Mixers – Sound Board - Console:
There are basically 2 genres of mixers
- Analog – that which we used exclusively up to about 15 years ago
- Digital – these boards, for the most part have way more features than analog boards and they tend to sound better
Analog Mixers:
These range from simple 4-8 channel units with just volume knobs through to 56 channel units with 4-5 band semi parametric equalizers, and multiple effects/auxiliary sends – with knobs from here to Christmas Time.
For older folks (like me) who tend to think linearly these make more sense in that all the functions for a channel are aligned above the volume fader/knob/slider.
If selecting an analog mixer you will almost certainly need to add graphic equalizers to all outputs feeding speaker systems to tune the speaker system to the acoustic properties of the room, plus maybe compressors (used to control the dynamic range of the sound, so the difference between little voices and big ones is less dramatic) and effects, like reverb and delay.
How "big" a mixer you choose to buy is driven by 2 things:
· The competence and experience of the operator
· Just how big the "bunch of channels" needs to be … remember my golden rule –
o "HOWEVER MANY YOU THINK YOU NEED NOW WILL DOUBLE IN JUST A FEW SHORT YEARS"
For use by anyone who is new to this I would never advise using more than 16 microphones – to this add sound effects, music tracks, voice of god mics, directors intro mic and in some instances a connection to the emergency announcement system. So a max of say 24-26 mic inputs and 2-4 line inputs.
Once you get to 16 live mics to mix, I highly recommend using a board with 4 sub-groups – each channel can be assigned to 1 or more sub-groups which in turn normally feed the main out puts. For theatre this would usually be something like:
· Sub-Group 1 – lead actors
· Sub-Group 2 – secondary actors
· Sub-Group 3 – Chorus/Ensemble
· Sub-Group 4 – Line Inputs – tracks, sound effects etc
Now, for example, the ensemble is too loud (or soft) rather than trying to change the levels on 6-10 mics you can just raise or lower the Sub -Group 3 fader
Some analog mixers incorporate:
· Compressors on each mic channel to control dynamic range of that channel (judicious use generally makes the vocal sound better
· Effects Engines (sometimes 2) so you can sweeten the sound a little by adding reverb or chorusing.
As to which brands are best – that is like the old Chinese proverb – "how long is a piece of string". The answer is it depends on your criteria, including the number of inputs you want, the complexity of the controls you need and budget.
All the major brands are good – Yamaha, Soundscraft, Mackie, Allen and Heath and our own Creative Audio consoles due for release mid to late Q2. For 16 channels in the budget range – Yamaha MPG24X @ $1,587; Soundcraft Signature 22 MTK @ $1079; Mackie Pro22FX22v3 @ $679, Allen & Heath ZED-22FX @ $1,199 and the Creative Audio MC1842 @ $999
Digital Mixers:
Now it gets really complicated. There is no such thing as a cheap digital mixer that is worth considering. And it takes a different mindset to operate. Young folks tend to catch on quick, us older folks have to work through a few pre-conceived and ingrained habits to manage these well.
But the have numerous advantages:
· Relatively small footprints for the number of channels they can manage
· Expandability beyond the "built-in" inputs using compatible remote input/output boxes.
· Built -in compressors, delays, effects and fancy equalizers (tone controls) on ALL inputs and most outputs
· Memories – most can store 100 or more "scenes" for easy recall of ALL or ALMOST ALL or A SELECT SET of settings
o Used cleverly this means you can preset every on-stage change for recall during the live show, and only have to tweak any problems, not change the position of 12 faders, 2 effects sends and cue a sound effect all in 2 seconds, and the changes are instant – even though the analog control surface may take a second or 2 to get into place.
o We recommend using the French Scene concept of creating a new "scene" each time a miked actor enters or leaves the stage. This means that all back stage mics are muted without having to do anything. Its hard enough to get the appropriate faders turned up without having to worry about muting the ones leaving the stage.
o The hard work happens in tech rehearsals – and before by presenting on and off mics based on reading through the script before an actor speaks the first line on stage – and the show becomes a simple matter of pushing the NEXT scene Button and making minor adjustments because an actor is speaking more loudly or more quietly than they ever did in rehearsal
Enough already…. Digital is the way to go – at least eventually.
Reputable brands – Basically the same set of players already mentioned above – but not Creative Audio. We like the Soundcraft IMPACT 32 as our value for money choice @ $3,100. Other popular choices are the Behringer X32 @ $3,000, Yamaha TF5 @$3,300, Allen & Heath QU24 @ $3,200
Speaker Systems
This is another " how long…" issue.
· How many folks does it need to reach
· How large is the audience area – wide and shallow, square or narrow and deep
· How much bass do you need for tracks – need much more for Rocky Horror vs. a Gilbert and Sullivan
· Budget!
Personally, I favor a small speaker vertical line array system with a subwoofer to better handle the music. I'm old and I have been using this "formula" since the late 1970s (told you I'm old).
Why you ask? Without getting bogged down in physics it comes down to a couple of simple concepts/realities
· Small cone drivers produce a more natural vocal sound (why – physics)
· A column of small drivers provides better audience coverage – less sound fills the air above the audiences head, and it provides a more even horizontal coverage (why – physics and the way the speakers couple as the move identically to the input signal)
· More sound reaching the audience and less filling unoccupied space, means we get more volume at the ears with the same or less power (why – physics)
· Small cone speakers can easily cover the full vocal range including harmonics, and still sound natural. A conventional 12" and horn 2 way speaker (which seems to be a favorite in almost ever school I've been in) normally crosses over from the 12" to the horn at 1200 to 1500 Hz – smack dab in the middle of the primary vocal range, producing an unnatural transition as it moves from one to the other. All horns (well almost and certainly with-in the budgets of most schools) sound a little harsh or brittle compared to the cone speaker. (why – physics and the way a horn controls the horizontal and vertical dispersion characteristics of the sound it puts out).
