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 1 
 on: Today at 01:50:24 pm 
Started by Aaron Kennedy - Last post by Kevin Maxwell
Wow!  Well said.  I can't even count the number of forum discussions I have had to argue this point with people. 

The best way to determine how well a mic responds to real life, is to put the mic in the real-life situation and compare it to how other mic's do in that same environment.

All supercardioids are NOT created equal when it comes to GBF.

It has been my experience that lav mics tend to be the worst offenders in the GBF realm.  Not really sure why and YMMV.

Really long reply as usual. You should see how long winded I am if you ever talk to me.

Are the “Lav” mics really the “worst offenders in the GBF realm”? Take a standard vocal mic and put it in the same place that the “Lav” is and you will most likely find that you have very similar gain before feedback with both mics. If you put a vocal mic on the chest of someone you won’t get as good a result as you will if they were to talk right into it. Or take the vocal mic and hold it on your forehead facing down to simulate a hair worn mic. It isn’t the same as when you use the vocal mic as it was intended. I like to say to some people using a vocal mic whether for talking or singing “Swallow the mic”. But I actually really just want them to be consistent. Most “Lavs” don’t have very good rejection of wind noises like your breath. If you have ever tried to talk directly into a “Lav” you will find that it is very intolerant of being used that way. The “Lavs” are always used in a way that isn’t ideal for gain before feedback for any mic. But if you set things up right and use proper techniques you can get pretty good results. I have had 30 wireless mics on people on stage with a pit band playing pretty loud and I also have apron mics and hanging mics all on and have no problems at all with gain before feedback. This is for the big numbers. Someone recently told me that the mics might be too loud and I told them the director likes it loud. I have also thought that it was a little too loud. I might try and drop the next show a little bit.

As with any show the placement and configuration of the sound system is critical. Also the linearity of the sound system makes a big difference. So you are already at a disadvantage in theater because of the mics and you want it as good as it can be. I wouldn’t want to do a show in the places I usually do them without having the delay speakers that we do.

You may have noticed that I was putting Lav in quotes. I did that because I think we use the term “Lav” when it would be better to explain more what exactly we are referring to. So I want to try and define Lav mics. Lav is short for Lavalier which has to do with something that is hanging around your neck. The first Lavs were on a string hanging around a person’s neck and they were big (HUGE) by today’s standards.

What is commonly called a Lav today is a very small mic with a clip, to clip it on a tie or other piece of clothing. It is usually used for things like talking head on air talent. It is also used for people during a panel discussion for a more relaxed look, whether that be live or video.

For theatrical presentations it is more common today to use a head worn mic. Which is usually just a Lav type of mic without the clip. The advantage is that the relationship of the mic to the mouth stays the same. Sometimes the mic is worn thru the hair and it come out on the forehead and sometimes it is an ear worn mic, narrowing down the definitions to exactly where the mic is. Some ear worn mics are very short and only come to just past the ear. Some are long and come down by the mouth. And a lot of those are too long and then you have problems picking up the breath sounds. I don’t understand why they insist on making them so long. I have been lucky in that the directors I work the most with don’t care about the mic being hidden they want the sound to be the best it can be.

As with any other mics the loudest thing wins, as someone already said. This comes to shows with a loud band and if one of the other actors is a lot louder than the others. Especially if there is lot of fast interactive stuff with the actors really close to each other. When I say close I mean they are face to face and sometimes shouting. I did a show recently where one of the actors was going to get shaving cream on their face to simulate getting shaved. So the director wanted him to not have the mic down by his mouth. I tried to tell him if he watched the video of the Broadway production of the show he would have seen that they don’t put shaving cream on that side of his face. So we had the mic up by his ear. The director wasn’t happy with the sound but the main cause wasn’t so much with how the actor himself sounded but all that was going on around him. So the director then said they will fake it with the shaving cream and put the mic like it was on everyone else. And he said if he ever told me to do something like that again to remind him about this show. And this brings up the consistency issue, I want all the mics on the actors to be worn the same way. When you have some hair worn mics and some mics really close to the mouth on other actors it makes for one more complications. I also like the mics to be consistently placed on each actor from performance to performance.

One of the problems that I have noticed is vocal projection it seems to have become a lost art. I recently said that I think the actors aren’t being trained for stage acting but for TV or film where they will most likely go in and redub the vocals.

Just some thought and ramblings.

 2 
 on: Today at 01:49:46 pm 
Started by Casey Sharp - Last post by Dave Pluke
In your opinion what is the best way?  I'm looking for something that will obviously protect my gear, but also stand the test of the road itself.

Just noticed that the SRX828's don't have "cups" on top that mate with the feet.  Too bad.
 That makes transporting two in a stack more challenging (and would seem to require strapping during a gig).

Beyond the good suggestions already posted, if you - or someone you know - is good with metal, welded steel angles could be used to fabricate caster carts.

