[mcp6453[_2_]]

We did our annual music awards show last month. It's the one where we always
have problems with the lectern mic. This year was as bad as it has ever been.
The show owners insisted on using a Shure MX418 with an inline preamp. That mic
was WAY too much output. It constantly overloaded the mic preamp on the house
Yamaha digital console. Unfortunately, the FOH guy didn't know how to operate
the board, so when the idiot presenters got too close to the mic, it was really
distorted.

The FOH guy kept saying the mic was overloading internally, that the problem
could not be the board. Since I have little to no say, I just went with it. The
mics are all split with one feed going to the monitor/multitrack recorder and
the other feed going to the house. Towards the end of the show, I walked
backstage to listen to the multitrack feed. Even with the performers deep
throating the SM58 wireless mics, the feed was clean and clear. That's when I
knew the Yamaha preamps had to be overloaded. (The mics were rented from a sound
company. The theater provides the house sound and the "engineer". You'd think
they'd have at least spoken to each other before the show.)

On to my question. The Shure MX418 spec sheet says that the output level can be
set to 0, but it is shipped as +12. In looking at the spec sheet, it appears
that the gain changes require soldering surface mount resistors:

http://tinyurl.com/mx418

If I'm reading that correctly, it's at least a little misleading to suggest that
the gain can be readily changed. (They didn't say that, but that's what it
sounds like.) Heck, if you can open a U47 or a KMS105, you can change the gain
with a soldering iron and the right resistors.

These mics really suck for this application. If I participate in the show again,
I think I'm going to get my hands on an AKG D880 that Scott recommends. Or a
Sennheiser 421 that can take an idiot screaming into it.

Is there an inline XLR attenuator that passes phantom?

[Bill Graham]

mcp6453 wrote:
We did our annual music awards show last month. It's the one where we
always have problems with the lectern mic. This year was as bad as it
has ever been. The show owners insisted on using a Shure MX418 with
an inline preamp. That mic was WAY too much output. It constantly
overloaded the mic preamp on the house Yamaha digital console.
Unfortunately, the FOH guy didn't know how to operate the board, so
when the idiot presenters got too close to the mic, it was really
distorted.

The FOH guy kept saying the mic was overloading internally, that the
problem could not be the board. Since I have little to no say, I just
went with it. The mics are all split with one feed going to the
monitor/multitrack recorder and the other feed going to the house.
Towards the end of the show, I walked backstage to listen to the
multitrack feed. Even with the performers deep throating the SM58
wireless mics, the feed was clean and clear. That's when I knew the
Yamaha preamps had to be overloaded. (The mics were rented from a
sound company. The theater provides the house sound and the
"engineer". You'd think they'd have at least spoken to each other
before the show.)

On to my question. The Shure MX418 spec sheet says that the output
level can be set to 0, but it is shipped as +12. In looking at the
spec sheet, it appears that the gain changes require soldering
surface mount resistors:

http://tinyurl.com/mx418

If I'm reading that correctly, it's at least a little misleading to
suggest that the gain can be readily changed. (They didn't say that,
but that's what it sounds like.) Heck, if you can open a U47 or a
KMS105, you can change the gain with a soldering iron and the right
resistors.

These mics really suck for this application. If I participate in the
show again, I think I'm going to get my hands on an AKG D880 that
Scott recommends. Or a Sennheiser 421 that can take an idiot
screaming into it.

Is there an inline XLR attenuator that passes phantom?

Yes. There are several. Here is one:
http://www.bhphotovideo.com/c/produc...ca_AT8202.html

[Frank]

On Thu, 02 Dec 2010 21:56:59 -0500, in 'rec.audio.pro',
in article Gain Change on Shure MX418,
mcp6453 wrote:

We did our annual music awards show last month. It's the one where we always
have problems with the lectern mic. This year was as bad as it has ever been.
The show owners insisted on using a Shure MX418 with an inline preamp. That mic
was WAY too much output. It constantly overloaded the mic preamp on the house
Yamaha digital console. Unfortunately, the FOH guy didn't know how to operate
the board, so when the idiot presenters got too close to the mic, it was really
distorted.

The FOH guy kept saying the mic was overloading internally, that the problem
could not be the board. Since I have little to no say, I just went with it. The
mics are all split with one feed going to the monitor/multitrack recorder and
the other feed going to the house. Towards the end of the show, I walked
backstage to listen to the multitrack feed. Even with the performers deep
throating the SM58 wireless mics, the feed was clean and clear. That's when I
knew the Yamaha preamps had to be overloaded. (The mics were rented from a sound
company. The theater provides the house sound and the "engineer". You'd think
they'd have at least spoken to each other before the show.)

