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From: Laurence Payne on 17 Jun 2008 12:56 >I basically agree, but you can't fix clipping. Compression on the FOH >would be limited to mainly keep from clipping. Where would clipping be happening? There is the potential for clipping at the first interface with the microphone. You must adjust input sensitivity so this will not happen. maybe this includes chosing compatible microphone and preamp. From then on, there shouldn't be anything in a modern mixer and digital recording system that can't handle as much dynamic range as a mic can provide.
From: Rupert on 17 Jun 2008 13:42 On Jun 17, 9:29 am, Mike Dobony <sw...(a)notasarian-host.net> wrote: > On Tue, 17 Jun 2008 15:43:55 +0200, Chris Whealy wrote: > > Mike Dobony wrote: > >> I basically agree, but you can't fix clipping. Compression on the FOH > >> would be limited to mainly keep from clipping. If I need to leave to help > >> out somewhere else and someone decides to play I don't want to clip either > >> FOH or the recording. Basically, I'm not sure I don't need it. > > > If your mic input is clipping, then your gain structure is wrong. > > You'll need to adjust the mic's input level so that the loudest sound > > you can produce does not result in any clipping at the input stage. If > > this then results in your normal speaking voice being too quiet, then > > use the output gain of the compressor to boost the level. > Okay, you have unknown speakers on at present unknown subjects with unknown > speaking characteristics. How do you set for the loudest and still have > good recording without knowing the characteristics of the speaker? That's what a sound check is for. Somebody has to get on the mic and make noise, somebody at the desk needs to set the gain. That said, gain adjustments are required throughout a program when dealing with different speakers. That's what a mix engineer is there for. Other wise there wouldn't be much use for one. >I want > normal recording at 0 and moderate emphasis at 10-15. Soft knee at about > 15 to moderate any aggressive speaking. With dynamic vocals in a live setting, a hard knee is often what's called for. Once again, adjustments to threshold and ratio will have to be made based on who's talking. > > How you adjust your compressor is determined by how much control you > > want to exert over the dynamic range of that channel. If you require > > alot of dynamic range for effect, then use a lower compression ratio; > > however, I can't judge this for you. > > Yup, that is what I was thinking, soft knee just to keep things in control.. Read the previous statement. If you're using a decent compressor, a hard knee will be relatively transparent. Rupert
From: Mike Rivers on 17 Jun 2008 15:17 Mike Dobony wrote: > Okay, you have unknown speakers on at present unknown subjects with unknown > speaking characteristics. How do you set for the loudest and still have > good recording without knowing the characteristics of the speaker? You either have an operator paying attention or you get an automatic mic mixer like those that Dan Dugan makes (they really work). http://www.dandugan.com/Products/auto.mixers.html -- If you e-mail me and it bounces, use your secret decoder ring and reach me here: double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers (mriv...(a)d-and-d.com)
From: Scott Dorsey on 17 Jun 2008 15:27 Mike Dobony <sword(a)notasarian-host.net> wrote: >> It's sure a better world than when folks were using those Marantz cassette >> decks for this kind of work, and living with the AGC pumping up and down >> throughout the whole thing. > >True, IF you have the time available to adjust afterwards. We don't. If you're recording onto CF and then dumping the file to a CD on a PC, the software on the PC should allow you to do that in the dumping process. Once you get the parameters right, you just use the same batch command every time. Otherwise, try an RNC in super-nice mode, which combines a soft knee at low levels with a harder one at higher levels. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis."
From: Paul Stamler on 17 Jun 2008 18:00
"Mike Dobony" <sword(a)notasarian-host.net> wrote in message news:1wytoj1duglhe.1o1k3khvfsng9.dlg(a)40tude.net... > > If your mic input is clipping, then your gain structure is wrong. > > You'll need to adjust the mic's input level so that the loudest sound > > you can produce does not result in any clipping at the input stage. If > > this then results in your normal speaking voice being too quiet, then > > use the output gain of the compressor to boost the level. > > > > Okay, you have unknown speakers on at present unknown subjects with unknown > speaking characteristics. How do you set for the loudest and still have > good recording without knowing the characteristics of the speaker? May I suggest that you obtain and read the "Yamaha Sound Reinforcement Handbook"? It will answer these questions and a whole bunch more. To be brief, you need to understand the difference between the gain trim pot in the mixer and the channel fader. You set the gain trim pot so the mic doesn't clip when somebody really loud starts yelling into the mic. One way to do that is to bring the mic over to the mixer and do the yelling yourself. Once that's done, you'll set the channel gain to its nominal level, set the master fader to its nominal level, then bring up the level control on the power amp or powered speakers until you get the level you want. Patch in compressor/limiter as needed. > I want > normal recording at 0 and moderate emphasis at 10-15. Soft knee at about > 15 to moderate any aggressive speaking. 0 what? 15 what? These are arbitrary numbers which don't mean anything. Get the Yamaha book. Peace, Paul |