Dave



 3 
 on: Today at 01:35:28 pm 
Started by Joel T. Glaser - Last post by Jeff Lelko
Hi Joel, no experience here from me, but is there a particular reason why you’re interested in these stands?  They look nearly identical to the very common Global Truss ST-132.  Alternatively, if I were buying something new today within that size/price bracket I’d be looking to the Duratruss offerings.  They use a far more consistent and reliable cranking mechanism over the winch and pulley that can jam/derail.  Just my thoughts!

 4 
 on: Today at 12:58:44 pm 
Started by Joel T. Glaser - Last post by Joel T. Glaser
Does anyone here have any experience with Cedarslink Crank Lighting Stands? I've searched the internet and can't seem to find much for reviews. A couple on Amazon is about all.

Thanks

https://cedarslink.com/collections/crank-up-stands/products/2-lk-c14-14ft-truss-lighting-crank-stand-220-lbs-universal-t-adapter-dj-pa-club

 5 
 on: Today at 12:22:25 pm 
Started by Casey Sharp - Last post by Andrew Broughton
Chip is very responsive. Send him an e-mail with your questions.

 6 
 on: Today at 12:14:38 pm 
Started by Debbie Dunkley - Last post by Caleb Dueck
I agree Tim, specially with the comparison test side by side. But to say “bigger” with no numbers is vague.
Thanks for the info on the Vertec Subs. I have been wondering for a while how they compare to SRX 18” Subs.
"Bigger" typically means the lows go lower and the highs go higher,  possibly also better transient and phase response.  It's why even at the same SPL a great speaker sounds better than a cheap one.  SPL is only a basic comparison.

Sent from my VS980 4G using Tapatalk


 7 
 on: Today at 11:49:06 am 
Started by John Ferreira - Last post by brian maddox

Dave is aware of my version. We had a couple of email exchanges about it a couple of years ago. The first two words in his message were “cool, cool”.
I told him I had no intention of selling it and I had just made a few for friends.
Mine has a different circuit to Dave’s and in my opinion, are more logical code of red and green LEDs.




Steve.

I built an extremely simplified version in the early 90's using a switchcraft XLRM with the boot removed.  Put A Red LED between Pin 1 and 3 and a Green Led between Pin 1 and 2.  Then just filled the open space in the connector with some silicone.

Made for a super simple Phantom powered tester.  Orange was good.  Red was Pin 2 open.  Green was Pin 3 open.  No light was Pin 1 [or more] open.  Turned out to be a HUGE time saver and i soon had to make more so everyone in the shop could have one [and i could have several since i lost them on a regular basis].

I thought about trying to make a commercial product out of it, but i'm not really that guy, so i never got around to it.  I was happy when Dave made a nice commercially viable unit using the same principle as it really was a great tool to have.  I will say that my ultra simple version did have the advantage of being small enough to just live in my pocket with my loose change. 

It's still a great tool to have although todays modern digital snake systems have eliminated a LOT of the multipins and other analog connections we used to have to troubleshoot.  And kudos to Dave for still not charging a lot for what really is a handy little tool.

 8 
 on: Today at 11:20:06 am 
Started by Eric Underwood - Last post by David Pedd
I currently have passive seismic audio equipment. (2 18 inch subs and 2 dual 15 inch pa) and was wondering if 2 JBL PRX 735’s for $1000 is a good deal? I am trying to upgrade slowly and would hope that these would be louder than my seismic audio pa’s. Most of my dances are in gyms and have less than 250 people. I don’t have any pictures of them right now but there were no scratches or anything just a little bit of dust from sitting in this guy’s garage.

I would think those would be a fine upgrade.

Why is the guy selling them?  Are you able to test them hard before purchase?

 9 
 on: Today at 10:47:25 am 
Started by Eric Underwood - Last post by Eric Underwood
I currently have passive seismic audio equipment. (2 18 inch subs and 2 dual 15 inch pa) and was wondering if 2 JBL PRX 735’s for $1000 is a good deal? I am trying to upgrade slowly and would hope that these would be louder than my seismic audio pa’s. Most of my dances are in gyms and have less than 250 people. I don’t have any pictures of them right now but there were no scratches or anything just a little bit of dust from sitting in this guy’s garage.

 10 
 on: Today at 10:27:58 am 
Started by Dave Potter - Last post by Ivan Beaver

Samba is musically different than most other music.  There is no bass, very occasionally a guitar but more usually a Cavaquinho - a shrill ukulele.  All the rest is drums (not through the system) and vocals.

Would I be right in thinking that something active with a 2 X 12" would be just as suitable in that role?  They have the budget of a rat.  What is good and used?
From what you describe, I would not look at a 2x12", but rather a single 12" and horn. As a general rule you will get better clarity (due to the interference of the 12s).  The biggest thing a 2x12 would give you is more bass, which you say you don't need

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