On to my question. The Shure MX418 spec sheet says that the output level can be
set to 0, but it is shipped as +12. In looking at the spec sheet, it appears
that the gain changes require soldering surface mount resistors:

http://tinyurl.com/mx418

If I'm reading that correctly, it's at least a little misleading to suggest that
the gain can be readily changed. (They didn't say that, but that's what it
sounds like.) Heck, if you can open a U47 or a KMS105, you can change the gain
with a soldering iron and the right resistors.

These mics really suck for this application. If I participate in the show again,
I think I'm going to get my hands on an AKG D880 that Scott recommends. Or a
Sennheiser 421 that can take an idiot screaming into it.

Is there an inline XLR attenuator that passes phantom?

Yes, the Shure A15AS, but they only sell it to MX418 owners. :-)

Shure Americas | A15AS In-line Switchable Attenuator
http://www.shure.com/americas/produc...ble-attenuator

I own two A15AS attenuators - just in case.

--
Frank, Independent Consultant, New York, NY
[Please remove 'nojunkmail.' from address to reply via e-mail.]
Read Frank's thoughts on HDV at http://www.humanvalues.net/hdv/
[also covers AVCHD (including AVCCAM & NXCAM) and XDCAM EX].

[Scott Dorsey]

mcp6453 wrote:

Is there an inline XLR attenuator that passes phantom?

Yes, the one from Shure. A15, maybe? You need to have a bunch of them
in the bag for just this kind of occasion. Also essential for the
occasional DI feed or kick drum mike that is way too hot.

Audio-Technica makes one too, so does TecNec, but I always just use
the three-position Shure ones.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Bill Graham]

Frank wrote:
On Thu, 02 Dec 2010 21:56:59 -0500, in 'rec.audio.pro',
in article Gain Change on Shure MX418,
mcp6453 wrote:

We did our annual music awards show last month. It's the one where
we always have problems with the lectern mic. This year was as bad
as it has ever been. The show owners insisted on using a Shure MX418
with an inline preamp. That mic was WAY too much output. It
constantly overloaded the mic preamp on the house Yamaha digital
console. Unfortunately, the FOH guy didn't know how to operate the
board, so when the idiot presenters got too close to the mic, it was
really distorted.

The FOH guy kept saying the mic was overloading internally, that the
problem could not be the board. Since I have little to no say, I
just went with it. The mics are all split with one feed going to the
monitor/multitrack recorder and the other feed going to the house.
Towards the end of the show, I walked backstage to listen to the
multitrack feed. Even with the performers deep throating the SM58
wireless mics, the feed was clean and clear. That's when I knew the
Yamaha preamps had to be overloaded. (The mics were rented from a
sound company. The theater provides the house sound and the
"engineer". You'd think they'd have at least spoken to each other
before the show.)

On to my question. The Shure MX418 spec sheet says that the output
level can be set to 0, but it is shipped as +12. In looking at the
spec sheet, it appears that the gain changes require soldering
surface mount resistors:

http://tinyurl.com/mx418

If I'm reading that correctly, it's at least a little misleading to
suggest that the gain can be readily changed. (They didn't say that,
but that's what it sounds like.) Heck, if you can open a U47 or a
KMS105, you can change the gain with a soldering iron and the right
resistors.

These mics really suck for this application. If I participate in the
show again, I think I'm going to get my hands on an AKG D880 that
Scott recommends. Or a Sennheiser 421 that can take an idiot
screaming into it.

Is there an inline XLR attenuator that passes phantom?

Yes, the Shure A15AS, but they only sell it to MX418 owners. :-)

Shure Americas | A15AS In-line Switchable Attenuator
http://www.shure.com/americas/produc...ble-attenuator

I own two A15AS attenuators - just in case.

See:
http://www.bhphotovideo.com/bnh/cont...=REG&A=details

[mcp6453[_2_]]

On 12/2/2010 10:24 PM, Scott Dorsey wrote:
mcp6453 wrote:

Is there an inline XLR attenuator that passes phantom?

Yes, the one from Shure. A15, maybe? You need to have a bunch of them
in the bag for just this kind of occasion. Also essential for the
occasional DI feed or kick drum mike that is way too hot.

