How Would You Hook Up These Three Components.

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ahoustondj

ahoustondj

DJ Extraordinaire
Aug 13, 2007
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3,464
Texas
Mic to number 1 XLR input on the board, 4400 send and return through I/O cable to channel 1 insert on the board!

And that was without looking at the pretty pictures!:sqlaugh:
 
I actually have almost that same setup! LOL 1202 instead of the 1402, Alesis instead of the Behringer!
 
MIXSIRS said:
Shure SM58: one of the mic inputs on the Mackie.

Beringher: Aux send and stereo returns on the Mackie.
Click to expand...

Yeah, But I am only using One Output and one input on the Behringer. Are you suggesting that I should use the Behringer in Stereo even though it is one (Well there will be more than one mike in use) in use.
Would connecting the Behringer is Stereo through the stereo returns cause everything else including Mikes to be affected by the Behringer's Settings?
Remember the Behringer has four separate channels/processors (Two Can be used in Stereo) What do I do with the other two?
 
Thunder said:
I actually have almost that same setup! LOL 1202 instead of the 1402, Alesis instead of the Behringer!
Click to expand...

Great minds think alike, what else can I say? :sqlaugh:
 
It's an optional way to connect the EQ. I should have mentioned it.


You have two aux sends on the Mackie. Connect one of them to input 1 on the Behringer. On the return from channel 1 on the Behringer to the stereo returns on the Mackie use the left (mono) channel. Leave the pan knob at the noon position for the channel the mic is connected to. Use the aux knob to control the Behringer.
 
MIXSIRS said:
Shure SM58: one of the mic inputs on the Mackie.

Beringher: Aux send and stereo returns on the Mackie.
Click to expand...


That makes absolutely no sense at all. I could see hooking up a delay/FX or some sort that way, but not a gate.

This particular unit is designed to be able to select what frequency range will trigger the gate to open. Such as putting it on an INSERT point of a microphone channel input that is used for a tom drum. Then dial the filter to the frequency of the drum that you want it to open, then the loud bass guitar or kick drum won't open the gate and allow the sound to come through when it's not wanted.
 
MIXSIRS said:
It's an optional way to connect the EQ. I should have mentioned it.


You have two aux sends on the Mackie. Connect one of them to input 1 on the Behringer. On the return from channel 1 on the Behringer to the stereo returns on the Mackie use the left (mono) channel. Leave the pan knob at the noon position for the channel the mic is connected to. Use the aux knob to control the Behringer.
Click to expand...

That makes no sense to me for an EQ either. Can you explain what benefits you would get by hooking it up this way?
 
Correction

Thunder said:
Mic to number 1 XLR input on the board, 4400 send and return through I/O cable to channel 1 insert on the board!

And that was without looking at the pretty pictures!:sqlaugh:
Click to expand...

MIXSIRS said:
Shure SM58: one of the mic inputs on the Mackie.

Beringher: Aux send and stereo returns on the Mackie.
Click to expand...

Thunder said:
I actually have almost that same setup! LOL 1202 instead of the 1402, Alesis instead of the Behringer!
Click to expand...

MIXSIRS said:
It's an optional way to connect the EQ. I should have mentioned it.


You have two aux sends on the Mackie. Connect one of them to input 1 on the Behringer. On the return from channel 1 on the Behringer to the stereo returns on the Mackie use the left (mono) channel. Leave the pan knob at the noon position for the channel the mic is connected to. Use the aux knob to control the Behringer.
Click to expand...

cclark65 said:
That makes absolutely no sense at all. I could see hooking up a delay/FX or some sort that way, but not a gate.

This particular unit is designed to be able to select what frequency range will trigger the gate to open. Such as putting it on an INSERT point of a microphone channel input that is used for a tom drum. Then dial the filter to the frequency of the drum that you want it to open, then the loud bass guitar or kick drum won't open the gate and allow the sound to come through when it's not wanted.
Click to expand...
OK I made a Big Boo Boo. This is the Behringer that I have MDX 4400 http://www.falk.ca/les_mis/behringer_MDX4400_big.jpeg not the one listed before.
 
I'm running the same Behringer. It's a gate/expander/limiter/compressor. I'm using a Mackie Onyx 1620 with an M-Audio Sputnik Tube Microphone so it's 'similar'.

Run the microphone to the board on a microphone channel (Channel 1).

Hook up ONE of the processors on the MDC4400 using an insert I/O cable. It's a 1/4" TRS cable with 2 1/4" TS plugs on the other end.

