Dear Folks,
Since this is my first post in this newsgroup - please
allow me to introduce myself. My name is Karsten J. Chikuri, and I'm
primarily a sax player (also play EWI, and some keyboards) - I also have
experience with sound engineering. (although I'm more of a recording guy
than a "sound guy", if ya' know what I mean.)

I just (finally) picked up a wireless mic system for the sax, and am now
contemplating getting a wireless in-ear for the set-up.
However, I am thinking I should get some other pieces of gear to better
complete this set-up, and make things easier to control for live performance
settings.

This is basically what I had in mind - from beginning of signal chain to
end:

1) Wireless Mic
2) Gate
3) Limiter (to prevent loud transients and pops)
4) 31 band EQ (single channel - for tone shaping)
5) compressor (to help to keep the sound consistent, gentle slope - going
for consistent signal, not squashing)
6) Feedback Eliminator


Does this set-up look ok? Anything that needs to be
changed/re-arranged/eliminated?

Any input/suggestions/ideas/comments would be most appreciated.

Thanks!

Sincerely,
Karsten J. Chikuri







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"Karsten J. Chikuri" wrote:

Dear Folks,
Since this is my first post in this newsgroup - please
allow me to introduce myself. My name is Karsten J. Chikuri, and I'm
primarily a sax player (also play EWI, and some keyboards) - I also have
experience with sound engineering. (although I'm more of a recording guy
than a "sound guy", if ya' know what I mean.)

I just (finally) picked up a wireless mic system for the sax, and am now
contemplating getting a wireless in-ear for the set-up.
However, I am thinking I should get some other pieces of gear to better
complete this set-up, and make things easier to control for live performance
settings.

This is basically what I had in mind - from beginning of signal chain to
end:

1) Wireless Mic
2) Gate
3) Limiter (to prevent loud transients and pops)
4) 31 band EQ (single channel - for tone shaping)
5) compressor (to help to keep the sound consistent, gentle slope - going
for consistent signal, not squashing)
6) Feedback Eliminator

Is this for a recording setup or a live performance setup? You were
thinking of hauling this around with you like the electric guitar players haul
around their favorite amp? Stand alone or part of a band?
This also gets into a philosophy of music kind of issue. Place me firmly
in the less is more camp. Choose a mic capsule that is suitable for your
instrument, your playing style and the kind of music you do. Experiment
with mic placement, possibly you will want to have more than one
location for the mic on the instrument depending on the song(s) you
are doing in the venue.
For a sax, the only thing I don't like to hear is valve noises and maybe
too much breath noise. Get a couple of fellow musicians and engineers
to listen to the various setups, ask for their honest opinions, and try not
to be offended when they say things that are less than complimentary.
You may sound better with a more distant mic on a stand.
A recording session engineer will probably want to control all of those
things rather than having you control them. There is also the hassle factor
of bringing in this rack full of gear, hooking it up to the sound system,
coordinating the radio frequencies so you don't step on or get stepped
on by another radio mic using the same frequency or a harmonic of it.

--Dale

Doing lots of sound for bands I'd probably bypass any gear that you had..
apart from the wireless mic.
Unless you're planning on doing sound for yourself totally, you cannot
possibly control it better than a dedicated engineer who is sepaarted from
your acoustic sound by distance. EQ (tone) compression, feedback, etc....
all need to be controlled from the main mixing desk, not by you on stage.

I'd skip the money on the gear.. unless you are planning on your sound being
amplified directly behind you, to yourself. The only useful thing would be
the radio gear.. and then do not skimp on the cost.. by the best yoiu can
get. Sound quality & durability are paramount for live work.

Cheers,
Ric

"Karsten J. Chikuri" wrote in message
...
Dear Folks,
Since this is my first post in this newsgroup - please
allow me to introduce myself. My name is Karsten J. Chikuri, and I'm
primarily a sax player (also play EWI, and some keyboards) - I also have
experience with sound engineering. (although I'm more of a recording guy
than a "sound guy", if ya' know what I mean.)

I just (finally) picked up a wireless mic system for the sax, and am now
contemplating getting a wireless in-ear for the set-up.
However, I am thinking I should get some other pieces of gear to better
complete this set-up, and make things easier to control for live
performance
settings.

This is basically what I had in mind - from beginning of signal chain to
end:

1) Wireless Mic
2) Gate
3) Limiter (to prevent loud transients and pops)
4) 31 band EQ (single channel - for tone shaping)
5) compressor (to help to keep the sound consistent, gentle slope - going
for consistent signal, not squashing)
6) Feedback Eliminator


Does this set-up look ok? Anything that needs to be
changed/re-arranged/eliminated?

Any input/suggestions/ideas/comments would be most appreciated.

Thanks!