Audio-Technica makes one too, so does TecNec, but I always just use
the three-position Shure ones.
--scott


What about the gain change procedure for the mic? Did I read the spec sheet
correctly?

[Mike Rivers]

On 12/2/2010 9:56 PM, mcp6453 wrote:

On to my question. The Shure MX418 spec sheet says that the output level can be
set to 0, but it is shipped as +12. In looking at the spec sheet, it appears
that the gain changes require soldering surface mount resistors:

12 dB of gain isn't a whole lot, but it's sometimes helpful
on a podium mic like this. You need to know what to do with
it, however. It sounds to me like nobody on this gig knew
what he was doing. You can't fight that.

Is there an inline XLR attenuator that passes phantom?

Nearly all of them do.

--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

http://mikeriversaudio.wordpress.com - useful and
interesting audio stuff

[Mike Rivers]

On 12/3/2010 12:08 AM, mcp6453 wrote:

What about the gain change procedure for the mic? Did I read the spec sheet
correctly?

It's no problem for a technician, but it's not something
that someone who has chosen the mic properly will be needing
to change for every gig.


--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

http://mikeriversaudio.wordpress.com - useful and
interesting audio stuff

[Arny Krueger]

"mcp6453" wrote in message


We did our annual music awards show last month. It's the
one where we always have problems with the lectern mic.
This year was as bad as it has ever been. The show owners
insisted on using a Shure MX418 with an inline preamp.

If this is the lash-up that I'm familiar with, the in-line preamp is more of
a matching device than a true mic preamp. I have a couple of them, one on
a lav, and one on a PZM. The lav has been replaced by E6 headset mics, but
I used it as a lav for years. No problem with getting non-distorting gain
settings.

The sensitivity of this mic with the preamp set to 12 dB gain is similar to
that of a typical condenser mic. With 0 dB gain, it is more like that of a
typical dynamic mic. There have been models of this inline mic preamp that
had a 10 dB switch on it, if memory serves.

Any reasonable mixing console should have an available range of mic preamp
gain settings that will allow this mic to work well when set for 12 dB gain.

That mic was WAY too much output.

More likely, the nut behind the console was too clueless or timid to
properly adjust the channel gain trim pot. There's a little knob on every
mic input channel and its usually on the top of the console towards the
back. Hack console ops don't often go there. Hack console ops don't
balance out their channels with trims, they have faders that are all over
the place.

It constantly
overloaded the mic preamp on the house Yamaha digital
console. Unfortunately, the FOH guy didn't know how to
operate the board, so when the idiot presenters got too
close to the mic, it was really distorted.

Next time, find the preamp gain potentiometer for that channel and rotate it
about 1/3 of a turn counter clockwise. You're only in trouble if there
isn't enough free travel on the potentiometer knob to do that, or at least
half that much, IOW 1/6 of a turn.


The FOH guy kept saying the mic was overloading
internally, that the problem could not be the board.


The mic overloads internally only if someone with a really loud voice
screams into it while they are nearly eating it. I don't know of anybody
who can sustain that sort of vocal noise for any amount of time. IOW, your
sound guy was talking trash.

Since I have little to no say, I just went with it. The
mics are all split with one feed going to the
monitor/multitrack recorder and the other feed going to
the house. Towards the end of the show, I walked
backstage to listen to the multitrack feed. Even with the
performers deep throating the SM58 wireless mics, the
feed was clean and clear. That's when I knew the Yamaha
preamps had to be overloaded. (The mics were rented from
a sound company. The theater provides the house sound and
the "engineer". You'd think they'd have at least spoken
to each other before the show.)

Hooking a condensor mic to a channel that was set up for dynamic mics like
the SM58s is a recipie for clipping. I'd guess that the channel fader for
that channel was way down.

On to my question. The Shure MX418 spec sheet says that
the output level can be set to 0, but it is shipped as
+12. In looking at the spec sheet, it appears that the
gain changes require soldering surface mount resistors:

http://tinyurl.com/mx418

If I'm reading that correctly, it's at least a little
misleading to suggest that the gain can be readily
changed. (They didn't say that, but that's what it sounds
like.) Heck, if you can open a U47 or a KMS105, you can
change the gain with a soldering iron and the right
resistors.

Are they serious? They advise people to people do brain surgery on SMD
resistors in the field? I'd like to see Shure's chief engineer changing
out SMD resistors at a gig. Even if he could do it, it wouldn't make a daft
suggestion like this right.

