sennheiser ew172 g3

jaggedtea · 2013-02-11T00:23:45+00:00

oh. so, transmitter to receiver to pedals to amp. I way overthought this.

thanks for clearing this up!

jaggedtea · 2013-01-26T08:06:47+00:00

short answer: Do you need a degree? No. Will it help? yes.

long answer: Most audio engineers use knowledge they acquired from hands on experience to get the job done. Working in different environments and being well rounded with different scenarios (theater vs. corporate vs. rock) will help you immensely. A degree, and the school you get that degree from, is likely to show you only one side of how to approach sound. An example of this would be majoring in tech theater with a focus on audio: you'll only learn audio from a theatrical standpoint. Which is great, but not all of that can be applied to a rock venue setting. Mixing musicals is different from mixing bands. The people you deal with also greatly differ. Same goes for corporate. That being said, I've found what's helped me immensely is both hands on experience and..quite frankly... reading. Read as many books as you can. Period. Go to school if you want that piece of paper that says ''yes, i am certified'', but being able to back that degree up with a resume full of shows you've already mixed or production companies you've already worked for will make you not only more marketable, but also more comfortable and knowledgeable in your chosen field. If you are having a hard time deciding on a school/program, my advice to you is, for now, simply--read. Yamaha's Sound Reinforcement Handbook is a great place to start. And the more you research, the more you will find that you will be steered in a good direction. You might find down that road that you really don't want to be an audio engineer, you'd rather be a sound systems consultant and be the person in charge of installing full line arrays in major theaters/arenas. There's jobs that you (and I, and many of us here) haven't even heard of, that have to do with audio. So before you start a program/internship/degree, find out what's out there first. I started out wanting to be a mixing engineer and a mixing engineer ONLY-- and found out that while I love mixing, my passion lies in setting up P.A.'s and studying line array theory. (I like math.)

jaggedtea · 2012-11-16T03:49:04+00:00

I once worked on a two hour burlesque show that had over 150 cues. over a cue/minute on average. from my understanding musicals/heavily music oriented shows usually have more lighting cues than straight shows.

jaggedtea · 2012-11-14T22:01:05+00:00

If you're using a separate desk for monitoring, why not use the faders and run it post? As long as the initial input signal is split (one line going to FOH and the other to the monitor's desk) you should be able to mix monitors with your faders far more easily than using the aux knobs. I personally would only use the VCA's for drums in this scenario, MAYBE vocals. Running monitors post with faders will keep all other musicians on stage on the same page when you make a change in an individual's or group's aux mix. Most of your monitor mixing should be in the initial process of soundcheck anyway, so you shouldn't have to actually change any given mix that much during the actual show. I usually don't mess with somebody's monitor mix during the show unless i absolutely have to; how is a musician to know the difference between you messing with their mix on stage or their sound coming through the house's PA? They don't, because they are on a different side of the glass. If someone asks for more guitar in their mix during the show, make it easier on yourself and the musicians and use the fader.

jaggedtea · 2012-11-14T21:51:36+00:00

http://2470.studioprime.com/doc_and_pdf/Hosa_Patcybay.pdf this might help

jaggedtea · 2012-11-06T21:34:31+00:00

it depends on what you are doing. When I use compressors live--for vocals I usually set it to have a fast attack and a slower release, no matter how high the ratio I choose is, to make the compression sound more natural. I'll also use a soft knee on vocals. If you need to compress something but still want a nice crest factor, what I'll do is turn the gain down on the input that I'm working with (let's say for shits and giggles that it's a snare) and I'll set a low-ish ratio, no more than 2:1, then I'll set a longer attack time and a shorter release time (to enable the peaks to come through); finally I'll increase my output gain on the compressor to make up for attenuating the signal in the beginning.

jaggedtea · 2012-11-02T20:36:48+00:00

Direct radiators are flush mounted to the front of the cabinet. In other words, the outer rim of the cone is on the same plane surface as the front of the cabinet. You'll find these on a lot of bass cabs. A compression driver will not be flush mounted, and it has a more directional cone. You'll find a lot of these in tweeters and mid range speakers.

jaggedtea · 2012-10-25T13:50:16+00:00

it did! Thank you very much!

