Compressor models

Thank you.

soundlight

Well-Known Member
Always glad to be of assistance.

And I can understand not wanting to give up the purchase of the 57's. My school's budget finally allowed me to get two this year, and they're the best mics that we have (besides the fact that they can be used for so many different things).

Austinro

Member
We have four SM-58's, but no SM 57's. The SM-58's are great for vocals. Another question, how should I hook up the compressor to the system? It will mainly be used for vocals.

Eboy87

Well-Known Member
Definitly on the insert for the channel(s)

soundlight

Well-Known Member
Yes. Put it on the insert. If you put it on the main mix, you'll compress the whole mix, which would compress the signals that you don't want compressed.

Andy_Leviss

Active Member
Here's a trick you didn't ask, but that your post reminded me of. In a pinch, if you need a mic for a guitar amp or other situation where you'd use a 57, but only have a 58, just take off the metal ball windscreen. It's obviously much more fragile than a 57, this way (hence why I'd avoid using it for, say, a snare), but the basic EQ difference between a 57 and 58 comes from the windscreen.

As for how to hook up the compressor, if you just need it on a single mic, insert it on the channel. If for a group of mics, ideally it wants to be insterted on a subgroup. If you don't have subgroups, you can use a group output and then return the input to another channel, but be very careful that you don't route that channel back to the same group or you'll end up with a nasty feedback loop. Compressors are generally only put on main outputs for effect (some rock guys like a bit of system compression, often a tube comp to warm things up a bit), or as limiters to protect systems if somebody who doesn't know better is driving the system.

--A

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Austinro

Member
Thanks for the tip about the 57's and 58's. If this is the case, could you hypothetically buy only 57's and then get separate windscreens to put on them? We have an SR34-4, so I do have subgroups. Would it sound alright if I put the main vocals on one compressor channel and the two backup mikes on another?
Why I'm here, I have another question. I have been told that during this show there is going to be a group playing "A Space Oddity". I have no idea what instruments will be used, but I am fairly sure there will be a tenor sax, electric piano, and the xylophones. I also was told that there will be around eight people doing it. If I only have four mikes, what should I mike? I'm pretty sure the zylophone will be loud enough, and I don't know how many vocalists (if any) will be singing.
Thanks for the tips,
Austinro

Austinro

Member
I have another question as well. I know it's a long shot, but is there any way for me to control guitar amps while they are on stage? The auditorium is only 720 seats, so amps are fine for guitars. There is a problem though. These amps (because I can't control them) are always out of volume with the rest of the mix. Usually, it is the bass guitar. Is there a good way for me to be able to control the volume on these amps without having to tell someone else? Right now, I am probably going to have to have someone with a headset go on stage and set the levels. The problem with this is that some of the musicians will turn their amps up after the stagehands have gone off the stage. For this reason, I want to be able to have a master control.

soundlight

Well-Known Member
This answer is presented as purely hypothetical.

If the amp has an insert, and you have 1/4" lines on your snake, and you have extra channels on your board, and you have an extra buss, this might work, but you'd better have exceedingly good quality cable, or the signal quality will be decreased too much.

Ok. So, take the send from the insert, run it up to the board, and assign that channel to NOTHING. Don't EQ it, don't do anything. Just send it to the extra buss, and make sure that this is the ONLY thing on this buss, and send the signal from that buss down the line back to the amp. As I said, you'd better hope that you've got REALLY good cable, or else the sound quality could be seriously degraded.

Alternatively, if you have a very small spare mixer, just do this same thing, but just use that small mixer for the guitar amps, and have the mixer just off stage to one side. This way the sound quality wouldn't be degraded as much because the signal won't have to run through as much cable.

soundlight

Well-Known Member
And about what you should mic...some of the bands/groups that are performing most likely have a mic or two. Ask them to bring some extra mics, and use them to mic everything. (unless, of course, it's loud enough already)