These mics really suck for this application.

No, the board op sucks!

If I participate in the show again, I think I'm going to get
my hands on an AKG D880 that Scott recommends. Or a
Sennheiser 421 that can take an idiot screaming into it.

You don't need a different mic or even an internal parts change. You need a
board op who can walk and chew gum at the same time, or at least serially!

Is there an inline XLR attenuator that passes phantom?

As a rule all XLR attenuators pass phantom power just fine. What an inline
attenuator does is attenuate a balanced voltage, while phantom power is a
common mode voltage. Yes, the attenuator resistors may cause some slight
loss of phantom power voltage because they are in series with the load. Most
mics (with a few exceptions) don't care if phantom power is 40 volts or 30
volts or even 24 volts and sometimes even just 12 volts. This particular
mic is like many its spec sheet claims that it will work well with as little
as 11 volts. I know for sure that this mic works well with only 12 volts of
phantom power.

Walking around with a few 10 dB XLR attenuators in your tool box is a good
idea. They aren't costly but they may not be hanging on a card down at the
local GC. I've mail ordered the ones I have, and in a pinch I made up a few
by modifying a XLR F-F coupler that I obtained from Radio Shack. They are
pluged into a M-M coupler to get the sex situation back in line.

I have to admit that many times when I use inline attenuators, all I do is
convince myself that there wasn't a problem that I couldn't fix with the
right adjustment someplace else. But in a pinch... ;-)

[Arny Krueger]

"Mike Rivers" wrote in message

On 12/2/2010 9:56 PM, mcp6453 wrote:

On to my question. The Shure MX418 spec sheet says that
the output level can be set to 0, but it is shipped as
+12. In looking at the spec sheet, it appears that the
gain changes require soldering surface mount resistors:

12 dB of gain isn't a whole lot, but it's sometimes
helpful on a podium mic like this.

Pedant mode on

Since you're a published author Mike, I'll save you a little grief down the
road by reminding you that this is a lectern mic, not a podium mic. ;-)

I'm sure that there isn't a editor left in the business who knows the
difference, but there may be at least one of your many readers who does....

Pedant mode off

[Scott Dorsey]

In article ,
mcp6453 wrote:
On 12/2/2010 10:24 PM, Scott Dorsey wrote:
mcp6453 wrote:

Is there an inline XLR attenuator that passes phantom?

Yes, the one from Shure. A15, maybe? You need to have a bunch of them
in the bag for just this kind of occasion. Also essential for the
occasional DI feed or kick drum mike that is way too hot.

Audio-Technica makes one too, so does TecNec, but I always just use
the three-position Shure ones.

What about the gain change procedure for the mic? Did I read the spec sheet
correctly?

I don't know, since I have never tried it. It makes sense.

However, as soon as you change the gain settings, you'll find you need to
change them to something else. Everything is that way.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Mike Rivers]

On 12/3/2010 8:22 AM, Arny Krueger wrote:

Since you're a published author Mike, I'll save you a little grief down the
road by reminding you that this is a lectern mic, not a podium mic. ;-)

You don't think the conductor needs a mic? The data sheet
says that it can go on a mic stand. g

Honestly, I think this is the first time I've ever written
"podium," and I'm sure I've never written "lectern." Could
it be a cistern mic? Or maybe the guy running the mixer was
an intern?



--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

http://mikeriversaudio.wordpress.com - useful and
interesting audio stuff

[Roy W. Rising[_2_]]

Mike Rivers wrote:
On 12/3/2010 8:22 AM, Arny Krueger wrote:

Since you're a published author Mike, I'll save you a little grief down
the road by reminding you that this is a lectern mic, not a podium mic.
;-)

You don't think the conductor needs a mic? The data sheet
says that it can go on a mic stand. g

Honestly, I think this is the first time I've ever written
"podium," and I'm sure I've never written "lectern." Could
it be a cistern mic? Or maybe the guy running the mixer was
an intern?

I hope I'm not the only one enjoying this side track. My days of
facilitating and mixing major award shows brought me near the edge.
Everyone called lecterns "podiums", doubling the abuse by avoiding "podia".
Shriek!

--
~ Roy
"If you notice the sound, it's wrong!"

