Using a Mic Pre-Amp for First Time

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DJ Gray

New DJ
Oct 25, 2006
2,099
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I will be borrowing a Mic Pre-Amp to use @ a Party with a couple of good singers next week.

The unit is a ....."ART Tube MP Studio V3 Mic Preamp". In addition I purchased a new "BBE Maxcom Compressor/Limiter and Sonic Maximizer", from Ben # Northern Light FX. As Ben explained the Maxcom is set in the signal chain just before the mixer and compresses/Limits and Maximizes the output. I may be off at which point the unit comes in, but I thought it was just before my mixer, prior to my Amps.

If I am wanting to bring the gain up on the singers, and at the same time limit their gain, to avoid feedback, distortion, how would I set-up the Art tube MP Studio V3 Mic Pre-Amp to accomplish this?? It is much easier to do a good job with the singers if I can concentrate on the effects, Equalization, rather then having to constantly monitor the Mic gain, to get optimum performance.

Can/Should I use the 2 pieces of equipment together at the same time?

Appreciate your help...............:sqconfused:
 
Brother Jim,

That's some nice gear you've got there. :)

Ben is right on the money. In general, it is preferrable to set gain structure and manage tone with mics and other inputs before you go to mixing and amplification.

The graphic EQ is useful for tweaking out mic feedback. Remember, the less you eff with it, the better, lol. Just use it for tweaking out feedback or mic rumble. Don't use it as a glorified tone control, please.

The compression/limiting and/or gating should be able to squelch mic feedback when set properly. Once you get it set to your liking, it's set for good. Remember, processing is always set to accommodate the speaker systems you are using.

I am not familiar with the ART unit and therefore cannot comment on specific settings. I'm sure Ben will be happy to address any questions you may have as to specifics. :)

Bringing up or boosting a vocalist slightly to cut through the mix should be no problem. Just bear in mind that what the audience hears may be different from what the stage hears. Manage your levels from the audience's standpoint and you'll be fine.

Vocal tone is critical and comes best from speaker cabinets that are designed to reproduce it. This may sound goofy... but stage monitor cabs (yes, the Eons) are very good at reproducing vocal tone.

One rule of thumb: Sometimes it is better to cut rather than boost. Boosting or upping levels can create mud in your sound if it's overdone. Rather than boost, try cutting competing inputs slightly at first.

Hope this helps.
 
Fred... Time for a road trip to MN...

You're addressing an issue I need to learn about. "Compressors" is a new subject to me (from just yesterday). I need to learn how to inset them into my new system, once I get my mics from Ben.
 
Tyrone Blue said:
You're addressing an issue I need to learn about. "Compressors" is a new subject to me (from just yesterday). I need to learn how to inset them into my new system, once I get my mics from Ben.
Click to expand...

I've been reading the manual for the BBE Maxcom Compressor, Sonic maximizer and it is not that easy to understand. I got it into my rack today and I have gone over the manual 4 times, very thorough run through, and I still am not sure how the Expander/Gate section works with the Compressor section and how I can use this as a limiter for Mic output, when singers do "stupid things" with the mics.

At a rehearsal session with this ex Professional singer, I was able to make her sound very good, according to her, but I was constantly adjusting the Mic gain on the board, in conjunction with the Mic Channel slider. I would prefer to be able to leave that alone, and concentrate on the Delay,Echo settings on the Mic Channel as well as the EQ on the Music side.

Playing with all of these settings really did make her sound exceptionally well as I said coming from her, her husband said that's the best she has sounded in 10 years......but a lot of work though...!!

Are there any books or other resources which would be more "newbie" friendly then these operating manuals are.....in explaining these concepts??
 
Let's note that not all vocalists are mic use-savvy. If you've ever seen someone hold a mic at chest level, you'll know what I mean. Those who know, know to keep the mic close to the lips at all times. Gating can compensate for lower voice levels while the limiting can compensate for screamers (or a dropped mic).

In Jim's case, the vocalist may not have been using proper mic practice. I can't say 'cause I wasn't there. However, you really shouldn't have to keep adjusting the mic level during the show. Your compression/limiting and gating (if used) will manage levels.

