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Old 23rd January 2013, 10:55 PM   #11
JMFahey is offline JMFahey  Argentina
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Quote:
For intelligible voice you must ..................
Intelligible voice?
Are you out of your mind?
People who get enough to find a maggot race fun, certainly must listen to:
Cannibal Corpse---A Skull Full Of Maggot (Live Cannibalism) - YouTube

Just sayin'
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Old 23rd January 2013, 11:32 PM   #12
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Oh dear. I am a sound engineer of some standing and have had the misfortune to engineer one of these bands that have, in my opinion, no musical attributes.
I suppose someone has to do it but luckily, not me.
Thanks for the input anyway.
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Old 28th January 2013, 01:39 PM   #13
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An SM58 is probably not the best choice of mic for the commentator as the polar pick up is quite wide. Something like a Rode M2 which has a super-cardiod pattern would be better suited to the job.
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Old 28th January 2013, 01:51 PM   #14
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Originally Posted by ianpengelly View Post
An SM58 is probably not the best choice of mic for the commentator as the polar pick up is quite wide. Something like a Rode M2 which has a super-cardiod pattern would be better suited to the job.
The SM58 is the industry standard. An SM57 would be slightly more directional but the '58 has excellent reverse phase rejection. The Rode M2 is a good budget microphone but ensure you have phantom power as it is electret condenser and needs power.
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Old 28th January 2013, 04:33 PM   #15
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me thinks harleyjon is right the Sm 58 or 57 as an announcer mic is a better choice.
they can stand more abuse all around.
i get scared at hand handling any mic that has phantom power applied because if the ground goes south or the connector lock isn't up to snuff the "noise" produced can be disastrous i.e. driver damage and or killing the input stage of your mixer.
but that's just me.
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Old 28th January 2013, 04:44 PM   #16
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as to the original objective.
perhaps a powered speaker (or two) like a Mackie on tripod stands would be sufficient for announcements.
most of the Mackies have provisions for hooking up a mic directly to them no mixer needed.
this also might be within the non existant budget

Last edited by turk 182; 28th January 2013 at 04:47 PM.
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Old 30th January 2013, 01:48 PM   #17
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Whilst I agree the 58 is the industry standard (live music, just to be clear) the clarity of the Rode makes it a very good choice for speech intelligability, don't mistake its relative price point for low quality. However, as I suggested "or similar", for example Sennheiser also do some very good 800 series mics that are not phantom power, but also have very good feedback rejection and clarity. Build quality on all the mics mentioned (except the 57) will withstand the abuse that they are likely to face in a commentary situation.
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Old 31st January 2013, 03:52 AM   #18
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ianpengelly
Rode's are excellent mic's they make great overheads for cymbal mic'ing and i've also used (sorry don't exactly recall the model # at the moment reminded me of a Neumann) vocal mic for studio tracks. i love 'em.
i'm not a fan of giving people with no mic technique a hyper or tight cardioid pattern because there notorious at turning their heads as they talk (so the second they go of axis bye bye level) or start waving it around at someone else or cupping there hands over it,all of which are the short list of a soundman's thing's not to do with mic's
but that's just me.
and considering the budget a trip to the local pawn shop should easily fetch a 58 for a song.
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Old 31st January 2013, 02:59 PM   #19
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From a (slightly) similar project (multilingual son et lumière in a cave de mandement where they condition wine before bottling it) if you're leaving the stuff in place, fewest possible plugs and sockets, solder connections in place, any cardboard cones sealed in plastic bags (tensioned with a heat shrink gun to prevent rattling), connections encased in blobs of silicone bathroom sealant, microphones in condoms including connectors…

There's something in the atmosphere, worse than mere damp (although humidity's pretty rough on sound gear). I had endless problems with connectors and rotting cones for thr first couple of years. And the lights; much worse than mere outdoor rigs.

As a comment; from work in reverberant spaces, a point source is generally more intelligible than a distributed system (the job I'm mentioning was different, with multiple point sources associated with lights to draw attention to a particular region, but never any voice in more than one speaker). While acoustic damping would be very useful, the region has its principal function, and any hangings or absorbent panels would compromise this.

As an installation system I'd rig an overhead cluster aimed down at the audience (humans make very good acoustic absorbers); for portable a relatively tall stand with directional speakers aimed at human concentrations, so exciting as few reflections and resonances as practically possible.
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Old 31st January 2013, 11:56 PM   #20
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n'est ce pas une cave de rendement which would be a storage cellar. sounds like a weird place for a show but i've done some gig's in some pretty weird places myself.
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