[mcp6453[_2_]]

On 12/3/2010 8:19 AM, Arny Krueger wrote:

Next time, find the preamp gain potentiometer for that channel and rotate it
about 1/3 of a turn counter clockwise. You're only in trouble if there
isn't enough free travel on the potentiometer knob to do that, or at least
half that much, IOW 1/6 of a turn.

The theater guy claimed he was adjusting the trim, but I'm not convinced.

Hooking a condenser mic to a channel that was set up for dynamic mics like
the SM58s is a recipe for clipping. I'd guess that the channel fader for
that channel was way down.

I think this is part of the problem. It's so simple to check.

Are they serious? They advise people to people do brain surgery on SMD
resistors in the field? I'd like to see Shure's chief engineer changing
out SMD resistors at a gig. Even if he could do it, it wouldn't make a daft
suggestion like this right.

The spec sheet says the gain can be changed. Duh.

These mics really suck for this application.

No, the board op sucks!

The mic sucks, too. It pops like hell. I may have a mount manufactured that
holds two SM57s, on over the other, but the bottom mic is behind the top mic by
about three inches. Maybe the top mic will be a dummy. That way, the dummies in
front of the dummy mic can't get to the real one to yell into it. (I have one of
the Shure twin mounts like the US presidents use, but it holds the mics with the
diaphragms aligned.

You don't need a different mic or even an internal parts change. You need a
board op who can walk and chew gum at the same time, or at least serially!

No argument there.

Thanks Arney et al. for the suggestions and comments. It amazes me how one
arrogant idiot can turn an otherwise simple process into a disaster. If I'm
involved again, I'm sitting next to the FOH guy and getting answers. Hopefully
I'm not involved again.

[Scott Dorsey]

mcp6453 wrote:

The mic sucks, too. It pops like hell.

AHA! The mike is popping and the gain is way too high, it sounds like
they're trying to work it too close. That mike is supposed to be a foot
or so away from your mouth... if people are trying to jam it into their
mouth like an SM-58 you need to reposition it so they can't do that.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[mcp6453[_2_]]

On 12/5/2010 9:30 PM, Scott Dorsey wrote:
mcp6453 wrote:

The mic sucks, too. It pops like hell.

AHA! The mike is popping and the gain is way too high, it sounds like
they're trying to work it too close. That mike is supposed to be a foot
or so away from your mouth... if people are trying to jam it into their
mouth like an SM-58 you need to reposition it so they can't do that.
--scott


Please explain to me how to do that. As I posted earlier, I think the solution
is a Sennheiser MD421 and an electric fence.

[Mike Rivers]

On 12/5/2010 11:45 PM, mcp6453 wrote:
On 12/5/2010 9:30 PM, Scott Dorsey wrote:

AHA! The mike is popping and the gain is way too high, it sounds like
they're trying to work it too close. That mike is supposed to be a foot
or so away from your mouth...

Please explain to me how to do that.

You tell the speaker that the mic is "very sensitive" and
that they shouldn't get too close or people won't be able to
understand them. Or, as you suggest, you use a more
appropriate mic. Or put up a pop screen.

--
"Today's production equipment is IT based and cannot be
operated without a passing knowledge of computing, although
it seems that it can be operated without a passing knowledge
of audio." - John Watkinson

http://mikeriversaudio.wordpress.com - useful and
interesting audio stuff

[david gourley[_2_]]

mcp6453 put forth the notion
in...news:RbydndmfGJTC92HRnZ2dnUVZ_oKdnZ2d@giganew s.com:

On 12/5/2010 9:30 PM, Scott Dorsey wrote:
mcp6453 wrote:

The mic sucks, too. It pops like hell.

AHA! The mike is popping and the gain is way too high, it sounds like
they're trying to work it too close. That mike is supposed to be a foot
or so away from your mouth... if people are trying to jam it into their
mouth like an SM-58 you need to reposition it so they can't do that.
--scott


Please explain to me how to do that. As I posted earlier, I think the
solution
is a Sennheiser MD421 and an electric fence.


If I were you, I'd go with a cheaper microphone and more electric fence
for the application.

david

[Scott Dorsey]

In article ,
mcp6453 wrote:
On 12/5/2010 9:30 PM, Scott Dorsey wrote:
mcp6453 wrote:

The mic sucks, too. It pops like hell.

AHA! The mike is popping and the gain is way too high, it sounds like
they're trying to work it too close. That mike is supposed to be a foot
or so away from your mouth... if people are trying to jam it into their
mouth like an SM-58 you need to reposition it so they can't do that.

