Re: Making the most (or least) of a bad room.
These are only estimates based on how it compares to a 9M by 18M room I'm in quite frequently. :razz: 35M is upstage stage wall to "downstage" wall, total current length of the room. I forgot to mention the pitched roof too didn't I, thanks Michael. Pitched on the inside too of course. It's probably closer to 10M from upstage wall to speakers actually. The stage is a stepped platform that only gets to about 1M tall at most, it's the full width. It's about 7M deep which isn't enough because they've put all the band stuff on one side. They have some more band stuff on the floor level in front of it, this stuff comes out to the line of the speakers.
Thanks, I theoretically already knew that but totally forgot to think about it. This is what's good about forums. I'm not sure how much further back the wall goes but I'd guess there's at least 10M left in it, which would add 20M to the path.
Given that these are only £150 speakers the cost of flying them might not be as much value as it would if the speaker was any good. They might spring for a taller speaker stand(s?) with a tilting top on it.
The room will be used long, they've already got an installed stage and multicore. If they'd be OK with a speaker on a stand in the middle of their seating area that could work. 6 - 9 seats worth should be enough space. And gaff tape for the cable. :razz: Is there a cheap but serviceable delay unit that could be used for this?
I took 10dB off them last night, haven't heard the results with the room in use though. I'll take them down the rest of the way if it hasn't caused any problems. My only concern right now is that the main speakers at the front may not reach the people at the back when everyone stands up to sing. I did it anyway because the vast majority of the use is for speech to a seated audience. This wouldn't be an issue if the mains were higher.
Both, someones sold them a load of ATm33a cardiod condenser mics (or it might be the newer model of that, but it's basically the same mic.) I know the mic and like it, but the pattern is a bit wide. Combined with the fact that they're micing the pulpit speaking person with a gooseneck that's too short there's probably a lot of below-unity-gain feedback being caused by and adding to the reverb. In fact if you have someone walking around the empty room about mid way back and the pulpit mic is turned up, you can faintly hear their footsteps if you stand near the PA.
I think they have an SM58, if I can get them to try this as close to the source as possible that should help, a bit. It wouldn't look as nice though. :roll:
Last time I was there the soloist for the choir used the SM58 and they put 2 ATm33a's in front of the choir as a whole. Thankfully the soloist didn't sing loud enough for the comb filtering to be a problem. 
~:-D~:grin:
Most of the more contemporary type stuff is either DI'd (digital piano and e-drums) or it's a guitar amp.
It helps a bit that this time last year I started upgrading the system in the church I go to and made a large improvement, but at a relatively large cost. The 2 churches are somehow related and share preachers and ocassionally borrow tech people.
Thanks for your help,
Chris
