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Originally posted by KJREngineering

This method also matches the output of the source to the system better allowing for less bleed and leaving the mic focused on it’s source instead of entire ensemble or band…

Proper (input) gain structure matches the output of the source to the system, absolutely. [:)]

The setting of the input gain has no effect on what the mic picks up, only how much that signal is amplified. An unplugged SM58 rolling around on the stage is “on” and is producing signal at it’s XLR connector (assuming there is sound present at the mic).

Any isolation of sound sources happens because of microphone polar patterns (point it at what you want to hear, don’t point it at other stuff) and relative proximity (put it a lot closer to the source you want to hear than to other stuff).

Both of these result in the intended source providing the majority contribution to movement of the mic diapragm, and happen well before any preamps. (I suppose frequency response plays a part too, a darker mic would pick up less overall hi-hat than a brighter mic).

Try recalling scenes that turn down the preamp and turn up the channel fader the same amount.