[rschlierbeckParticipant]

Thanks.

The V90r is a hand held ribbon mic designed for live performance. It’s the successor to the M500. It has a nice warmth and I find it generally smoother than other dynamics I’ve tried. It can have some severe proximity effect but that is pretty easily dealt with using a low shelf or even multiband compression. Not trying to over sell it, I just like the weight and smoothness it adds to a female vocal.

[rschlierbeckParticipant]

Here are a couple of tracks recorded with my Qu-16.

Down by the River
Train Robbery

Vocals: Beyerdynamic V90r into Qu-16
Guitar: Taylor Acoustic into Bodyres pedal into Qu-16
Mandolin: Fishman Pedal into Qu-16
Bass: DI into Qu-16
Cajon Front: SDC into Qu-16
Cajon Back: Audix D4 into Qu-16
Melodica: peizo pickup into passive DI into Qu-16

Songs were recorded during a live performance multitrack onto a flash drive and then mixed down in Reaper. Please don’t judge my mixing skills.

[rschlierbeckParticipant]

I’ve re-read the Shure manual. I’m probably being overly paranoid and all I will need is the built in limiting. Thanks again.

[rschlierbeckParticipant]

Points are well taken. The limiter on the P3RA is pretty straight forward. What had me confused is that the documentation says it limits the range of volume adjustment. That means to me that I am limiting the loudest “normal” audio peak. But if a spike occurred it could still exceed that level. I guess the trick is to keep the signal going to the transmitter as hot as possible so that even if a spike occurs it can’t exceed the physical limits of the transmitter anyway. Does that make sense?

Or maybe the proper way to gain stage this is to set the mix output to peak around 15dB (-3dBFS, just shy of full scale), set the input gain on the transmitter so that it peaks at about full scale and then set the limiter on the pack accordingly. Just talking my way through this.

[rschlierbeckParticipant]

Thanks for the reply.

I do have the P3RA receiver. I guess I’m just trying to be extra careful. Does it make sense to use a limiter on the mix as well as the limiter on the P3RA or is it overkill? I can imagine a situation where feedback or a spike causes the volume to jump several decibels above the normal audio. The limiter on the P3RA sets the limits of the gain/volume knob. I didn’t know if that would also hard limit the actual volume of the unit. I’m interested in other peoples experiences.

[rschlierbeckParticipant]

Or this:

https://community.allen-heath.com/forums/topic/blank-qu-drive-recording

Thanks so much. This was the answer and it worked like a dream.

Jones

[rschlierbeckParticipant]

Thanks everyone. What I want to do is record both the dry and processed vocal. This looks like the way to do it.

[rschlierbeckParticipant]

I would also like to have an android app for the Q-16. I’m poised on the edge of purchasing an iPad just for this function.

[rschlierbeckParticipant]

Once gain, thank you. That was it. I just went to the Audio tab on the Setup screen and set the Output AFL to off. Now I can play around with the board through headphones.

Jones

[rschlierbeckParticipant]

Thanks for the replies they were very helpful. Getting my mind around the routing is the challenge. Since the band is not really using effects, other than reverb, I set up FX1 and FX2 to be reverbs with different parameters. FX 1 goes to FOH and FX2 goes to the floor wedge. Problem solved. I tried putting the reverb as in insert on the vocal channel. It sounded really good in the FOH mix but was harder to control in the floor wedge mix. Probably just my inexperience.

Another question. Is it possible to mute the FOH but still be able to listen to the mix in the headphones? I can’t seem to get anything in the headphones if the output is muted or the fader pulled down.

Thanks for all the help.

Jones.

[Author]

Posts