Karaoke Forums

Ok guys, I spoke on another thread about SCREAMERS on the mics. Most suggested that I get a compressor. I looked on ebay, and got one, looks brand new, just received it. I know NOTHING about this piece of equipment, and am looking for guidance. Read the manual, (I might as well have read the German half of it), totally lost. No diagrams on how to hook it up. I am using a Mackie Profx 12 mixer, JBL EON G2 speakers, and running 4 mics, channels 1-4 via xlr cables. First of all, all I'm looking for (at first) is to be able to get more volume on (low talkers), and control the (screamers). After that, anything EXTRA that you guys can help me with to enhance the sound of the singers will be the gravy. I just want to add, that right now I've gotten nothing but praise on how good I make people sound, so I don't want to go backways, but want to actually make it sound better, if that's possible. As I said, this is my first day of kindergarten, so PLEASE bare with me. What cables do I need, xlr to 1/4 ", or straight xlr, where and to what do I hook them? Thanks in advance for ANY help.

Rosario
Serenity Now Karaoke

Connect your mics to your mixer via the 4 mic channels (as I assume your doing now).
You will need an insert cable. Since you are going to work with 4 channels, just get a insert cable snake. Cheaper than buying 4 individual cables and will always be together.
http://www.zzounds.com/item--HOSSTP80

Each set within are color coded. ie Black/White, Red/Grey, etc. On the other ends of those cables are also 1/4" of corresponding color marked TIP and RING. Plug the end with both cables into the TRS 1/4" end (Black/White) to mic channel 1 INSERT right above the gain control. The TIP end (white) will run into channel 1 (or A not sure which it is marked) input on the compressor. The RING end (black) will connect to the output of the compressor. Now repeat with the other 3 channels.

You are no connected to the compressor properly.
Have to let someone else help with settings at this time.

_________________
LIKE Lonman on Facebook - Lonman Productions Karaoke & my main site via my profile!

http://www.bhphotovideo.com/c/product/1 ... le_to.html

or

http://preview.tinyurl.com/35983uo

Single plug to the insert of your channel, and on mine the red goes to the compressor output while the gray goes to the input. That could be different depending on how Mackies are wired, but if it doesn't work switch it.

Then set the channel for:

-10db threshold
2.5:1

You can set the peak limiter midrange. There is no attack release setting, it is always AUTO (which I always use anyway).

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[color=#ffff55]Mickey J.[/color]
Alas for those who never sing, but die with all their music in them.
-- Oliver Wendell Holmes, Sr.

Is there a particular reason that I am connecting to the 1/4 " connections on the back of the processor, rather than the xlr? Also do they make cables like these that are xlr to 1/4 "? Is the 1/4 " connection better?

Rosario

Wiring the mic with the compressor inline to the mixer via the XLR can be done, but is usually done as a last resort if the mixer doesn't have insert points - which yours does - it is usually tapped in after the micrphone preamp on the mixer, connecting it before the mixer (inline) again will work, but not as effectively as the insert jacks.
In this case going from the 1/4" insert to balanced XLR connections are not going to be of any benefit. But they are typically more expensive, but again no real benefit in this case.

_________________
LIKE Lonman on Facebook - Lonman Productions Karaoke & my main site via my profile!

I've never seen XLR insert cables.

It seems wrong to go from an unbalanced to a balanced cable. There would be some question of the wiring hookup, too, as inserts can be wired differently from board to board. Which pin does the signal go in on? Input, output, male, female? The 1/4" unbalanced makes much more sense all the way around.

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[color=#ffff55]Mickey J.[/color]
Alas for those who never sing, but die with all their music in them.
-- Oliver Wendell Holmes, Sr.

XLR insert jacks are common on pro-level rigs where the consoles have balanced insert points. It does not matter which one you use in this case; the electrical connections will be the same.

However, some very old mixers have a different wiring scheme for their insert jacks than the modern standard. TS/TRS chassis jacks are genderless, so it does not matter if you happened to have an older mixer like that. In the case of XLR, though, if you had such a very old "ring send" console, you would have to be mindful of that.

The Hosa cables that are linked in this thread work fine if you handle them carefully. I suggest these EWI cables, though, which are much more durable and similar in price:
http://www.audiopile.net/products/Patch ... heet.shtml
Note these are not color-coded on the console end, and the color coding scheme on the rack end is not the resistor color standard, but is blue/red/yellow/white. These are honest gripes but as an owner of both Hosa and EWI products along with many others, I can tell you the Hosa ones are NOT durable compared to the EWI.

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Jeff Wheeler, moonlight DJ/KJ

Beginning to understand, was just wondering why they had the xlr connections on the back of the compressor. So far, so good, I'm following what you guys are talking about. Now I'll get the cables. Thanks.

