Specific Mackie Setup Question

Archived from groups: rec.audio.pro (More info?)

Your setup is quite simple but it will work....
Consider on going out from sub1-2 and use the signal to trigger the
compressor on sub 3-4. That way it will be better (the trigger is a
compressed signal, better level but harder to set as a trigger because the
RMS will be higher) and easier (you will not have to use an aux that every
rookie can touch.)
You can even think of using only 1 sub for the vocals saving the other for
the telephones........





<blackburst@aol.com> ha scritto nel messaggio
news:1119446126.166551.324810@g43g2000cwa.googlegroups.com...
>A question for audio gurus. Maybe there's even a Mackie rep lurking
> here.
>
> I just obtained a Mackie SR32-4VLZ, used, for a small TV studio. As we
> have many rookies doing audio, I want to set it up as follows:
>
> 1) Compress the microphones to even-out the levels.
>
> 2) Use the microphones to "duck" the devices (VTRs, cassette/CD, cart,
> remote feed, telephone hybrid, etc.)
>
> Here's my approach. Is this right?:
>
> Instead of assigning the mics to L-R, I assign them to Sub 1-2, and use
> them as a group called "mics". I patch a compressor into Sub Inserts
> 1-2, and this levels the mics.
>
> I assign the devices to Sub 3-4 and call the group "devices". I patch
> another compressor into Sub Inserts 3-4. This compressor accepts an
> external trigger, which I will send from Aux Send 4 (I will turn the
> Aux Send 4 pots on each mic channel up to unity, and the Aux Send 4
> master up to unity.) This should provide a trigger to cause the
> compressor to adjust the level on the devices (Sub 3-4) as the voices
> speak.
>
> The operator must make rough adjustments on the individual channels,
> but the basic level setting will be mostly with the Sub 1-2 and Sub 3-4
> pots.
>
>
> Does this make sense, or is there a better way?
>
> Thanks!
>

Archived from groups: rec.audio.pro (More info?)

On 22 Jun 2005 15:22:19 -0400, mrivers@d-and-d.com (Mike Rivers)
wrote:

>
>In article <1119446126.166551.324810@g43g2000cwa.googlegroups.com> blackburst@aol.com writes:
>
>> I just obtained a Mackie SR32-4VLZ, used, for a small TV studio. As we
>> have many rookies doing audio, I want to set it up as follows:
>>
>> 1) Compress the microphones to even-out the levels.
>
>This takes a special kind of device, one per channel. The Aphex
>Compellor is good for this. But are you sure you want to use a box,
>unattended, to even out levels? This may not be a good thing.
>
>> 2) Use the microphones to "duck" the devices (VTRs, cassette/CD, cart,
>> remote feed, telephone hybrid, etc.)
>
>That takes another gadget.
>
>> Here's my approach. Is this right?:
>>
>> Instead of assigning the mics to L-R, I assign them to Sub 1-2, and use
>> them as a group called "mics". I patch a compressor into Sub Inserts
>> 1-2, and this levels the mics.
>
>That will work. You could use a stereo Compellor for that. But it
>won't turn your Mackie into an automatic mic mixer. It will smooth out
>reasonable variations but it won't replace a competent operator
>setting the gain and mic position for each speaker.
>
>> I assign the devices to Sub 3-4 and call the group "devices". I patch
>> another compressor into Sub Inserts 3-4. This compressor accepts an
>> external trigger, which I will send from Aux Send 4 (I will turn the
>> Aux Send 4 pots on each mic channel up to unity, and the Aux Send 4
>> master up to unity.) This should provide a trigger to cause the
>> compressor to adjust the level on the devices (Sub 3-4) as the voices
>> speak.
>
>Yes, that will work too. But you might not like the results. I know
>that when I hear this sort of thing on the radio, it find it very
>annoying. You have to set the time constant of the ducker so that it
>doesn't bring up the level between words or sentences, and because of
>how normal speech phrasing varies, it seems to work un-naturally more
>often that it works naturally. Best to have an operator bring down the
>level of the music when someone wants to talk over it, and bring it
>back up again when the speaker stops talking.
>
>Executive summary: What you're proposing is technicaly feasible, but
>it's going to sound strange.

I agree with Mike, mostly. It IS better to have a compressor for each
mic, but one on a stereo sub group is better than none at all if it is
set up well. Also I agree the ducking is going to be hard to get
right, but if you set it long enough that it doesn't usually gate on
in between words and not too much overall volume reduction, it might
be somewhat helpful.

The way I understand it is you are working with people who are not
real good at mixing and you want to give them a push in the right
direction. You might be able to do so, but if someone has the trim
set really wrong or something, they can find a way to make it sound
terrible in spite of your efforts.

Julian