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[Dan Richardson]

This would allow for the addition of one or more room mics to cover congregational singing and any other activity that is not close-miked.

...if there were someone involved who knew something about sound.

[g'bye, Dick Rees]

...if there were someone involved who knew something about sound.

What are the odds?

[David Elsbury]

If I may make a further suggestion that it might be a bit more effective to run a camera-audio send from an unused post-fader aux.  This would allow for the addition of one or more room mics to cover congregational singing and any other activity that is not close-miked.

Dick
I can't see how a post fader aux send would allow anyone to do this, if you ran an ambient mic into a channel, and the aux was post fader, the mic would route to the main mix, which is less than desirable.

Also it introduces more complexity in that it's a seperate mix to worry about - even more so if it were a pre-fader aux send.

Is that what you meant? Could you please clarify?

David

[g'bye, Dick Rees]

Dick
I can't see how a post fader aux send would allow anyone to do this, if you ran an ambient mic into a channel, and the aux was post fader, the mic would route to the main mix, which is less than desirable.

Also it introduces more complexity in that it's a seperate mix to worry about - even more so if it were a pre-fader aux send.

Is that what you meant? Could you please clarify?

David

David.....

You just don't assign those channels to the main mix.  They'll still send audio to the aux.

[Jordan Wolf]

David.....

You just don't assign those channels to the main mix.  They'll still send audio to the aux.

Yup, I use that trick for mixing audience mics into IEM mixes when I'm doing FOH/MON from the same console.

Works like a charm as long as all involved know about it.

[Geoff Doane]

David.....

You just don't assign those channels to the main mix.  They'll still send audio to the aux.

Or, since the PA is often mono, but you might like to have a stereo recording, use the post fade aux as the PA feed, and the stereo out as the recording feed.

This way the stereo fader becomes your master record level, and the console meters show what the record level is.  I generally use my ears to tell me if it's loud enough in the room, I don't need meters for that. 

Start with all the "PA" aux sends at unity, except for the ambient mics (off, for them).  This also allows you to fine tune things like electic guitars, which are often too loud on stage and therefore under represented in the recording mix.  Turn their aux sends down by 10 dB, or whatever you find is appropriate.  Make sure that the FX returns are also turned up on the PA aux.  You might find that they need to be somewhat above unity to give a good balance in the record mix. 

Once you get going, you can just listen to the PA (nothing worse than a sound guy who spends half the gig with cans on  ), and mix on the faders.  You're actually adjusting the record mix, but listening to the PA.

GTD

[g'bye, Dick Rees]

Or, since the PA is often mono, but you might like to have a stereo recording, use the post fade aux as the PA feed, and the stereo out as the recording feed.

This way the stereo fader becomes your master record level, and the console meters show what the record level is.  I generally use my ears to tell me if it's loud enough in the room, I don't need meters for that. 

Start with all the "PA" aux sends at unity, except for the ambient mics (off, for them).  This also allows you to fine tune things like electic guitars, which are often too loud on stage and therefore under represented in the recording mix.  Turn their aux sends down by 10 dB, or whatever you find is appropriate.  Make sure that the FX returns are also turned up on the PA aux.  You might find that they need to be somewhat above unity to give a good balance in the record mix. 

Once you get going, you can just listen to the PA (nothing worse than a sound guy who spends half the gig with cans on  ), and mix on the faders.  You're actually adjusting the record mix, but listening to the PA.

GTD

Yup.  That's the way I usually set up a church system where recording is important and budgets are tight.

On the camera end, use a right angle mini-plug.  It'll be a more stable connection and there'll be less stress on the tiny input jack.

[Mike Caldwell]

On the camera end, use a right angle mini-plug.  It'll be a more stable connection and there'll be less stress on the tiny input jack.

Good suggestion on the right angle connector, most of those connectors are hanging on by just a few a tiny solder connections.

Here's a reply I made to a very similar question posted just few days ago. The mentioned Whirwind box does basically the same thing as the Beachtek for a little less money.

"In addition to going form balanced to unbalanced you also need to look at what type of level the camera connection is looking for. If it's a consumer or even low end "pro" camcorder with just a 1/8 inch mic jack for audio input you'll need a pad on the line as well. Depending on the camera there maybe a menu option for the line level audio input. The 1/8 jack will most likely be a TRS for a stereo mic input. Whirlwind makes an interface box for just what your trying to called the LM2C camera mic adapter. Also for a mono less cost option look at an RDL TX-LM2 line level to mic level transformer, I just used the RDL part at a church install to do exactly what your looking to do. "

[Pete Mink]

Ok. Lets see if I've got this right.

Find the "Mono Out" and put a XLR mic cable from that to a Beachtek DXA-2T (or Whirlwind). From there connect a 1/8" TRS to the Beachtek (Whirlwind) to the cameras mic port.

I told you I'm kinda dumb when it comes to audio, so just exactly what does this Beachtek or Whirlwind do?

Found out something interesting this morning. We do record the sermons into a computer and then put it on our WEB site. I'm thinking maybe tracing this cable back to the board and if necessary put in a splitter and run a cable to the camera that way. Agree? Disagree? Why?

So... one other thing not having anything to do with what I'm looking for. I've been on the internet from when you were first able to get on it, and for several years before that on BBS's. Say around 1980. I belong to maybe a dozen forums and I've never seen or heard of a Forum screwed down as tight as this one is. Why?

Pete

[g'bye, Dick Rees]

Pete....

Do you have a sound person or persons at your facility?

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