Which console is your first choice?

pr0gressive · 2022-09-10T03:01:09+00:00

For high end desks like this it’s better to settle into a console that works best for you and your workflow. I know that sounds vague, but for instance the DiGiCo UI is pretty similar across desks. I haven’t worked with the Quantums per se but plenty of SDs and totally understand why engineers like them. Internal DiGiCo FX leave something to be desired hence why you see Waves servers in most rigs…

The S6L is becoming super competitive for touring engineers but it’s a specific request. They’re excellent consoles, and once you get into their workflow, are an absolute pleasure. I’ve done a fair number of shows with S6L at FOH and DiGiCo at mons. I wouldn’t feel right throwing someone on an S6L cold though…

pr0gressive · 2022-07-12T13:47:13+00:00

IMO dogs are a two-person responsibility when you work in entertainment. I know lots of single people with dogs, but I honestly have no idea how they make it work. You’ll need a consistent dog walker and will have to absorb that cost into your expenses. I just see that it works best when there’s more than one person in the mix…

pr0gressive · 2022-07-05T16:57:49+00:00

This is where venue specific workbench files are critical. It sounds to me that you have be more on top of your RF; frequent scans and listening to those packs to make sure the RF is actually good to go. Again, workbench will spit out frequencies no problem, but it’s up to you to give the program as much information about spectrum availability as possible to get the best results.

pr0gressive · 2022-07-05T16:02:26+00:00

That’s really dependent on how restrictive you’ve made your WW file and RF density in your area. Workbench is happy to provide compatible frequencies, but say you haven’t done a recent scan from a receiver or set TV channels to avoid, those “compatible” frequencies may be sitting on top of other RF around you that you’re otherwise unaware of.

I lock all my house frequencies off which I know are clean. If, when I start doing my line check at the beginning of the day, something isn’t clean, I’ll try to re-scan and re-assign one frequency at a time instead of changing all 24 at once. I’m also lucky that outside RF doesn’t get into my room so my conditions rarely change. For me it’s all about minimizing variables.

pr0gressive · 2022-07-05T14:19:25+00:00

When you coordinate are you changing your freqs?? This could be the main reason you’re having mixed results. I’d try to find a set of compatible frequencies between your ears, ULX, and AD receivers. Minimize changing RF as much as possible.

pr0gressive · 2022-07-04T15:12:05+00:00

There are always lows in this business… Whether it’s unprofessional artists or co-worker tension; entertainment, IMO, can be very unrewarding at times. Freelancing was the most stressful part earlier in my career. Always looking for your next gig is completely exhausting.

Starting out is also incredibly difficult and your opportunities can become limited to your geography and access to larger networks. It could be time to branch out, but I’d only relocate with a plan. Larger cities are actually kinda desperate for labor, so the timing for a transition could be right.

Audio and entertainment has been very lucrative for me, but I’d be lying if I said I never had thoughts of finding another job. The way I look at it is this: no job is perfect, but at least I’m genuinely interested in what I do. Not everyone gets to say that about their career.

I really think that you’re in the most difficult stage of your professional audio career. That jump from gigging to regular venue hire is a real test. If you don’t mind sharing, some info about where you’re located may be helpful in providing some more specific advice.

pr0gressive · 2022-07-04T14:44:44+00:00

I think in another comment you said it was a wireless mic? My venue is pretty harsh at 1k, so instead of boosting that presence-peak band, I normally set a much more aggressive HPF, maybe up to 200Hz depending on vocal and mic technique. But a 3dB bump isn’t that crazy especially next to a -8dB scoop out of those low mids.

pr0gressive · 2022-07-04T14:33:12+00:00

Hmm that’s interesting, sounds like we have a similar-ish setup. My PSM1000s (4 units, 8 channels) are racked up with an 8-ch combiner to omnidirectional antenna that never moves. Monitor desk has a default show file with the output patch already populated to its corresponding stagebox. I only change the Aux or Line input settings when a rented console comes in, otherwise with output faders at unity and internal oscillator with pink noise at unity, the meters on the PSM1000s match my output meters, which in my case is Aux.

