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[Doug Bishop]

You would think so but everything doesn't run through the snake.  CD, DVD, Effects and any possible wireless additions would all plug in directly to got board.  We use a portable cart with 8 wireless systems that we transport to up to 4 areas of the building as well as take into a public school for a virtue based kids program.  That's 8 more channels we don't need to snake...

[Shad Hall]

Doug Bishop wrote on Thu, 14 August 2008 15:33

While you're at it....pick up a large spool of mic cable and some quality solder type switchcraft XLR connectors and build your own mic cables. Be sure to test them with an ohm meter both for a good connection and to be sure that you don't have a short. I'm having so much fun making cables at our church I just hunt for places that need an upgrade.  Pre-made cables are never the right length and often come with non-soldered spade terminations inside the connector.

I see you're a "purist" and I can appreciate that as I've taken the same approach in web development by coding sites with raw code instead of using software to build them.  There are pro's/con's to both worlds I s'pose.

With that said, I'm not against the idea of building mic cables, but do you know actual brands/models for quality pre-made mics cables that you would suggest? This way, I can compare them to your idea (price-wise) and also, be able to have a reference point.

Thanks,
Shad

[Doug Bishop]

We just added a set of 4 congas and experimented with different mic techniques.  what seems to work best is to use 2 short booms and a pair of SM57's.  One almost touching the floor pointing straight up between the two tall congas and the other similarly placed for the smaller ones...except not on the floor of course.  The 57's don't pick up a lot of other stage noise and we get very good control of the levels.  Save yourself a couple of valuable channels.

[Shad Hall]

Doug Bishop wrote on Thu, 14 August 2008 16:17

We just added a set of 4 congas and experimented with different mic techniques.  what seems to work best is to use 2 short booms and a pair of SM57's.  One almost touching the floor pointing straight up between the two tall congas and the other similarly placed for the smaller ones...except not on the floor of course.  The 57's don't pick up a lot of other stage noise and we get very good control of the levels.  Save yourself a couple of valuable channels.

Interesting! I'll give a comparison try.  Thanks for the feedback and suggestion.

[Jason Ellis]

Just go to http://www.audiopile.net - they have got cables (I often make my own as well) - but theirs are quite acceptable, and the guitar cables are so inexpensive that have a few walk off isn't too bad...


I usually source my Shure mics through http://www.northernsound.net - good pricing for mics...


FYI no affiliation with either of the above - just a happy customer...be more than happy to share my tape and battery sources as well...

[Shad Hall]

Jason Ellis wrote on Thu, 14 August 2008 17:46

Just go to http://www.audiopile.net - they have got cables (I often make my own as well) - but theirs are quite acceptable, and the guitar cables are so inexpensive that have a few walk off isn't too bad... I usually source my Shure mics through http://www.northernsound.net - good pricing for mics... FYI no affiliation with either of the above - just a happy customer...be more than happy to share my tape and battery sources as well...

Awesome...bookmarked the links. Okay, on the Audiopile page for XLR cord ends, how do I determine best quality? I am curious enough to want to know more than simply buying the most expensive, because I want to know why it costs more.

Thanks,
Shad

[Kent Thompson]

We use a single beta 98D/S on congas which has excellent rejection. It clamps right onto the rack or conga rim and has a little goose neck. It picks them up very well. It is more money than a 57 and is a condenser needing Phantom power but, I only use one of them. It doesn't require a microphone stand so stage clutter is reduced too. I like the minimalist approach this option gives me. One less microphone to pick up stage noise.

Anyways back to the channel count discussion. We have a good sized praise team(bigger than most probably) drums, grand piano(not used much now thanks be to God),Keyboard,percussionist,3 horn players,up to 4 guitarists,bass,choir and 2 lead singers,2 microphones for the pastor(hand held and wireless). We suck up 36 channels on our board with this. Not saying you can't do it with 26 but, the channels do go fast so make sure you have enough.

[Justin Rygel]

Shad Hall wrote on Fri, 15 August 2008 02:41

Awesome...bookmarked the links. Okay, on the Audiopile page for XLR cord ends, how do I determine best quality? I am curious enough to want to know more than simply buying the most expensive, because I want to know why it costs more.

In the future, I will probably buy the Starline cables with Neutrik ends.  This is a new product and the Neutrik ends that are included are designed to install a colored band onto the connector, to help identify the cable, very handy.  Quality of the starline cable is comparable or better than most mid-level cables, they use 22 gauge wire, where many lower priced cables from other suppliers use 24 gauge.  This is a relatively new item, and it answers the only problem I have ever had with audiopile cables: I've had a couple (minor) issues with the generic EWI brand connectors that most of their cables use.

[Shad Hall]

Kent Thompson wrote on Fri, 15 August 2008 12:49

We use a single beta 98D/S on congas which has excellent rejection. It clamps right onto the rack or conga rim and has a little goose neck. It picks them up very well. It is more money than a 57 and is a condenser needing Phantom power but, I only use one of them. It doesn't require a microphone stand so stage clutter is reduced too. I like the minimalist approach this option gives me. One less microphone to pick up stage noise. Anyways back to the channel count discussion. We have a good sized praise team(bigger than most probably) drums, grand piano(not used much now thanks be to God),Keyboard,percussionist,3 horn players,up to 4 guitarists,bass,choir and 2 lead singers,2 microphones for the pastor(hand held and wireless). We suck up 36 channels on our board with this. Not saying you can't do it with 26 but, the channels do go fast so make sure you have enough.

I'll look into that mic.

Regarding the channel count, we both probably will agree that buying a second mixer board later is dumb when a bit more money could be spent the first time, but for the sake of my knowledge, let me ask this: if down the road 26 channels were not enough, could/would you simply link a second board? Is that even possible?  I'm guessing that you'd suggest selling the first board and buy a new one, but just the same, is it possible to links boards?

Thanks

[Shad Hall]

Regarding Equalizers, according to this YouTube video on How to Set Up Graphic Equalizer, the guy says you need a Spectral Analyzer. Since equalizers are for tuning the sound equipment to the room, that in itself seems pretty important, but we don't have a separate unit as they are built into the all-in-one Mackie 808S mixer board we are using.

In the mean time, I've set each frequency slide to what I thought sounded best and since I don't have the proper scenario to compare it to, it sounds fine.

Now, are these Spectral Analyzers professional-use only equipment that require a PH.D. to operate or can the be rented/purchased? Secondly, if someone/store was to come in and set up all of the new equipment, would they tune that as well?

Thanks,
Shad

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