View Single Post
  #8   Report Post  
Tim Padrick
 
Posts: n/a
Default

I prefer to have a 1/3 octave AND a feedback gadget (Sabine 3102 in my
case). Let the Sabine take care of the feedback that comes up as you raise
the gain. When you are done fiddling, lock the filters (I don't run any
floating filters). Then use the 1/3 octave for those freqs that are "loose"
but not feeding back. (When you ring out with the FBX, turn the amp inputs
down and run the board hot, so you are hitting the FBX with plenty of signal
so the detector will work faster. When done, then turn the amps back up.)


"Dan York" wrote in message
...
Hello!

I've played in a few bluegrass bands over the years and they are usually
quite interesting bands to setup mic's and p.a.'s for. Problems range
from mic-shy performers ( some fear about electrical-powered things ) to
trying to fit 4 or 5 people around one mic. Probably some of the best
sounding gigs were the ones where everyone had their own instrument mic
which minimized shuffling around on stage, but lacked that certain
down-home appeal of everyone close together for the vocal harmonies
around one mic. We also had our own vocal mics, too, since we usually
sang 3 or 4 part harmonies. This setup worked well on large outdoor
stages or settings. A big difference can be made by the individuals
stepping back slightly from the mic when they aren't taking a
break/solo....and this requires a little practice for most bluegrass
musicians. Also, monitors for the vocals really pay-off if you can
incorporate them.
I agree with the others about close mic'ing everything in the case of
getting some volume out, but I realize what you are trying to do with
just two mic's...and it is really difficult to pull off. Maybe just
make sure the pa main speakers are in front of the mic's a little, and
if you are all closeup around the A3000 mic you shouldn't need a monitor
then, Make sure your bass player is somewhat centerstage behind the
performers if possible. When you boost your volume level and things
start to feedback, either eq that squeel or howl out with a graphic
eq, and or turn down a wee bit at that point. One other thing...you
may want to make sure the mic's are somewhat isolated from the stage.
That foot tapping and stomping can telegraph right into the pa and sound
pretty bad. Same with the bass player. We used to use foam wrapped
around the mic and wedge it under the tailpiece, pointed up to the
bridge, and that would keep a lot of the mechanical/wood noise out of
the mic...and didn't sound half bad, either. We used a Shure 58 for
that, and I'm not too sure you'd want to do that to your AKG 1000. But
some sort of isolated mount could help.
I hope this helps some, and let me know if I can be of further
assistance.

Sincerely,
Dan