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 Post subject: Compression and reverb?
PostPosted: Fri May 11, 2018 8:43 am 
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For my system I've been using the good ol DBX 166XL for compression and a Lexicon MPX-100 for reverb, and both work well once you get the hang of them. I'm now building out a system for someone who is probably a bit less inclined to learn how to use them though, so I was wondering if there's some fairly simply reverb and compression hardware that someone could recommend? As "set it and forget it" as possible.

Will be feeding a wireless 4 mic setup into it, if that's a factor.

Thanks for any help.


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PostPosted: Fri May 11, 2018 9:18 am 
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wrybread wrote:
For my system I've been using the good ol DBX 166XL for compression and a Lexicon MPX-100 for reverb, and both work well once you get the hang of them. I'm now building out a system for someone who is probably a bit less inclined to learn how to use them though, so I was wondering if there's some fairly simply reverb and compression hardware that someone could recommend? As "set it and forget it" as possible.

Will be feeding a wireless 4 mic setup into it, if that's a factor.

Thanks for any help.

There are many mixers that offer one knob compression. And most have built in effects. It couldn't get any simpler than that.

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PostPosted: Fri May 11, 2018 9:29 am 
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I'd prefer not to use an external mixer, since I'm using the mixer on my PA. In my current system the mics into the GD Audio wireless receiver, then out the single 1/4 mix jack, into the compressor then into the reverb, then into the PA. Works well, but is a bit complicated.

Does anyone know of something that could go inline? Ideally a single unit?

Or, if a mixer, does anyone have a specific recommendation of something with decent compression and reverb, that can be used simultaneously?


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PostPosted: Fri May 11, 2018 9:37 am 
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Both Behringer and Yamaha make good mixers with Compression and good effects.

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PostPosted: Fri May 11, 2018 9:38 am 
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As an example of something that goes inline with good effects, I have a "Mic Mechanic", which does a good enough job:

https://www.amazon.com/TC-Helicon-99601 ... B01N1IWEEU

But I'd prefer an effects box as opposed to a pedal. If people remember the old Alexis NanoCompressor and NanoReverb, that kind of thing. And I'm wondering if there's been some improvement with those devices in, say, the last 30 years. Ha.


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PostPosted: Fri May 11, 2018 11:24 am 
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wrybread wrote:
I'd prefer not to use an external mixer, since I'm using the mixer on my PA. In my current system the mics into the GD Audio wireless receiver, then out the single 1/4 mix jack, into the compressor then into the reverb, then into the PA. Works well, but is a bit complicated.

Question, you are using the single 1/4" output on the mic receiver sending to 1 channel controlling all 4 mics simultaneously instead of sending each mic output to an individual channel giving each mic independent control/volume/eq/etc??

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PostPosted: Fri May 11, 2018 11:55 am 
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> Question, you are using the single 1/4" output on the mic receiver sending to 1 channel controlling all 4 mics simultaneously instead of sending each mic output to an individual channel giving each mic independent control/volume/eq/etc??

Yes and no. Our PA has a mixing board built in, and I can route each mic to a separate channel on that if I want, but it's easier for our non-pro setup to just level the mics on the wireless mic receiver, which has a graphical level meter so I can tell when people are clipping, and knobs to adjust the gain. And I ride those gain knobs to adjust for different singers often.

I've used my Mackie mixing board in the past to adjust each mic there, and the main advantage I see is that I can control the mics on a slider versus knobs. (Which, granted, is nice!) And of course having an effects send is nice too. For my non-pro use a single EQ adjustment on all 4 wireless mics is fine. And the added setup simplicity from not having a separate mixing board is nice, and I'm not really looking to change that part of our setup.


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PostPosted: Fri May 11, 2018 12:07 pm 
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wrybread wrote:
Yes and no. Our PA has a mixing board built in, and I can route each mic to a separate channel on that if I want, but it's easier for our non-pro setup to just level the mics on the wireless mic receiver, which has a graphical level meter so I can tell when people are clipping, and knobs to adjust the gain. And I ride those gain knobs to adjust for different singers often.
K that's a big part of your problem in your other mic thread question.
separate the mics giving each one a channel on the mixer. If for anything else so you can adjust the individual volume and eq for each, especially for duets and such, I have yet to have to people singing together that didn't need individual adjustments in both. But when each mic is lumped into one channel you are losing a lot.

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PostPosted: Fri May 11, 2018 12:09 pm 
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Good idea, but I had the issue when routing each mic to a separate channel on a mixing board too. It's an interesting thing to revisit and retest though.


