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Grand Prize Winner posted:Thanks for the advice! I'll take the time to do it right and have a separate DMX run. I've used a pair of Sennheiser HD280s for years at FOH and they've done me proud. A little on the bulky side compared to others, but they isolate well. On a totally unrelated note to the question above, just gonna throw this out there: I work for an audio gear rental house that specializes in wireless mics, so if anybody has burning questions about the black magic that is RF, I'd be happy to answer (to the best of my ability). Edit: I also have about 6 years experience mixing live musicals at a major regional theater, for what that's worth. Musicals are kind of their own particular brand of madness and I'd be happy to share what I can about that too. MockingQuantum fucked around with this message at 07:02 on Jan 2, 2018 |
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Jan 2, 2018 06:56
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| # ¿ May 12, 2024 04:38 |
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ickna posted:Are y'all renting out more 1 RU bi- or quad- receiver setups like the ULX-D these days, or is it still largely racks of stacks of single channel receivers like the ULX-S? To your first question, it's a mix. A little over half our inventory is Sennheiser G3 ew100, which are all single-channel receivers. We usually have them in either 8-channel or 4 channel racks, just to simplify logistics and shipping. We have a lot of those in part because we supply a ton of wireless to local schools/churches/colleges for musicals, and the price point on Sennheiser stuff is a little lower than the rest of our inventory. The rest of said inventory is mostly Shure ULXD quads or duals, though we still have a healthy representation of UHFR since they show up on a lot more production company and live music riders and will probably continue to do so until they're totally unusable or can't be had for love or money. As far as 2.4ghz stuff is concerned, we don't currently have any and are pretty gun-shy about them, given our past experience with them. I've used some of the GLXD out in the wild as a mixer and they've been pretty unreliable, lots of momentary dropouts though I never had any fail completely for a long period of time. I think the issue with 2.4ghz will always be exactly what you said-- it's a congested band, and you have to deal with the fact that the number of people in the room with cell phones can drastically affect performance in a way that you can't always predict or compensate for. I would be amazed if you ever saw anyone tour with 2.4ghz, but I think it's less scary of a proposition if you're using them in the same space regularly and know where they work and where they don't. Other considerations are your channel count will have to stay low, and range will always be short compared to TV band UHF. 2.4 is more susceptible to multi-path interference, too, and even with diversity antennas there's only so much you can do about it. The one thing we do have in 2.4ghz are tour guide systems, which actually work pretty well, but they tend to be limited range needs and aren't really intended to do CD quality audio (wow that phrase has become dated). I wouldn't be amazed if we start to see more DECT band stuff popping up---we have a couple of the Sennheiser AVX, which are DECT, and they actually work pretty well, but they still have the issues of low channel count and shorter range. AVX is designed for run-and-gun ENG stuff though, so I'm not sure how well they'd work in live production settings. I know that's probably way more info than you wanted, but I figured it's useful stuff for anybody else who is curious.
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Jan 2, 2018 16:49
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Fun fact, when I started out in the upper midwest (Minneapolis), I was asked if I could mix on a tour for a local midlist band. I was basically told by the tour manager, flat out, that my day rate couldn't be any lower than $300 or I'd be horrendously undercutting local engineers. That's not counting per diem for food and tour expenses, too. Ultimately I didn't get the gig, but around here people occasionally get taken aside and given an earful if they ask below a certain rate because it kind of just hurts everyone and results in bad work. I mean, it's great, but it's also bizarre, given we're not really a huge music destination where engineers can demand particularly high pay. I think it's a different world once you get into smaller shows and DJ type stuff though. Amazingly, one guy who started out just a couple of years before me now won't leave his house for less than a $900 daily rate and regularly gets it, though he works more as a production manager than a mixer these days.
