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[Mac Kerr]

Pretty much, his logic is if he is spending money on clip ons, it has to be the best and the best is wireless?

Wireless is never the best. It is what you do when you absolutely can't have a cable. A wired mic will always sound better, and have better dynamic range than the same mic wireless.

With wireless you are paying extra money, and giving up some quality, for convenience.

Mac

[g'bye, Dick Rees]

Pretty much, his logic is if he is spending money on clip ons, it has to be the best and the best is wireless?

In running this latest proposal by him this morning, he reminded me that he also plays harmonica and a recorder into his vocal mic.  =)  fml.

My sympathies to you.  Sounds like he's all demands/wants and no cooperation or understanding of what's really required.

No, wireless does not make a mic better.  And to get a wireless rig that approaches the quality of hard-wired is not cheap.....unlike the player seems to be.

For processing different sources through the same mic I'd think about a multi-band compressor.  You'll stand a better chance of getting acceptable sound out of things if you have a unit that will let you clamp down on things selectively rather than full-spectrum.......maybe......

But to me it sounds like three mics are in order:

Vocal
Instrument high
Instrument low/clip-on(?)

Knowing how to work a mic seems to be a skill lost on some multi-instrumentalists.

Good luck.

[Kyle Leonard]

I solved a similar problem by running the mic into a patch bay that allowed 3 outputs for each input (depends on how the patch bay is wired). Then I have a mixer channel dedicated to each instrument.

Kyle

[Ned Ward]

If he has four instruments and isn't changing them mid-song, why not make him get a 4-channel mixer? He can then have his 4 mics, and it's up to him to unmute the channel of what he's playing. He'll even have EQ to taste for each. Not the best option, but if you're going to make him footswitch his inputs, it may be easier with a mixer on a stand.

[brian maddox]

Pretty much, his logic is if he is spending money on clip ons, it has to be the best and the best is wireless?

In running this latest proposal by him this morning, he reminded me that he also plays harmonica and a recorder into his vocal mic.  =)  fml.

yeah, if that's his logic regarding wireless, fyl indeed... 

[Sam Zuckerman]

Dave.....

Without asking for more information.........

Have you thought of splitting one or the other of the mics into two channels  at the board and processing them as needed? 

OK.  Now I have to ask......

I'd still say do this. It allows you to control the volume and processing for each instrument and have separate monitor sends. All you need to do is hit your cues and mute the inputs not being used.
I try to avoid putting things like this in the hands of the performers, often times they are not skilled enough/have more important things to think about (like the music.) It's out jobs as techs to make it happen anyhow so what's wrong with just having a short cue sheet?

[Dave Bednarski]

I'd still say do this. It allows you to control the volume and processing for each instrument and have separate monitor sends. All you need to do is hit your cues and mute the inputs not being used.
I try to avoid putting things like this in the hands of the performers, often times they are not skilled enough/have more important things to think about (like the music.) It's out jobs as techs to make it happen anyhow so what's wrong with just having a short cue sheet?

Actually... thinking about it from what is most/least played... this approach could work (for now).

Like many bands the sets stray given the room later in the sets.  This is why we've not had tons of luck w/ que sheets.  However...

The flute & recorder are infrequently played & don't believe in any songs w/ trumpet.  Leaving that "high" mic, always up for the impromptu trumpet blast I only need to worry about hitting the small number of flute/recorder cues that can be listed independent of the set list for a given night.

It is 50/50 on the bari & tenor sax & they are played in almost every song.  The A/B switch could be reasonably used here or press him to get/use a clip-on for one and the waist level 57 for the other.

Thanks again all for the suggestions & outside input.

[eric lenasbunt]

I haven't spent much time on the SL, but in a similar situation on my O1V96 I have set up scenes where the mic has a different EQ and comp for the different horns. Doesn't help if there is a gain issue that is too great for the comp to handle. Push one button and you're done if you soundchecked well.
I have also done this with a trombone playing vocalist and it worked just fine, lots of comp on the trombone, but headache free.

[Vladimir Angelovski]

If he has four instruments and isn't changing them mid-song, why not make him get a 4-channel mixer? He can then have his 4 mics, and it's up to him to unmute the channel of what he's playing. He'll even have EQ to taste for each. Not the best option, but if you're going to make him footswitch his inputs, it may be easier with a mixer on a stand.

I thought the same thing. Something like:

http://www.soundcraft.com/products/product.aspx?pid=173

[Dave Bednarski]

Update.... Unfortunately this situation has still not improved.

We finally came to an agreement for better part of 2012 that he would use the clip-on for the bari sax, a 57 clipped midway on a mic stand for the tenor and another 57 on the same stand for the trumpet.  This has worked out well but frequently he decides to clip the clip-on to the trumpet or wander off to someone else's vocal and blast away and the whole thing goes to hell - everything clips out.

I am learning no amount of equipment will fix an uncooperative musician.

[ProSoundWeb Community]