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PostPosted: Fri May 11, 2018 2:25 pm 
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yeah, each mic should be on it's own channel. If all the mics are on one channel, and you have someone doing a duet, and one of the singers is overpowering, if you turn down the volume to compensate, you've also turned down the volume of the quieter singer as well. Which means you would hardly be able to her that person. One channel for all mics is a bad idea.

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PostPosted: Fri May 11, 2018 2:29 pm 
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I don't think you're right about that. The mic receiver has level controls for each of the 4 mics. It's a mixing board of it's own. I can easily turn down one of the mics (singers) independently. And, of course, I do absolutely all the time, ha.

There may be advantages to using a traditional mixing board, but being able to control the level of each mic independently isn't one of them.


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PostPosted: Fri May 11, 2018 2:37 pm 
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wrybread wrote:
I don't think you're right about that. The mic receiver has level controls for each of the 4 mics. It's a mixing board of it's own. I can easily turn down one of the mics (singers) independently. And, of course, I do absolutely all the time, ha.

There may be advantages to using a traditional mixing board, but being able to control the level of each mic independently isn't one of them.
Huh, being a sound engineer (2 years in school training) for 30+ years taught me a little differently, but hey i'm always up to learn that I can run 4 mics just as good on 1 channel than 4 independent channels lol
Trust us, there are very much advantages to using a traditional mixing board and separating your mics!

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PostPosted: Fri May 11, 2018 2:38 pm 
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Fine, but I get all the independent control of the mics that I personally need.

Still curious about compression and reverb though if anyone has any tips there.


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PostPosted: Fri May 11, 2018 2:42 pm 
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wrybread wrote:
Fine, but I get all the independent control of the mics that I personally need.

Still curious about compression and reverb though if anyone has any tips there.
Well the proper way to put compression into the mix is to connect it to the 'insert' channels of each mic on the mixer and effects would normally go through the Aux send/return loop on the mixer (or use a channel as a return so you can have eq and monitor control of the effect as well).

Without a mixer with the proper connections, it's not going to be as effective or sound as good but run the mic output to the effects, effects output to the compressor.

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PostPosted: Fri May 11, 2018 3:01 pm 
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Great and thanks.

If anyone has any *specific* make and models of compressors and/or reverb, including mixing boards, that they've had good luck with, especially recent models, I'd love to hear about them.


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PostPosted: Fri May 11, 2018 3:50 pm 
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I also used the Alexis externals like the NanoReverb for years, loved it too, but the internal reverb FX and single knob per channel compressors on my current Behringer 1832 mixer are actually better while also being less to carry and connect.

You really want an external mixer, if not for when you run it but for when others are running it for you. If the goal is to make it simpler for them, than that's the way to go. And their hands shouldn't ever have to leave the mixer to adjust anything, which is another benefit to giving each mic it's own channel on the mixer. Gains on the receiver should be set once and never need touching again. Adjusting levels for singers on the fly is exactly what those mixer sliders are for.


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PostPosted: Fri May 11, 2018 4:23 pm 
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Oooo that single knob compression does look nice. I might have to make room for one of those. I wish it was on the more compact 1202fx:

https://www.amazon.com/Behringer-1202FX ... B000J5Y214


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PostPosted: Sat May 12, 2018 3:43 am 
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wrybread wrote:
Oooo that single knob compression does look nice. I might have to make room for one of those. I wish it was on the more compact 1202fx:

https://www.amazon.com/Behringer-1202FX ... B000J5Y214

It is in the Yamaha MG10XU which is a very compact mixer, although it's only on two channels.

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PostPosted: Sun May 13, 2018 3:59 pm 
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wrybread wrote:
Oooo that single knob compression does look nice. I might have to make room for one of those. I wish it was on the more compact 1202fx:

https://www.amazon.com/Behringer-1202FX ... B000J5Y214
Odd I now see a X1222USB model with the same compressors but it looks just as big as the X1832USB:

https://www.amazon.com/Behringer-X1222U ... ixer&psc=1

Not sure if the 12's have inserts, but I know the 18 does, in case you ever did still want to use an external effects unit.

On all those I like the dedicated MON output, with a slider for the floor monitor level. Slider for the reverb level as well.

I know not everyone here likes Behringer, but I've had nothing but success with their mixers since 1999. Have two of the 1832's in service right now -- it would be three but I had one stolen last year!


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PostPosted: Sun May 13, 2018 4:02 pm 
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I have the qx1222usb. I love it. It also has the input for the ultralink wireless mics.

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