Sincerely,
Karsten J. Chikuri







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Newsgroups
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Is this for a recording setup or a live performance setup? You were
thinking of hauling this around with you like the electric guitar players
haul
around their favorite amp? Stand alone or part of a band?
This also gets into a philosophy of music kind of issue. Place me
firmly
in the less is more camp. Choose a mic capsule that is suitable for your
instrument, your playing style and the kind of music you do. Experiment
with mic placement, possibly you will want to have more than one
location for the mic on the instrument depending on the song(s) you
are doing in the venue.
For a sax, the only thing I don't like to hear is valve noises and
maybe
too much breath noise. Get a couple of fellow musicians and engineers
to listen to the various setups, ask for their honest opinions, and try
not
to be offended when they say things that are less than complimentary.
You may sound better with a more distant mic on a stand.
A recording session engineer will probably want to control all of
those
things rather than having you control them. There is also the hassle
factor
of bringing in this rack full of gear, hooking it up to the sound system,
coordinating the radio frequencies so you don't step on or get stepped
on by another radio mic using the same frequency or a harmonic of it.

--Dale

Dear Dale,
Thanks for responding - I really appreciate it!

Yes - this will be for a live performance set-up. The size of the set-up
isn't really a factor for me, as I also bring with me an Akai EWI with a
full 12-space rack, along with a keyboard amp (Roland KC-500) anyways.

I was looking at possibly a 4-6 space rack set-up. (the mic receiver and the
in-ear transmitter are both 1/2 space units)

I am planning on getting a UHF in-ear system - the particular one that I
have been looking at (Nady PEM-500) has 16 different channels available to
the user. So, frequency "crosstalk" shouldn't be a problem.

I currently do a sort-of "One Man Band" show- but, I do perform with other
bands every now and then. The wireless mic itself is no problem - I already
purchased it, and have been working with it here at home. (I haven't
incorporated it into my gigging set-up just yet) (FYI: the wireless mic is a
Samson AH1 Airline system - specifically designed for Sax and Brass)

Thanks again for responding - I appreciate all the input I can get about
this.

Sincerely,
Karsten J. Chikuri




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"Albatross" rjarnoldAToptushome.com.au wrote in message
u...
Doing lots of sound for bands I'd probably bypass any gear that you had..
apart from the wireless mic.
Unless you're planning on doing sound for yourself totally, you cannot
possibly control it better than a dedicated engineer who is sepaarted from
your acoustic sound by distance. EQ (tone) compression, feedback, etc....
all need to be controlled from the main mixing desk, not by you on stage.

I'd skip the money on the gear.. unless you are planning on your sound
being
amplified directly behind you, to yourself. The only useful thing would be
the radio gear.. and then do not skimp on the cost.. by the best yoiu can
get. Sound quality & durability are paramount for live work.

Cheers,
Ric


Dear Ric,
Thanks for responding!

I understand and appreciate your comments - however, in my case, I am
usually the "sound guy" for my shows. And when I do perform with other
bands, they often do not have a sound engineer - typically, it's usually
someone else that is also on stage performing. In addition, here in my "neck
o' the woods" - the folks around that "do sound" aren't very experienced (or
so it seems) with micing/mixing horns. (I wouldn't call where I live any
sort of "musical mecca", if ya' know what I mean. )

Thanks again for your suggestions - I really appreciate it.

Sincerely,
Karsten J. Chikuri




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In article ,
says...

"Albatross" rjarnoldAToptushome.com.au wrote in message
u...
Doing lots of sound for bands I'd probably bypass any gear that you had..
apart from the wireless mic.
Unless you're planning on doing sound for yourself totally, you cannot
possibly control it better than a dedicated engineer who is sepaarted from
your acoustic sound by distance. EQ (tone) compression, feedback, etc....
all need to be controlled from the main mixing desk, not by you on stage.

I'd skip the money on the gear.. unless you are planning on your sound
being
amplified directly behind you, to yourself. The only useful thing would be
the radio gear.. and then do not skimp on the cost.. by the best yoiu can
get. Sound quality & durability are paramount for live work.

Cheers,
Ric


Dear Ric,
Thanks for responding!

I understand and appreciate your comments - however, in my case, I am
usually the "sound guy" for my shows. And when I do perform with other
bands, they often do not have a sound engineer - typically, it's usually
someone else that is also on stage performing. In addition, here in my "neck
o' the woods" - the folks around that "do sound" aren't very experienced (or
so it seems) with micing/mixing horns. (I wouldn't call where I live any
sort of "musical mecca", if ya' know what I mean. )

Thanks again for your suggestions - I really appreciate it.

One thing *I* would do is use a STEREO IEM setup. By using stereo you
can place instruments at various places within the field, and it's much
easier to pick them out without punching their volume unnaturally.
The Nady PEM 500 *is* stereo, if I remember right. However, I've had
several people tell me the frequency response is too limited, and the
noise is horrendous, and the earbuds really suck. I would DEFINTELY go
listen to one first, to see if its limitations would affect you.
--
---Mikhael...

One thing *I* would do is use a STEREO IEM setup. By using stereo you
can place instruments at various places within the field, and it's much
easier to pick them out without punching their volume unnaturally.
The Nady PEM 500 *is* stereo, if I remember right. However, I've had
several people tell me the frequency response is too limited, and the
noise is horrendous, and the earbuds really suck. I would DEFINTELY go
listen to one first, to see if its limitations would affect you.
--
---Mikhael...

Thanks Mikhael,
I will definitely check them out when I get a
chance. Also, thanks about the suggestion of 'strategic panning' - makes a
lot of sense to me.

Thanks again.

Sincerely,
Karsten J. Chikuri




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