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11

quick fix to deal with it in post and save yourself time on the tweaking: duplicate the track, find the worst moment of sibilance and set your de-esser's settings to control that particular instance (you can do this RTAS or Audio suite)...on the duplicated track of course. once that's done, go through and crossfade/mix between the processed and unprocessed ...


5

It's perhaps worth going into a bit more detail about the setup. From what you've said I presume it was a PA system and people speaking, right? In makeshift situations like these I think the important things are: Use a cardoid/hypercardoid mic. If it's a lectern situation miniature shotguns like the akg c474 are good for this sort of thing Get your speaker ...


5

Adding some felt or faux-fur is a good place to start. Felt will probably attenuate, but may not help much with the wind noise. Faux-fur is great at killing wind noise, but doesn't attenuate much. I don't have any experience with their products, but the windscreens pictured at TheWindCutter look good. Also take a look at the Rycote Mini Windjammers. You ...


4

A compressor will, for a regular piece of music generally "inhibit" the bigger peaks because it actively operates like a very quick volume control. It/they can usually start operating in a fraction of a millisecond and there are usually controls and settings that can determine how long/short the "volume adjustment" stays active for (100 ms + is normal). But ...


4

The best you can do with the MobilePre is to have two mono channels: click on one and tracks on the other. This is probably not what you want. I think you're going to want an interface with at least 4 independent outs: one L/R pair for the PA tracks, and one L/R pair for the drummer getting the click. Depending on how loud the PA is and how isolating the ...


4

Listen mate, if you are having a problem with every single 3.5mm adapter you have purchased, it's probably the socket.


3

The artists are the most important, so your stereo mix from the board should be your primary source (I wouldn't use the FoH mic as a primary.) And no matter what the guitarists are doing on stage, get your board feeds in from each one mixed right at sound check, so that at worst case you can stream the artist live. For crowd mics, try and avoid getting any ...


3

I can't tell the exact speaker model, but they are studio monitors from KRK Systems. The devices on the bottom of that photo are production switchers, which are designed for doing live video production. The screens appear to be the monitors for the switchers themselves, so it isn't software, it is hardware. You are also probably looking at atleast 25 ...


3

All newer Home Theater Receivers offer an option to balance the sound coming from your speakers, which will optimize the surround sound experience. Using the setup menu on many Home Theater Receivers, the user can set speaker distance, speaker size, and speaker channel level in relation to the listening position. http://hometheater.about.com/od/...


3

Of course, it's much better to do a separate mix rather then using the FOH's, this way you can do whatever you want with the guitars if they're too silent in the main mix. As a hybrid solution, you can take e.g. 4 instead of 2 channels out of the FOH: the main mix plus two aux sends which you can use for only the instruments featured too weakly in the mix. ...


3

I use two rechargeable nickel metal hydride AA batteries with a wireless mic. They don't last as long as normal batteries, but I only need it run for two hours without recharging so it works well for me.


3

If you're on a Mac or UNIX box, you might be able to do something useful with a UNIX-domain socket and dtach - basically you'd have your recording "server" save to the socket in .wav format, and then have dtach connect to the socket and multiplex the output into multiple encoders (cat, lame, flac, etc.). It would look something like this: dtach -A fifo-...


3

I would check out the glitchmachines and inear display plugins. They are amazing for being both weird and wonderful! Filtering is also a good way. For example the chaos created by Trent Reznor on the end section of his song "The Great Destroyer" was created largely in part with Metasonix gear. I won't get into this crazy gear...you have to check it out ...


3

You have a few options, 1) you can buy a 1/8 or 1/4 inch headphone jack and short the L R connections together since (in an unbalanced situation (most regular headphones)) they share a common ground. Keep in mind you will be driving twice the load from the same source which will effect the output. 2) You can buy a headphone amplifier that has a mono ...


2

I started sound with a non-profit that did youth work. We had a weekly event that took place in a borrowed space and we had to haul in, setup, tear down and remove all of our equipment every week. It was old, beat-up, substandard equipment and was a royal pain to work with, but it is also a pivotal part of what has made me as good of a sound guy as I am ...


2

For software, I'd recommend Ableton Live. You can see your hold clip grid, color-code everything, add fx, etc. Lots of integrated hardware controllers available. On the hardware front, an MPC might do the trick, depending the situation. Triggering sfx from pads just feels better than a keyboard to me. And as a marriage of the two, I'd recommend Maschine. ...


2

I know a lot of people in live events use Q Cart. It's not too pricy and is apparently very stable. EDIT: Today I have been using Jingle Palette and am pretty happy with it's performance. It's free, though not sure it's available on Mac (I was using a PC today). You can load up to 30 sounds per "palette" and it's quick and easy to load a new "palette". ...


2

I did a lot of TV shows for 15 years. I started with Akai sampler then switch to a macbook, motu 828 and Kontakt sampler trigged by a keyboard. Now you can have a nice rig with small audio card with enought output to support surround (if you need) and a small keyboard with controls as levels, cutoff, effects... I did a bunch of kids shows live with a lot of ...


2

The generic term for this is vibrato, though it wouldn't usually move 'between octaves' but rather in smaller increments like semitones. Applying a low-frequency oscillator to the pitch pin on a tone oscillator would achieve the effect. The amplitude of the LFO would control the degree of pitch shift over time, and its frequency would affect how rapidly it ...


2

The good thing is that style of music is not necessarily that important. Generally (and this is a generalisation) you want your PA to provide amplification without affecting the sound, with EQ to carry out tweaks to compensate for the frequency response of the venue. Any effects on instruments or vocals should be carried out using processors separate to ...


2

I don't know the specifics of the production, but mic selection is important. Different mics treat different voices differently. Doesnt sound like you have much time for mic selection tests, but i'd start there. Can you set up multiple mics and pick the best?


2

I've been having a very good experience with Lithium-Polymer 9V rechargeable batteries in my Sennheiser wireless lapel mic. I was able to buy two batteries and a charger for $50.


2

For what its worth you generally never combine inputs with out having level control even if the devices have their own level control. You generally want to have control over the level of each input and there really are no multi-input signal combining DI boxes I know of (that does not mean they don't exist though). The way I read what you are asking is that ...


2

Yes, according to the manual, page 20, the FX output on the mixer is before the internal effects processing, so you may use that output as an AUX too. You could perhaps free up the other AUX send by using the 2TRK Out option for recording instead. Also, if you don't mind the mix being mono, there is a pretty neat trick: use L for the P.A. and R for the ...


2

Here are some possible causes: You hear the effect of a limiting device (no mention of that in your setup though). You hear the lack of headroom in the amplifier because it working too hard and internal "limiting" start to occur. If this is the case, you should be hearing increased distortion as well. You hear a speaker working on too much: when the bass is ...


1

Rather than automatically generating visuals based on sound, which is difficult to do meaningfully, why not make your own music performance more visual? This way you don't need a VJ, you can create a visual show, and people will be watching YOU instead of the visuals you project? You can use input devices that are impressive to watch in a live performance ...


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