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Feb 12, 2018 07:18
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Yeah there may be something purpose-built for this sort of application, but I'm not aware of it. You can find condenser mics that will take batteries, but the battery is generally just for supplying phantom power. You'll still have a mic that outputs at mic level, which generally doesn't play exceptionally well with pedals, though it depends heavily on both the mic and the pedal. Also as a general rule of thumb, hardwired mics (ie mics where the cable is physically wired into the mic) that terminate to 1/4" are almost universally trash, in my experience. It used to be that any and all hardwired mics were worthless and prone to failure because they tended to be incredibly cheap. Anything worthwhile would use some standard professional form-factor. That said, I haven't looked around for them in ages, so there may be some instrument mic out there that explicitly exists to be plugged into pedals. The internet has made it a lot more fiscally feasible for weird niche mics like that to be made. If you're looking for a very small profile mic like some of the DPAs or Shure Beta98s or whatever, they'll all have either a transformer tube (which will need phantom power) or a battery-powered transformer (which will be a beltpack, and kind of bulky, but probably less so than a big honking preamp) but once again I have no idea whether they'd output at a level the pedal will appreciate.
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Feb 27, 2018 18:48
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I know this is probably a long shot, but anybody in here ever mixed a musical on a Behringer X32? I'm programming one for a show I'm designing and I'm trying to cheat in dumb ways, I figure there's probably a correct approach with this board (just using DCAs and snippets) but I refuse to use it unless it's the only option. A question that may be more in the wheelhouse of general X32 knowledge: is there anywhere to attenuate the signal on a channel? It doesn't really matter if it's pre- or post-fader, I think. It would just need to be pre-bus/aux/matrix send. In theory could do it with the head amp/preamp gain, assuming the input signal is hot enough to do what I want to do, I'm just wondering if there's anywhere else in the signal chain.
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Apr 6, 2018 04:18
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ickna posted:Definitely pre-amp gain Cool, I can make that work. It won't appease my desire to have all faders at unity and perfect gain structure end to end necessarily but that's irrelevant anyway if I'm using DCAs. Brute Squad posted:Yup. On the subject of snippets, do you know if there's a way to "insert" a snippet? I'll be using the Cues page since the show will be a combination of scenes and snippets, so in theory I can assign whatever snippet I want to whatever cue I want, but I'd love to be able to insert a cue and/or snippet once I've built the show in case I find a sequence or song is too complex or whatever. It's likely to happen since I have a totally green board op for this show.
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Apr 6, 2018 06:34
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Question about mixers: I have a local theater that's bugging me about what mixer they should buy, and they're very dead-set on getting either an X32 or an M32. Thing is, I've used the X32 a ton and know it'll probably work just fine for their needs, but I've never even seen an M32 in person. Is there that much improvement over the X32 to warrant the price jump? I was going to bug some of the local production companies to see if I could borrow one for a show or two to see how it does, but apparently none of them have bothered bringing the M32 into their inventories, hah.
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May 16, 2018 17:01
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| # ¿ May 12, 2024 04:38 |
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ickna posted:I've used both and I couldn't justify recommending the M32 over the X32 for an in-house mixer for a small venue like this. I'd say stick with the X32 and use the difference in the price to get stage boxes or mics to round out their inventory. TTerrible posted:The preamps are different on the M32, but who drives an M/X32 level desk hard enough to notice that? The only reason I can think of for getting the Midas over the Behringer is the warranty. Yeah that's about what I figured. Honestly even among people I could find who have an M32 or at least used both, it kind of came down to "well I'd rather have a board that says Midas than Behringer." Which, don't get me wrong, I've been doing live sound long enough to see more than a couple of pieces of Behringer gear burst into flames with little provocation. But it's hard to explain to that sort of person that no matter what name it says, let's be real, you're still buying a Behringer board (with Midas preamps, admittedly). Also, speaking as someone who works at a rental company, we've gotten a whopping two requests for an M32, and they were both by a long-time customer who has always had more money than sense. When we had to turn him away the second time, he just bought one for himself. To use at the two events a year where he's A1. Which he does for free. MockingQuantum fucked around with this message at 21:58 on May 16, 2018 |
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May 16, 2018 21:55
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