Rosario

I know I'm getting ahead of myself here, but I usually set my mixer to unity gain, and turn the gain til feedback, then back-off a little for each mic. When using the processor, do I still set my mixer first, before fooling with the compressor? Do I even connect the compressor BEFORE setting unity gain? I'm sure I'll think of alot more questions on this thing, hope you don't get irritated with my questions, but how else does someone learn, than by asking questions? I feel what good is knowledge, if you can't pass it on. Thanks.

Rosario

This is something that you could answer yourself with just a little more understanding of what is going on in a sound channel.

The input goes into a pre-amp (on a mono/mic channel of a typical mixer). You adjust the gain there, and the EQ. This is where the insert is , between the gain adjustment and the EQ. The diagram on page four of

http://www.mackie.com/pdf/1402vlzpro_ss.pdf

shows you exactly what is going on.

Therefore the output of the compressor is just about the same as the gain or trim knob, and doesn't have much to do with your faders. If you adjust the output gain of the compressor too high, you will get your clip/peak light flashing.

In other words, you adjust the compressor stuff first, just like trim and base channel EQ. (Of course you are going to tweak channel EQ at times to adjust for male/female or for the sound on a particular song.)


Sort of off topic, and I am sure I will trigger some teeth-gnashing, but -- by searching and reading, and by trial and error. As Franklin Pierce Adams said, "I find that a great part of the information I have was acquired by looking up something and finding something else on the way." People who ask questions as a last resort rather than a first resort learn more, in my experience.

Sometimes I deliberately wait before answering my colleagues (typically people who work for me, but sometimes clients) questions. I find that the result much of the time is, "Oh never mind, I found it."

All that being said, myself I searched and read for a while and didn't find much in the way of clear instructions for compressor wiring. So I posted here when I got mine, after about 2 days of trying things, and Lonman helped me out.

_________________
[color=#ffff55]Mickey J.[/color]
Alas for those who never sing, but die with all their music in them.
-- Oliver Wendell Holmes, Sr.

Mckyj, no teeth gnashing, but as I said in the OP, I read the manual for the compressor, and I might as well have tried to read the German half, because there is terminology that I am unfamiliar with. I have NO problem researching MY equipment, but in another thread I was told that I could learn more in five minutes on this forum, than I could learn in 2 hours of reading a manual. THIS I believe. I haven't had the opportunity to experiment with the compressor yet, because I just got it, and need to get the cables still. If you feel you're being taken advantage of, or I'm being too lazy by asking questions, I won't feel offended if you don't respond. Thanks.

Rosario

A suggestion here, get your console setup completely before you even patch in the compressor. When you PFL (Solo) the channels on that Mackie, you'll be seeing the signal post-EQ (which also means after the Insert jack so after the compressor). Get the gain structure on the board dialed in first. In other words set your input attenuation, setup your EQ, tweak the input attenuation, then finally insert the compressor.

On the compressor, a couple easy settings. Ratio for most singers should be in the ballpark of 4:1. Your output gain should remain at 0. Set the threshold per singer and set it so only their loudest passages cause the meters to show compression (the red set of LED's). That will get you rolling.

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DJ Tony
Let It Rip Karaoke

The manual is only one resource. In today's world, a simple Google search for "how to use compressor with microphone" can give you a *lot*.


You were absolutely right to post and ask which cables you need. In fact, you should look into the "insert snake", which I forgot about. If you are really running four mics and not only two to be compressed, then you will want one. You can get a cheap Hosa at GC or zZounds if you want, or go higher-end as Jeff suggests. (But 10 feet? That's way too long for a karaoke rig.)


If I feel offended by someone else's question, that's my problem, not yours. Obviously from my statements I frequently reserve the right to not answer, and that is even a conscious decision on my part. I can't be taken advantage of without my permission.

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[color=#ffff55]Mickey J.[/color]
Alas for those who never sing, but die with all their music in them.
-- Oliver Wendell Holmes, Sr.

I agree, ten feet is about twice as long as most folks need just to go from the compressor to the mixer that is always right on top of their rack. But I would rather have extra cable to manage than a more convenient cable which will not last very long.

There are many other manufacturers of audio snakes in pre-made lengths as well as custom. So if the OP is not happy with either the Hosa or EWI, they can always have one made; or perhaps someone will suggest another inexpensive insert snake.

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Jeff Wheeler, moonlight DJ/KJ

Agreed, unless you're really pressed for space in the back of your rack, better to have extra than to be stretching and putting stress on your connectors. In my anolog Karaoke rack, I've got a pair of 10ft snakes (an 8ch 1/4" patch and a 8ch insert). I coiled up the extra and hung against the sides of the slant top case behind the EFX and Dynamics units. More than once I've had to open those coils in wierd situations where I needed extra reach outside the rack. Was nice to have that ability.

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DJ Tony
Let It Rip Karaoke