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Excess sound being picked up
John L Nobile:
--- Quote from: Kevin Maxwell on May 30, 2022, 12:19:49 PM ---With the fact that mic 4 is only +2 compared to the others around +28 there is definitely different levels coming from the wireless systems. Unless the +2 is a typo.
--- End quote ---
That would make me suspect that the output for that mic is set to line while the others are at mic level. Check the back of the receiver.
Dave Pluke:
--- Quote from: Ryan Reicker on May 30, 2022, 08:46:19 AM ---
So channel 1 and channel 2 where the culprits of having the "bleed" effect. If I compared these to channels 3 and 4 it was night and day.
--- End quote ---
Just for giggles, try swapping the mic heads from one that's behaving to one that's bleeding. If that changes the situation, it may be time to order new (genuine) Shure capsules. Also, moving to a super cardioid capsule may help with bleed, but the user's technique may need to be altered.
I have had good luck with sE Electronics' V7 MC1 capsule on Shure transmitters. YMMV.
Dave
John L Nobile:
--- Quote from: Ryan Reicker on May 29, 2022, 05:32:50 PM ---If I cue them up on the TF3 you hear the monitors plus their voice but the surrounding noise is tinny,
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Is it the same with only one mic on or is the "tinny" sound gone? Check the polarity on the mics.
Paul Johnson:
We are making this far more complicated than it is. The gain is to a large degree, irrelevant in any way other than turning up the channel gain to a usable level. The key feature is simply wanted to unwanted capture. Next time you have the chance, put on some decent enclosed headphones - DT100 types or similar, and listen to the channel. If the wanted sound is not loud enough, you reach for the gain and add some, to bring the singer or whoever up to the right level on the meters. The background sound comes up too - and that is your spill. The ONLY way to fix it is to get the mic closer to the wanted sound and further from the spill. Floor wedges have been a problem ever since they were invented. Cardioid microphones have a null at the rear, where they are least responsive - so any on stage noise needs to be in that null. If there is a guitar amp or similar that is firing into the face of the mic, then it will get captured. To fix it, the noise has to go. There is no simple turn a knob solution. A singer without power needs to have their lips on the mic if it's a noisy stage. Forget the compression and other ideas - if the mic captures a sound, it does not care if it is the singing or a noisy guitar or drum. Sure, you could wipe out the bass savagely if the singer is high and the bass is low - but you will also be impacting the singers voice.
If the mic is a hyper cardioid, then the floor monitor best position is NOT directly in front of them, but away to one side just a bit, because hypers have different nulls.
If the spill is coming from a certain direction, then find it, and fix it. If you have two singers, one string and one weak, put the string one in the noisiest place.
Just remember that the ratio between wanted and unwanted remains exactly the same when you add gain - the levels go up, but the BOTH go up the same amount - gain does not fix it. get wanted sources closer, move unwanted ones away.
brian maddox:
--- Quote from: Paul Johnson on June 01, 2022, 03:16:30 PM ---We are making this far more complicated than it is. The gain is to a large degree, irrelevant in any way other than turning up the channel gain to a usable level. The key feature is simply wanted to unwanted capture. Next time you have the chance, put on some decent enclosed headphones - DT100 types or similar, and listen to the channel. If the wanted sound is not loud enough, you reach for the gain and add some, to bring the singer or whoever up to the right level on the meters. The background sound comes up too - and that is your spill. The ONLY way to fix it is to get the mic closer to the wanted sound and further from the spill. Floor wedges have been a problem ever since they were invented. Cardioid microphones have a null at the rear, where they are least responsive - so any on stage noise needs to be in that null. If there is a guitar amp or similar that is firing into the face of the mic, then it will get captured. To fix it, the noise has to go. There is no simple turn a knob solution. A singer without power needs to have their lips on the mic if it's a noisy stage. Forget the compression and other ideas - if the mic captures a sound, it does not care if it is the singing or a noisy guitar or drum. Sure, you could wipe out the bass savagely if the singer is high and the bass is low - but you will also be impacting the singers voice.
If the mic is a hyper cardioid, then the floor monitor best position is NOT directly in front of them, but away to one side just a bit, because hypers have different nulls.
If the spill is coming from a certain direction, then find it, and fix it. If you have two singers, one string and one weak, put the string one in the noisiest place.
Just remember that the ratio between wanted and unwanted remains exactly the same when you add gain - the levels go up, but the BOTH go up the same amount - gain does not fix it. get wanted sources closer, move unwanted ones away.
--- End quote ---
^^this
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