Re: Theater....Wireless Mics..... The Maddness.... Tips? Help?
In my opinion, if they are hearing the sound of a compressor kicking in you are using it too aggressively. First I must say that I tune the sound system for linearity, (what goes in is what comes out) or as close as I can get to that. I like to put all of the wireless with the same model mic element on them into a subgroup and EQ that sub group with an inserted EQ for best gain before feedback. This leaves me with the channel EQ to deal with the tonality of the individual on that channel. I usually also have a compressor inserted on this subgroup. This compressor can be set a little bit more aggressively with the threshold set relatively high. So if something really goes too over the top this will help to calm it down. But you still shouldn’t really be able to hear it work or it is set wrong. I don’t know what the compressors are like on the console you are using but try changing your setting to see if you can make them not so obvious. I will admit that there is one digital console that I don’t really like the built in compressor and I always insert an analog compressor (on the vocal subgroup) if I am forced to use that console. I happen to really like the sound of the DBX160 so if I can’t get that sound in the console I insert an analog DBX160.
Consistency in mic placement helps a lot. It can be very hard to put the packs and the mics on 16 people before a show and also do everything else you need to do. You should have a crew helping you with that. But it might be good for you to check the placement of the mic on each actor. We have been using 3M Transpore tape to hold the mics in place and to secure the cable (with just enough slack) down the neck. If the director has a problem with the shine off the clear tape get some concealer make up. Use only the stuff that looks like a crayon, the spray on stuff will dissolve the glue on the tape.
It sounds like you are dealing with a very difficult situation so keep in mind you will need to have your fingers on the faders and may need to be constantly compensating for these actors who are out of control.
I don’t know how you are doing a musical or play with a console (16.4.2) that doesn’t have motorized faders. Unless you are using the iPad app as your surface for the faders. Or are you not even using scenes? I have gotten to the point that I refuse to do a musical without the proper equipment and support.
I safe the trims so they don’t recall per scene. After everyone is miked up before the rehearsals or the show (before doors are opened) every night we have the actors line up across the stage (in mic number order) and I have them sing a group number. This is the time I set my trims after a few nights you hopefully don’t need to mess with them anymore but we still do this test. We instruct them to sing at performance level. And then I mute all the mics and un-mute them one at a time having them deliver a line at performance level going down the line. This tells me that everyone has the proper mic number and they are working properly.
Tell the teachers that are bugging you that you are doing the best you can and are aware of the problem and are working on it. Also let them know that the more they interrupt you while you are trying to work only distracts you more from what you are trying to do. From what I have seen it is hard for a teacher to trust a kid unless you prove yourself to them. Ask them to let you try to work it out and if you do a good job they will then trust you.
When does the show open?
I could probably write a book or at least an instructional manual about this stuff but this is it for now. If you have any specific questions I can help you with let me know.
