those are great mics, but the placement of them can be an art based on the performance of the various actors.
the problem with the cheek mounting is that when the two people
face one another the opposite person is facing and talking directly in to the other mic.
Since they are cheek placed it tends to be quite direct.
These are omni mics also
I would guess that this is more of the problem you are having than actual comb filtering . All these terms tend to be a
bit misused, so rather than try to re explain, take a look at
http://www.moultonlabs.com/index.php/more/about_comb_filtering_phase_shift_and_polarity_reversal/
You might try different placements
One is on the forehead pointing down, the other is higher up on the temple in the hair instead of on the cheek.
You might also try to determine if it is just one actor, or a specific pair
etc.
In addition these mics are well know for getting problems from sweat, and after getting sweated on, and drying the performance tends to vary also. It is important also to make sure if you can that beads of sweat are not getting directly into the mic.
Sennheiser made a gold dot version vs the red dot version to try to help in this area.
Again these are great mics, but not properly used or formerly abused you can have all sorts of problems.
This is where on a large format
console VCA's come in handy, where you can assign the
level control to a common slider so that you can group the inputs together but still leave the assigned to the same output
Here are a few suggestion that you could do with your
mackie
One is make sure that you are running
FOH in
mono mode, with what you have stereo pa is not a good Idea. If need be you can take the INPUTS to the rest of your
system amps
etc, and get a
y cable and connect it to the
mono out of the
mackie.
Now on each input you have the ability to select sub 1-2 3-4 and l-r
you can place a pic either on 1-2 or 3-4 of l-r based on the pan knob, so now you have 6 channels that you can sort of work with. Take the sub 1-4 and
plug them into your 29 30 31 32 inputs and assign these just to l/r, now what you have is the ability to
group your inputs into 6, L-r are for mics that you assign and typically do not need to alter as a group, the set and forget except for individual
channel tweaking, the mics that you do need to control can then via the sub assigns and the pans be split into 4 with now 4 faders controlling these 4 groups. Set your master for your over all
level, set the faders on 29-32 for the relative
level to the rest of the board, and use the faders for subs as your grouping controls.
This gives you in
effect a second
level of control on the board, where you can set individual levels, but at the same time move a single
fader and control a group as part of the overall mix
Probably sounds more complex that it is but if you sit infront of the
mackie and think about it and look at the
gain structure you will see what I mean
Sharyn