Michael
This is right in my wheelhouse.
I started doing school theatre audio back in th elate 70s (back in Autralia) and it is now my fulltime business.
I am going to start by proffering my philosophy on sound systems for amateur theatre.
- Start with a good speaker system
- most electronics (mixers, amplifiers and even wireless microphones to some extent are all pretty good from a sound perspective (rf on wireless is another thing).
- it is when we try to convert sound into electricity and back again where things get crazy. Microphones vary greatly in their accuracy and in many ways speakers are worse.
- we always start by advising our clients to buy the best speaker system they can afford given their longterm objectives - this is even more important if they are to be installed.
- Then buy a mixer that best fits your needs - again taking into account what the next few years may bring.
- Never by one that has "just enough" channels for the first event you are doinf
- Always build in some spare capacity (we suggest between 4 and 8 additional channels)
- Bear in mind the more inputs you are trying to mix the greater the skill level the operator needs
- Digital mixers are changing things in theatre, because most allow you to create recallable scenes which means you get the mix right in rehearsal, and just recall and adjust during the live performances
- Wireless systems are the biggest variable - they literal range from $299 for 8ch (GTD Audio) through to $5,000 plus per channel for they systems used on Broadway (and they use 2 systems for at least the lead actors and often for anyone who has more than a line or 2)
- Buy the absolute best you can afford
- There is a reason most of the major players do not have an entry UHF multi-frequency system under $300 per channel - that's pretty much because it costs to get the RF stability and reliability that you need to have minimal interference problems once a show raises the curtain.
- Audio-Technica 200o series receiver and bodypack (no mic) is $329 (maxes at 10 channels)
- Shure BLX14R receiver and bodypack (no mic) is $379 (maxes at 16 ch)
- Sennheiser XWS receiver and bodypack (no mic) is $349 (maxes at 16 ch)
- The GTD is a great price, but there is no customer service, they do not publish a phone number and they rarely if ever respond to Amazon or enay messages. Been there done that
- your gear should all be on the same basic quality plane.
All of the Mixers you are looking at are entry level products from major players, and all represent good value for the money.
Mixers:If you are buying 8 channels of wireless mics now it makes little sense to to buy a mixer that only has 8 mic inputs as you leave yourself with no growth path. If you are currently thinking 8 wireless within a year or 2 you will "need" 12 or 16 - this is from experience.
-
- The Soundcraft EPM8 is my fav among the units you list and they do make a EPM12 - both have 2 line inputs for music tracks and sound effects
- The Signature 10 only has 6 mic inputs so you would need to to at least the Signature 12 at $349 - the Signature line has a single line input - so tracks or sound effects, the Signature 16 has 12 mic inputs and the line input @ $599
- The Yamaha MG10XU only has 4 mic inputs ans 3 line inputs, so you would at least need to go to the MG16XU with 8 mic inputs and 4 line ins @ $525
- The Alto Live 802 has 4 mic and 2 line ins, need to got to the Live 1604 to get 10 mic ins (don't have an 8) plus 2 line ins @ $490
- The Mackie ProFX10 is 4 mic in and iin the Mackie range to get at least 8 mic ins you need to go to the ProFX16v3 @ $499
Speakers:
Another hobby horse of mine. We are firm believers in using small cone speakers to carry the vocal range from 200-4kHz as they provide the most natural sound with the least distortion and dissonance. A major issue with most 2 way systems is that they crossover in the 1.2Khz-2Khz range right in the heart of the voice. As the sound transitions from the cone speaker to the horn speaker at this crossover point, their is a lot of distortion and the horn introduces a harshness (by virtual of the way a horn works) that takes away from the sound of the performer. Really expensive systems take care of this with very expensive horn (some costing thousands for just the horn flare, and customized electronic controls.
- We use and recommended vertical line array active systems that are comprised of a subwoofer with the amplifier and a column of small drivers mount on top.
- Our favorite is the JBL Eon One system for small shows (200-300) but these are $999 each,
- There is a similar unit from Gemini - WRX-843 at $500 each.
If you need to stay toward the low end of the market, the smaller the "woofer is the better the box will sound, but usually these end up not being powerful enough for musicals without adding more bottom end maybe even more vocal level.
Wireless Microphones:
- We usually stick with either Shure or Sennheiser as these are the market leaders and their products on the whole have proven to be rock solid. Neither have anything packaged like the GTD which does complicate things and their microphones (or even our Bodymics Broadway Series microphones for wireless add a lot to the base prices
- We also manufacture a unit that we designed specifically for the school drama club market - the Creative Audio Technology CA,81 - 8 channels of recevers in a 1u box (standard 19" rack x 1.75" high) with 8 bodypack transmitters (MAP is $2299.99, school price $1,954.99, EdTA conference Special $1,600
- Microphones add around $50 each
I am guessing none of this helps if you really have a budget of around $1,200, but whatever you buy now will be what you will have to deal with for years to come.
Feel free to reach out - I love to talk about audio, and I will help you anyway I can
While I love to make a sale, I live to help folks achieve their audio/theatre goals
------------------------------
Rod Reilly
Owner, Bodymics
908-899-1277
Somerset NJ
------------------------------
Original Message:
Sent: 08-24-2020 18:26
From: Michael S
Subject: Recommendations for a budget mixing console
Our 6th - 8th grade middle school is looking to purchase a budget sound system. We'd start with 8 wireless lapel + headset mics, 8-10 channel mixer and speakers. I am new to this, so I won't take offense at (and would appreciate) being corrected where my ignorance is in the way. Based on research so far, the clear winner for mics is the GTD Audio 4x800. We can get 2 of these for under $600. This appears to give 8 simultaneous live mics with the possibility of having 8 lapel and 8 headset mics wired to 16 children and swapping battery packs / transmitters as needed so 8 can be live at once.
I am thoroughly confused as to which mixer is best for drama use. I have looked at the Soundcraft Signature 10 for $299, the Soundcraft EPM8 for $279, the Yamaha MG10XU for $209, the Alto Professional Live 802 for $229, the Mackie PROFX10V3 for $200, and the Behringer Xenyx X1222USB for $239. We do 4 drama productions max per year and one may or may not be a musical. Most reviews are from bands using them with effects and more. I'd appreciate advice with drama in mind for a reliable and capable mixer with decent quality (i.e. lack of background noise). The ability to record is important - so I believe all of these have an USB interface. With the current situation, we're looking at moving our events outdoors - although this would be temporary.
We haven't picked speakers yet, but if you have any advice for an approximately $300 pair of speakers, it would save a separate post....
Thanks for your help and input.
------------------------------
Michael
------------------------------