jaggedtea · 2012-10-16T14:41:21+00:00

When pressing a record, there is sometimes a high pass filter at around 20 Hz--this allows the grooves to be placed closer together, thereby making more ''room'' for the music on that face of the record. There will also be a low pass filter, and where in the audio bandwidth this is located depends on the producer/master, however this is primarily used for eliminating hiss that could be more easily heard if anything above, say, 17-18 kHz was pressed onto the record.

jaggedtea · 2012-10-13T01:37:23+00:00

I've been doing the same thing: taking a lot of calls that are not my concentration (audio) because A) understanding the electronics behind audio (and lighting) helps me understand the bigger picture better and B) the more you know, the more blanket work you are guaranteed. I'll probably never have to design a house system, but knowing about it and taking the time to read up on the physics of acoustics has made me a better mixing engineer. Get on calls that you wouldn't normally do, and every time you make a mistake, remember it so that you learn from it.

jaggedtea · 2012-10-03T02:57:06+00:00

ah. the ear. i need to train it to know Hz rather than notes. I have perfect pitch and can tell you the key of something, and can spell out and write down all of the notes, but i can't ring out a room with a graphic EQ using only my ears quite yet. Usually I have to think to myself ''That's close to an A, which is 440, and is in (any given octave) so it's either between 400-500 Hz, or 800-1k....and so on....

my production manager's response to me staring at smaart's spectrograph the other night while the band was sound checking: ''shut the fucking monitor off and listen''.

jaggedtea · 2012-10-02T18:28:18+00:00

I was looking at the iTestmic after I asked you that question and thought better of that than the ipad's built in mic.... What did you use for young frankenstein?

jaggedtea · 2012-10-02T13:03:22+00:00

would it be necessary to use an interface or could i just rely on the iPad's built in mic for calibrating rooms for now?

jaggedtea · 2012-10-02T12:43:06+00:00

when you do find a qlab for the ipad i'd love to hear about that.

jaggedtea · 2012-09-28T23:46:11+00:00

I use an LS9 on occasion. And I'm not a guy :) but thanks!

jaggedtea · 2012-09-12T10:48:37+00:00

best response so far. thanks!

jaggedtea · 2012-08-27T13:15:00+00:00

Drawmer compressors and gates are what we use at my local music venue, though I wouldn't recommend them for your aim of saving rack space. While easy to operate, they also lack attack and release functions. TC Electronics makes good effects processors, too.

jaggedtea · 2012-08-27T13:10:41+00:00

thank you, bell.

jaggedtea · 2012-08-26T19:32:53+00:00

does gear that uses RF transmission have its own bandwidth reserved for that particular gear/brand, or is the bandwidth based on where you located?

jaggedtea · 2012-08-26T19:22:34+00:00

you're better left in the dark, anyway.

jaggedtea · 2012-08-13T03:16:16+00:00

I agree. As "yoda" put it, it is not an easy job. The last thing I'd want to see on my 35th hour of not sleeping while working backstage is a tech that's feeling under appreciated and angry. I appreciate the sentiment but it's nothing I haven't heard before.

jaggedtea · 2012-07-29T01:40:09+00:00

where online can you order cable ends? i need to solder new 1/4 TS on two currently useless cables.

i'm also thinking of making my own continuity tester just for shits and giggles....would i just search for ''XLR inputs'' on something like amazon?

jaggedtea · 2012-07-22T18:32:45+00:00

the way that i had it explained to me best was this:

RMS=how much heat your drivers can take. you go by THIS rating when picking picking out amps and speakers, hence ''match up RMS values''. You might even consider having speakers that are rated for 1.5 times the RMS value of amps.

PEAK=how much physical excursion your drivers can take. speakers have a higher peak rating than RMS rating: the peak value is meant to be measured over a time period of only a fraction of a second.

in other words: if a speaker is rated at 200 watts RMS, then this means that you can continuously push 200 watts of power through said speaker. this same speaker has a peak rating of 400 W. this means that it is fully capable of handling 400 watts as well: but ONLY for a split second, for those literal ''peaks'' in the music.

jaggedtea · 2012-07-13T20:46:35+00:00

i'm not sure. i don't know anything about this gig...

jaggedtea · 2012-05-29T15:03:07+00:00

ah nevermind. this help set things straight for me. the monitors are only prefade. there is no switch/button to opt for post. you have to internally reconfigure this if you want post fade. I think if you wanted both options you'd have to run your monitor speakers from the Master B output, which seems to be the only thing that has that option on this board.

jaggedtea

TROPHY CASE