face opposite directions and don't get in the way.  A plain old SM58 would probably work just fine.   

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