Before I forget, wireless mics can be redlined by screamers. There ain't a lot you can do about that other than provide a corded mic. They won't redline a corded mic.

Some years ago, a member at the old Carvin bbs posted a link to a site that explained live sound processing so simply that even I could understand it. :D

I no longer have the link but I'm sure it (or a similar site) could be found easily enough with some Google searching.

The trouble with tech manuals and engineering data ~ they're written by engineers. Nothin' against engineers... but pea-brained slobs like Wolfie can't make sense out of much of it.

Anyhoo, one method is to take it one step at a time. Get your gain structure in order first, then work with some processing. It's easiest when you set the system up at home and work with it when you have some time.

Effects like flanging and echo should be last on the list of to-dos. Get the gain structure and processing levels down pat first. Get your tone right. Then you can tinker with the rest. :)

Oh... one more thing. When you get your EQ set right, leave it alone. This unit is generally adjustet to accommodate your speaker systems. Once set, it's set for good.
 
Fred Stewart said:
Brother Jim,

That's some nice gear you've got there. :)

Ben is right on the money. In general, it is preferrable to set gain structure and manage tone with mics and other inputs before you go to mixing and amplification.

The graphic EQ is useful for tweaking out mic feedback. Remember, the less you eff with it, the better, lol. Just use it for tweaking out feedback or mic rumble. Don't use it as a glorified tone control, please.

The compression/limiting and/or gating should be able to squelch mic feedback when set properly. Once you get it set to your liking, it's set for good. Remember, processing is always set to accommodate the speaker systems you are using.

I am not familiar with the ART unit and therefore cannot comment on specific settings. I'm sure Ben will be happy to address any questions you may have as to specifics. :)

Bringing up or boosting a vocalist slightly to cut through the mix should be no problem. Just bear in mind that what the audience hears may be different from what the stage hears. Manage your levels from the audience's standpoint and you'll be fine.

Vocal tone is critical and comes best from speaker cabinets that are designed to reproduce it. This may sound goofy... but stage monitor cabs (yes, the Eons) are very good at reproducing vocal tone.

One rule of thumb: Sometimes it is better to cut rather than boost. Boosting or upping levels can create mud in your sound if it's overdone. Rather than boost, try cutting competing inputs slightly at first.

Hope this helps.
Click to expand...

Oh I knew Ben was right, I just didn't know whether I had remembered what he said??? This is all Greek to me??

I got a little Fender Powered Stage monitor which worked well @ the rehearsal. It does give you a perspective of what the audience hears. For the last set the singer did, I had shut down the Monitor, and my wife was there and she told me the background music was to loud. I couldn't hear the difference.

The boosting (Mic Gain) did seem to really help, except when She would hit a high note or move the mic real close to her mouth. I could salvage by dropping gain and increasing mic slider to compensate.

Early on some "Good Ole Boy" told me about subtracting rather then adding to get better tone control........

The challenge is that if I could control the volume/gain problem with the Compressor/limiter, then I could spend more time working the effects. Which is why I bought the Maxcom.

An acquaintance in the music business said something several weeks ago about the ART Tube MP Studio V3 Mic Preamp. He offered to loan me one, I wasn't about to tell him I had no clue what to do with it???

This lady is a good friend of my wife's............ and I kind of talked her into this.......:dontknow:
 
Early on some "Good Ole Boy" told me about subtracting rather then adding to get better tone control........

This is true. It is preferrable to cut competing frequencies rather than boost the frequencies that you wish to bring out.

The challenge is that if I could control the volume/gain problem with the Compressor/limiter, then I could spend more time working the effects. Which is why I bought the Maxcom.

Again, very true. The C/L will indeed keep mic gain (and anything else that's fed though it) at an acceptable level. What it does, basically is put a ceiling on the output. Peaks will be softened. You may adjust it for the ceiling you need. :)
 
Well I've got it set in my Rig, so tomorrow I'm just going to play with it and see what happens......(What do you think of my dancing partner???)
 
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