Re: Theater....Wireless Mics..... The Maddness.... Tips? Help?
Yes I have Kevin. Sorry I haven't replied all day, haven't had a chance to get to my computer. I've been playing mic wrangler for the past 2 days, and whether anyone likes that change or not, no one leaves the sound booth anymore until I personally have put their mic on their face. The more consistent placement has made a very noticeable improvement. I decided on taking the compressors off, and just taking notes of where they get loud, and keeping a finger on the fader, I left a limiter on the sub groups just in case though and left the thresh hold fairly wide open so it only kicks in when it needs to and isn't aggressive at all. I gave a couple actors whos packs, or channels were not clipping and still got distortion a new mic. Turns out we have a couple bad ones, which happens over a couple years I suppose. We actually take very good care of our equipment for a highschool too. Nothing is abused, and no one who doesn't know what they are doing is handed the keys to the system. On the first day we give them mics, I take about 20 minutes with the group and thoroughly go over how to treat them, what to touch and what not to touch, and tell them they cost about twice as much as they actually do.
~;-)~:wink: I took a few minutes when no one was in the auditorium, put a mic on a table on stage (I didn't have an extra person, so I improvised) and rung each type of mic out on their subgroup to leave the channel EQ's for individual adjustment. I still secretly leave the overheads off. They wont give me a dedicated audio rehearsal, a group number or individual check before rehearsal, or to get the directors to leave me alone. I've just been dealing with it, and if they have a problem, I let them know I'm working on it and they generally go away which works for me. Generally the ideas you guys gave me that I implemented have made great improvements, and Thanks to everyone for them.
Yes I have Kevin. Sorry I haven't replied all day, haven't had a chance to get to my computer. I've been playing mic wrangler for the past 2 days, and whether anyone likes that change or not, no one leaves the sound booth anymore until I personally have put their mic on their face. The more consistent placement has made a very noticeable improvement. I decided on taking the compressors off, and just taking notes of where they get loud, and keeping a finger on the fader, I left a limiter on the sub groups just in case though and left the thresh hold fairly wide open so it only kicks in when it needs to and isn't aggressive at all. I gave a couple actors whos packs, or channels were not clipping and still got distortion a new mic. Turns out we have a couple bad ones, which happens over a couple years I suppose. We actually take very good care of our equipment for a highschool too. Nothing is abused, and no one who doesn't know what they are doing is handed the keys to the system. On the first day we give them mics, I take about 20 minutes with the group and thoroughly go over how to treat them, what to touch and what not to touch, and tell them they cost about twice as much as they actually do.
~;-)~:wink: I took a few minutes when no one was in the auditorium, put a mic on a table on stage (I didn't have an extra person, so I improvised) and rung each type of mic out on their subgroup to leave the channel EQ's for individual adjustment. I still secretly leave the overheads off. They wont give me a dedicated audio rehearsal, a group number or individual check before rehearsal, or to get the directors to leave me alone. I've just been dealing with it, and if they have a problem, I let them know I'm working on it and they generally go away which works for me. Generally the ideas you guys gave me that I implemented have made great improvements, and Thanks to everyone for them.
