hints on a basic setup for good a good live band sound

[Shea Goodall]

Originally Posted by Mark Utley

If you want to see my work, check out http://underthebridge.mumps.ca


-mark

Sorry, couldn't get your files to work. I tried two different browsers...... I'll try and upload some of my files when I have something finished.

[Shea Goodall]

Originally Posted by Bill Binder

The preamps in some cams suck compared to a better stand alone preamp

Do you know what the PD150s pres are like?

[Shea Goodall]

Thanks for the the suggestions guys!! Really helpful. I'm going to have a look at some mics tomorrow at a local audio shop.

Thanks again!!

Shea

[Douglas Spotted Eagle]

Originally Posted by Shea Goodall

Do you know what the PD150s pres are like?

They're not bad, but a lot of guys go in for mods, because they get pretty hissy when cranked and become unusable. For a band, this likely won't be a problem though, I'm sure you'll have plenty of signal available.

[Guy Cochran]

I would go with an Edirol R-1 24 bit compact flash recorder over a mini disc. The file transfers are quick and easy. If you get a small camera, you'll still have to capture the audio, and that is a time killer if you're doing a lot of these. The Edirol is also a lot cleaner than inexpensive cams.

For an inexpensive mic to hook into the R-1, if you can't take a feed off the board, or if there is no board, take a look at the $99 MXL DRK. It is a self powered, large diaphram condenser mic with a tripod - all contained in a case for less than $100. It has XLR out, but includes an XLR to 1/8 miniplug cable to feed into the Edirol. I've compared this mic to the RODE NT1A and it holds up fairly well for the price and the items it comes with.
Here's a recent review http://www.digitalvideoediting.com/a...e.jsp?id=33810

Total solution cost $349 + $99 and the Edirol R-1 is simple, one button REC. Nice when you're running around performing multiple tasks....camera, sound, and lights. Just remember to always use fresh Duracell Ultras or Procells before each gig.

If there is a board and you have access to it, I would get the Sennheiser Evolution G2 $499 wireless package. Why? It can do line or mic in. Then you don't have to worry about sync in post. I wouldn't worry about the interference of the Sennheiser wireless so much as a lot of the performers on stage are using the same system. If they can trust it for live output in front of an audience I'd say you can trust it too. Of course, no wireless system is perfect, hence the Edirol would still be great for backup.

[George Ellis]

Originally Posted by Douglas Spotted Eagle

Umm....have you heard these yet? They are essentially for voice and acoustic guitar only. Not for keyboards, drums, basses, etc. Have been unfortunately saddled with these on a gig one time. Less than impressive, IMO.
Additionally, Marshall hasn't made PA gear for years (as in over 30), they make guitar and bass amplifiers primarily aimed at harder rock musicians, not remotely related to who might use the Bose system. Not that it matters, but my point being that there is a world of diff between Marshall anything and Bose anything, and it would be rare that the two names should ever cross in a P.A. discussion.
What sort of music do they perform?

OT - I just talked to Tom (lead for Ally-X) and he says that, no, they really sound great. It may have been the setup. He runs off his guitar into his 'POD' for effects, then into the unit. He has vocals routed to two different stacks and his wife's mic (lead vocals) goes to her unit and his unit. He has crossed some of the vocals like that for backing vocals too. They have a pair of 18" out front for the kick drum (they are Bose, and it is bass). It took him 2 days to EQ the unit to where it should be and then 2 more days to get the other units in sync working from that.

The best part is that at parties, kids can be up near the front and it is still clear and loud in back (outdoors). And they have been loud. I should have a sample done by Monday.

[George Ellis]

OK (and OT - but in the thread topic sort of), follow-up on the live band using my mic and they are on the Bose system. I have a file up, but it is 60MB, so be forewarned. WMV at 640x480 for 7m45s. Rate is 1000k+ with DVD 1M, CD quality Audio. I have just done cuts and cross fades with no audio massaging. Mic is at center stage about 2' off the front. AT8202's set at -10db. The stereo pair runs into a Beachtek DXA-8 then into a VX2100.

http://versatilemediasolutions.com/Files/AllyX.wmv

I am satisfied with the results, but my ear is not well enough trained for audio engineering (hey, but I am starting to learn what a 'dirty' drumline sounds like :D )

[David Ennis]

I enjoyed the clip, George. I'm pretty impressed with what you got using one mic--I've been thinking about an 835ST and that sold me. As always, I'm also imprressed by the VX2100's ability to handle difficult lighting.

[George Ellis]

Originally Posted by Fred Retread

I enjoyed the clip, George. I'm pretty impressed with what you got using one mic--I've been thinking about an 835ST and that sold me. As always, I'm also imprressed by the VX2100's ability to handle difficult lighting.

Glad to help :D

[Dave Largent]

I have used the 3032 around bar bands and find
that 30dB of attenuation is necessary to
avoid clipping the PD.

You lose about 3dB (give or take) when you face the
mic away from the band as compared to when it's
pointed at the band. Is that about typical for an
omni? I would think so.

I've also noticed that the 3032 is pretty flat sounding.
I guess that's a good thing, right? I haven't side-by-side
compared but my gut feeling is that some of the
Rode small-diaphragm condensers (NT5) are more
musical sounding than the AT mic.

[George Ellis]

A shortened version of the above 60MB clip (same material, cut harder, video in the 256k range) - now at 8MB goodness :)

Ally-X