Please explain to me how to do that. As I posted earlier, I think the solution
is a Sennheiser MD421 and an electric fence.

One of my favorite ways is to mount it in front of the lectern so they would
have to bend way forward in order to reach it.

The other thing is to put it on the shortest possible stalk, again so it would
be very uncomfortable to get up next to it without bending down.

With the gain cranked way up, eventually one of them will bend over, yell
into it, and very suddenly realize that they don't have to get very close
to the mike. That lesson usually lasts for a little while. It's not much
fun for the audience but they won't blame you for it.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Mark]

On Dec 6, 11:07*am, (Scott Dorsey) wrote:
In article ,

mcp6453 wrote:
On 12/5/2010 9:30 PM, Scott Dorsey wrote:
mcp6453 wrote:

The mic sucks, too. It pops like hell.

AHA! *The mike is popping and the gain is way too high, it sounds like
they're trying to work it too close. *That mike is supposed to be a foot
or so away from your mouth... if people are trying to jam it into their
mouth like an SM-58 you need to reposition it so they can't do that.

Please explain to me how to do that. As I posted earlier, I think the solution
is a Sennheiser MD421 and an electric fence.

One of my favorite ways is to mount it in front of the lectern so they would
have to bend way forward in order to reach it.

The other thing is to put it on the shortest possible stalk, again so it would
be very uncomfortable to get up next to it without bending down.

With the gain cranked way up, eventually one of them will bend over, yell
into it, and very suddenly realize that they don't have to get very close
to the mike. *That lesson usually lasts for a little while. *It's not much
fun for the audience but they won't blame you for it.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

sounds like a money making idea for someone...

create and sell little clip on fake mics thingies that look like a
real mic and attach to the end of the real mic,

when the "talent" feels the need to close talk the mic, they will be
close talking the "dummy" mic and the real mic will be a couple of
inches away..

Mark

[[email protected]]

Mike Rivers writes:
sounds like they're trying to work it too close. That mike is
supposed to be a foot or so away from your mouth...
Please explain to me how to do that.
You tell the speaker that the mic is "very sensitive" and
that they shouldn't get too close or people won't be able to
understand them. Or, as you suggest, you use a more
appropriate mic. Or put up a pop screen.
I"d go with #2, use a more appropriate mic. REmember that
most of these folks are braindead and their experience with
microphones is karaoke night somewhere or totally from
amateur hour. I never put a microphone in close proximity
to Joe sixpack where I can't keep a handle on such a thing.
IN the studio, that's different. I can explain to MR. or
MRs. sixpack that it's placed where it is for a reason, but
in these amateur productions it's sort of difficult.

In fact, the more amateur the production the more I insist
that money crosses my palm, and no discounts apply.




Richard webb,

replace anything before at with elspider
ON site audio in the southland: see www.gatasound.com

[[email protected]]

On 2010-12-06 (ScottDorsey) said:
The other thing is to put it on the shortest possible stalk, again
so it would be very uncomfortable to get up next to it without
bending down.
With the gain cranked way up, eventually one of them will bend over,
yell into it, and very suddenly realize that they don't have to get
very close to the mike. That lesson usually lasts for a little
while. It's not much fun for the audience but they won't blame you
for it.
That one will work too, if you've just got to use that mic.
Lose the long flexy gooseneck they probably have for it for
a little straight piece properly threaded, give 'em the
gooseneck back for their lectern at the end of the show.




Richard webb,

replace anything before at with elspider
ON site audio in the southland: see www.gatasound.com

[Carey Carlan]

Mark wrote in
:

sounds like a money making idea for someone...

create and sell little clip on fake mics thingies that look like a
real mic and attach to the end of the real mic,

when the "talent" feels the need to close talk the mic, they will be
close talking the "dummy" mic and the real mic will be a couple of
inches away..

Tried that last night. Recording an orchestra with a narrator doing "Twas
the Night Before Christmas". He kept eating the 58 so I taped a lav to the
handle just behind the on/off switch. Worked great until he grabbed onto
the mic.

[Scott Dorsey]

Carey Carlan wrote:

Tried that last night. Recording an orchestra with a narrator doing "Twas
the Night Before Christmas". He kept eating the 58 so I taped a lav to the
handle just behind the on/off switch. Worked great until he grabbed onto
the mic.

My secret weapon for this is a BK-5, WAY far back.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."