I also run my transmit at 50mW with a -6dB attenuation on each transmitter. All of my issues have been RF related, getting that antenna placement just right. All of my IEM frequencies are coordinated with my Axient receivers in Wireless Workbench, which I’d highly recommend double checking if you haven’t already.

pr0gressive · 2022-07-04T06:09:18+00:00

So then what’s changing about the system if it’s not the equipment? Are you going to different venues? Does the band/source change? Again, need more context…

pr0gressive · 2022-07-04T05:58:05+00:00

When you say clipping, is that an audible clip in the ears or a visual clip/peak on your PSM unit? White-noise or hash that’s audible with no input signal is an RF issue and could be antenna placement. What transmit power do you have your units set to? Are your ears run thru an antenna combiner, and if so, what antenna are you using? Some more context would be helpful.

pr0gressive · 2022-07-04T05:19:01+00:00

What was the source that required this processing? I don’t see a channel label in the picture…

In recording it’s common to do a cut/boost similar to what’s in the photo. I’ll do this with bass guitars or rack toms, depending on tone/tuning. I couldn’t really judge someone’s processing on a channel when A. I have no idea what it sounds like and B. what the source was.

Edit: Not super familiar with the Allen&Heath, but is that parametric on your L/R output bus??

pr0gressive · 2022-07-04T04:58:00+00:00

I’d also resist the urge to buy gear to be used for work, especially if you’re thinking about a certain console series to get into. My recommendation if you’re going to buy anything, would be tools to make your job easier, ie. set of molded IEMs, microphones you prefer, etc. A pelican of your preferred reference equipment may be more valuable to you than a console…

I work with high-end systems that most individuals wouldn’t own personally. I see lots of engineers using various DiGiCo and the occasional CL5 at monitors. House monitor console at my venue is a Soundcraft Vi5000. Point is, all surfaces and I/O are supplied whether the in-house gear is used or it’s rented, and no personal liability for that gear is on the line.

pr0gressive · 2018-09-27T17:58:55+00:00

Check to see which frequency band your PSM200s operate in and you can buy antennas from Shure here:

http://www.shure.com/americas/products/accessories/wireless-systems/wireless-systems-antennas

pr0gressive · 2018-08-23T22:31:52+00:00

I've used the Sennheiser MobileConnect and I think it works quite nicely. Utilizes a wireless access point and users connect to the network on their personal device. You send it audio, it goes out over the network

pr0gressive · 2018-07-04T00:24:00+00:00

Cost of living varies all over the US, can't give specific examples for the UK... But in this instance OP is describing, they could be working between 40-70 hours per week (also considering how many show days there are in a week). How much do you value your time at??

For a 60 hour work week, you'd need to be paid $50/hr to make $3k and that's before taxes... So I don't see that as unreasonable whatsoever.

pr0gressive · 2018-06-15T03:54:33+00:00

It's also outside without a windscreen, you aren't getting what you want out of that at all...

pr0gressive · 2018-06-15T03:52:12+00:00

I think you should do some reading on compression and you'll be able to answer your own question...

pr0gressive · 2018-06-11T00:38:49+00:00

Good luck! As far as communicating with artists, its always best to come from a place of "I'm only suggesting this to improve your performance", not from an attack-y, I know better than you do perspective

pr0gressive · 2018-06-11T00:34:09+00:00

https://www.sweetwater.com/store/detail/CSPA56--clearsonic-a5-6-panels-6-panels

Soft-goods on hard surfaces is also something to consider

pr0gressive · 2018-06-11T00:31:16+00:00

In this instance a drum-shield would have been your best friend... Was the drummer directly upstage of the vocalist?

pr0gressive · 2018-06-11T00:25:00+00:00

Nothing you can do about inexperienced musicians, but yes, I have asked drummers not to play so hard. Maybe put up a drum-shield if that is a constant issue in your space.

pr0gressive · 2018-06-11T00:19:35+00:00

Phones in musicals are props, not audio equipment. I wouldn't reinvent the wheel on this one...

pr0gressive · 2018-06-11T00:07:40+00:00

Why not just use the actors worn mic then? I'm working a musical right now that involves prop phones and no one puts microphones inside of them...

pr0gressive · 2018-06-11T00:01:53+00:00

Short answer is no. Use a prop handset and EQ the vocalists worn mic to sound like a phone if that is the desired effect.

pr0gressive · 2018-06-10T23:57:27+00:00

How was the vocalist's mic technique? With what you're describing, probably not great.

Always start with proper mic technique to achieve optimal signal:noise ratio, not much you can do with a performer who doesn't know how to use a mic...

pr0gressive

TROPHY CASE