In the last few years almost every manufacturer of Speaker Systems has released a version of the long column mounted on a compact subwoofer with integrated power amplifiers. These are available in various sizes to suit the size of the space. My current go to for 200 people is the JBL Eon One Mk2 @ $2500/pair. I have recently commissioned a larger system for 350-400 people @ $2400/pair. (Creative Audio Bronte.83) There are a number of no name smaller brands for smaller spaces starting at $800/pair.
For larger rooms/spaces we prefer the use mini concert style line array systems – again we opt for the smaller cone speaker versions of the speech boxes. Currently the Seismic Audio CLA 2x5/C3x10 sub system @ $2800/pair is the entry level, our Creative Audio Avalon.4 is a 4 top box/15" sub stacked or flown system @ around $5,000/pair (due April May 2023), and the Presonus CD12LP/Sub @ $4,500. Major brand units start about $10,000/pair. JBL SRX906 x 2 plus sub @ $13,000/pair.
Stand/Area Microphones
I do not really recommend the use of so called area mics – whether hanging, stand or floor/boundary.
I never recommend these if you use wireless bodymics on some actors and expect these area mics to work for the rest of the cast.
If you need these, I recommend boundary floor microphones and hanging "choir" mics in combination – and as many as you can possible afford. I usually use 5-6 floor mics across the front of stage and 5-6 hanging mics (3 mid stage and 2 up stage.
If you must hybrid wired and wireless you will need to choreograph carefully to prevent feedback, and to get as consistent a sound as you can.
If the chorus is a little weak, we have had success with using one or 2 vocal mics on stands somewhere on stage – then rotating a portion of the chorus to gather around these mics to ensure the vocals are heard, the change the set of kids for the next verse or tune.
Wireless Microphones:
Now we are in my home turf. With over 500 channels in our rental inventory we have lots of experience.
We believe that if you ever expect to need more than 16 mics you only consider going with Digital Audio over UHF systems. Do not even consider systems on 2.4GHz or 5.8GHz as they are not really reliable and the maximum number for most brands is 8, some make it to 11.
Smaller systems can be traditional analog systems, but again it is best to stay with major brands – Shure BLX-R @ $379/channel, Sennheiser XWS 2 $450/channel, Audio-Technica 2000 series @ $399/channel, and then there is our Creative Audio CA.81/41/21 series of purposely designed for school theatre systems – from $250/channel.
Our go to for Digital systems is the Shure SLXD @ $650/channel or QLXD @ $999 and the Sennheiser EW-D @ $600/channel and EW-DX @ $999/channel, systems. And it doesn't stop there – you will need microphones and (preferably) antenna distribution systems and mounting racks and cobling …..
One of our specialties is our Rack'D pre-built ready to use systems – we take the brand/model of system you want and assemble them into an equipment rack with the necessary hardware, antenna distribution unit, network hubs, internal wiring , microphone elements (lavalier/hairline, earset or headset) and an XLR loom to patch into your mixer. For the cost of the major branded components we are usually able to provide a fulling working system.
What do I get if I spend more money? Reliability! More stable RF transmission/reception resulting in fewer dropouts, crackles and pops. Better audio quality. Better built bodypacks.
Purchasing vs. Renting
Unless you plan to use the full wireless microphone system more than 3 times per year, it is generally a better use of capital to rent the wireless systems you need based on the shows specific requirements. Any capital is better spent on a good speaker system (which will make any wireless sound better), or upgrading to a digital mixer (which will ultimately provide a better overall sound)
I have had schools spend $20,000 on microphones only to tell me they don't sound better than the ones they replaced – upon investigation it turned out that the speaker system had damaged voice coils that made any signal sound bad.
My general recommendation if you want to own wireless mics, is to purchase a core system – 8-12 systems, and rent the rest as needed.
Recommended systems based on age of actors:
· K-3 Creative Audio CA.81/41/21, Shure BLX, Sennheiser XSW2
· 4-8 Shure SLXD, Shure QLXD Sennheiser EW-D, Sennheiser EW-DX
· 9-12 Shure QLXD, Shure ULXD, Sennheiser EW-DX, Lectrosonic DSQD
· College Shure ULXD, Sennheiser EW-DX, Lectrosonic DSQD
· Adult Shure QLXD, Shure ULXD, Sennheiser EW-DX, Lectrosonic DSQD
OBVIOUSLY your choice will be affected by budget constraints.
Microphone Elements for Bodypack Transmitters
While I love DPA and Countryman microphones the replacement costs are scary. This is way 10 years ago we started to manufacture our own microphones. It is hard to justify replacing 2-3 $300 countryman earsets every show, when it is hard to tell the difference when using our $60 model.
We manufacture lavaliers, earsets and lightweight headset mics in 2 qualities – roughly equivalent to the Countryman B3 and B6 lavaliers. Most of our mics are available in cream, mocha brown and black.
As a rule you should always have on hand a buffer of 25% of spare mics – if you have them you may not need them, but if you don't, Murphy will almost certainly ensure you have a failure or two.
I hope this helps … I know it is full of my opinions and recommendations of our own products, but both the advice and our product design are the result of 46 years of working amateur theatre.
Feel free to reach out with questions and or concerns.
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Rod Reilly
Owner, Bodymics
908-899-1277
NJ and NY offices
rod@bodymics.com------------------------------