Recommended Consultant to advise on Audio Set up in DC Area

NeroCaesar

Member
Hello Folks,
I am looking to upgrade our audio system for our theater in Washington DC (School theater, approx 300 seats)
We have a basic setup control booth, Digital mixer, wireless mics, but our speaker system and acoustics needs work.
Anytime we do a musical or live band I simply cant get vocals over the band without feedback or worse, damaging the speakers.

I am looking for a recommendation for someone/company to come in and take a look at what we have, and our requirements and make some recommendations for equipment for a grant to upgrade.

Thanks,
-Greg
 
Hello Folks,
I am looking to upgrade our audio system for our theater in Washington DC (School theater, approx 300 seats)
We have a basic setup control booth, Digital mixer, wireless mics, but our speaker system and acoustics needs work.
Anytime we do a musical or live band I simply cant get vocals over the band without feedback or worse, damaging the speakers.

I am looking for a recommendation for someone/company to come in and take a look at what we have, and our requirements and make some recommendations for equipment for a grant to upgrade.

Thanks,
-Greg

Not knowing what you have now my advice will be generic.

The first problem is the band/orchestra is TOO DAMN LOUD without the PA. That means the accompaniment will be picked up by the actor's mics. "Loudest sound at the mic, wins." I suspect this is a big part of the problem you're having getting the vox over band.

The music director needs to have a firm grip on dynamics. This is a human factors problem far more than it's an equipment problem. And it's not just in your venue, it's a common problem I've dealt with daily for close to 40 years. "Can I get more of my vocal in my monitor?" "Sure, as long as you want more drums and more guitar with it, because they're louder than your voice at the microphone."

Have you had loudspeaker damage from over-operation? That points to the operator exceeding the capability of the product. Students and many staff lack the experience to detect a sound system at the point of "distress" and just keep turning things up. If the music is louder at the mic than the vocals, see above; it becomes a dog chasing its tail.

None of this means the venue does not need improvements, but if the above describes even part of what's going on in your auditorium, "bigger, better" will not, by it self, deliver superior performance. Acoustic treatment of the performance area and audience space are different things, too, and a consultant will help determine the best course of treatment for each. Don't be surprised if the consultant suggests more audience area treatment than on stage.

Good luck, let us know how this all works out.
 
Not knowing what you have now my advice will be generic.

The first problem is the band/orchestra is TOO DAMN LOUD without the PA. That means the accompaniment will be picked up by the actor's mics. "Loudest sound at the mic, wins." I suspect this is a big part of the problem you're having getting the vox over band.

The music director needs to have a firm grip on dynamics. This is a human factors problem far more than it's an equipment problem. And it's not just in your venue, it's a common problem I've dealt with daily for close to 40 years. "Can I get more of my vocal in my monitor?" "Sure, as long as you want more drums and more guitar with it, because they're louder than your voice at the microphone."

Have you had loudspeaker damage from over-operation? That points to the operator exceeding the capability of the product. Students and many staff lack the experience to detect a sound system at the point of "distress" and just keep turning things up. If the music is louder at the mic than the vocals, see above; it becomes a dog chasing its tail.

None of this means the venue does not need improvements, but if the above describes even part of what's going on in your auditorium, "bigger, better" will not, by it self, deliver superior performance. Acoustic treatment of the performance area and audience space are different things, too, and a consultant will help determine the best course of treatment for each. Don't be surprised if the consultant suggests more audience area treatment than on stage.

Good luck, let us know how this all works out.
Thanks, makes me feel a bit better. I am mid level knowledge with my audio, and feel like I am missing something obvious or specific.
Audience is all concrete/ cinder block and no acoustic treatment which is a big factor
The front speakers are too close to the stage which isnt helping feedback
I have a feedback destroyer and a DBA helping, but its sloppy
I could use some equalizing in the room, and maybe some advice on more efficient post-soundboard setup
Little things like should I abandon my hanging choir mics (too close to side vents) and go to a decca-tree setup for recording

But yeah the band could always be quieter (no pit, they are onstage on an US platform most of the time)
 
No matter what direction you end up doing, nobody can change the physics of gain before feedback, good mic'ing practices, and keeping the orchestra under control.

I find the vast majorities of schools/gymatoriums have similar issues. They stick floor and hanging mics that are, at best, 8-10 feet from the source, and expect them to sound like Broadway quality mic'ing when Broadway is sticking a microphone at maximum 5-6" from the person's mouth.

So it begs the question. Are you already employing these techniques and you need help with acoustics, equipment, technique, etc? Or are you looking for a magic unicorn to make everything sound amazing despite not really having the tools to do it right? Not to sound harsh, but it's a pretty common theme out there in amateur world.
 
Understandable, I just reviewed my op, I should have said I am also looking for some tips on best practices, as well.
Despite an actual theater tech degree, and decades in the field, I have split my time between carpentry, lighting and audio. Jack of all sort of thing, which is why I know enough to say I am missing knowledge in certain areas.
It would be nice to not have to wrestle the feedback down each time we have more then just a speaker giving a power point. Lets say I am looking to optimize what I have.
 
@BillESC is in the DC area. He's excellent to work with.
 
What might be helpful is to find a good FOH engineer in your area who is accustomed to that sort of work, being musical theatre or live band, and pay them to come into your next sound check and work it with you.

If they can't get a decent mix out of it either, then that improves the odds its environment (or gear, in roughly) that order, that are the root cause of the problem.

If they CAN get a decent mix out of it, then you may pick up some useful pointers from them about what they had to avoid. Someone who 'narrates' well would be helpful in this type endeavour.
 

Users who are viewing this thread

Back