This let's the microphone pre-amp do it's job and the gate/expander/compressor/gate do it's job.

If you opt to add off board effects, I'd use the aux sends to pass them out, but I prefer to bring them back in on a channel strip instead of using the aux returns so I have more control.

Hope this all makes sense.
 
ahoustondj said:
OK I made a Big Boo Boo. This is the Behringer that I have MDX 4400 http://www.falk.ca/les_mis/behringer_MDX4400_big.jpeg not the one listed before.
Click to expand...

ok, but this would still be used on an insert point on the input channel strip.

Plug the mic into the mixer.

Get an insert cable to plug into the insert point of that channel. The cable will be split out into 2 TS (tip sleeve) 1/4" plugs. one is labeled TIP, the other is labeled RING. You'll have to look at the mixer manual, but somewhere in there you'll find if the tip is send or return. If the tip is send, then want to put that in the input of the compressor, the other one will go in the output of that channel.

You have 4 channels of compression there, you could get 4 cables and use on other mic inputs, or if you have a main insert point (per channel) you could use a couple of them as a safety against people coming and pushing your faders up or something stupid like that.
 
Clark,

The gate/expander on the compressor works not on frequency but DB level you set it so the floor noise does not come through and it only opens when a certain level is reached directly into the mic. To "duck" you would use an EQ to setup for the frequency and then chain into the compressor.

And you are preaching to the choir here Houston already knows how to properly set it up he was throwing the question out to see how many jumped in without a clue!
 
Thunder said:
Clark,

The gate/expander on the compressor works not on frequency but DB level you set it so the floor noise does not come through and it only opens when a certain level is reached directly into the mic. To "duck" you would use an EQ to setup for the frequency and then chain into the compressor.

And you are preaching to the choir here Houston already knows how to properly set it up he was throwing the question out to see how many jumped in without a clue!
Click to expand...

Yes, I realize that it works that way for this particular one. The model that he had posted before actually has a parametric EQ sidechain built into it for frequency dependent gating.

This is the one that was originally posted: http://www.behringer.com/EN/Products/XR4400.aspx
 
Sorry I never looked LOL

I was just assuming it was an expander/gate/compressor!
 
MusicMeister said:
Fortunately for me, I knew the model number and didn't have to look at what he was linking to. ;)
Click to expand...

I can't remember the model numbers very well, but I actually have one of each of them in my rack. As I said before, I use the gate with the parametric sidechain for toms mostly, but rarely do I need to use it. However, it's a handy tool when the setup requires it.
 
Thunder said:
Clark,

The gate/expander on the compressor works not on frequency but DB level you set it so the floor noise does not come through and it only opens when a certain level is reached directly into the mic. To "duck" you would use an EQ to setup for the frequency and then chain into the compressor.

And you are preaching to the choir here Houston already knows how to properly set it up he was throwing the question out to see how many jumped in without a clue!
Click to expand...

Steve,
In all humility I am not sure. Remember, I just got the Mackie Mixer and am not familiar with it. When I am ignorant about something, I ask, its the only way to learn. I do not pretend. The answers are very helpful to me and I thank all of you for all for them. I still don't know if I am using the correct settings on the MDX 4400 to limit the Mike levels.
 
Since I bought it for 'screamers' at karaoke (mainly to get 4 channels in 1U)... and have since stopped doing karaoke in bars, I use the compressor in my studio setup. I just rebuilt my studio set up into a 42U APC cabinet... but there isn't enough room in the room to do toms or a drum kit of any size. I do mostly voice over work and vocalist recordings... not much else is fitting into that room. :)


If you want to learn more about compressors/limiters I recommend the Paul White 'Basic...' series of books. EXCELLENT and inexpensive.

Amazon.com: Basic Effects & Processors (0654979024859): Paul White: Books@@AMEPARAM@@http://ecx.images-amazon.com/images/I/51IChQfKPtL.@@AMEPARAM@@51IChQfKPtL

Each book covers a single topic and costs about $8 each. WELL worth the cost.


To start with, I'd set the limiters a little high and bring up a little compression just before the limiters kick in, and generally play around to get a feel for the various settings to start with. Someone here will likely give you some better ideas of what to try... Knowing how it sounds when you do certain things, even incorrectly, is a big part of setting up and troubleshooting.

FYI: Gate is easy, you basically bring it up until you loose the 'noise floor' and it's still under the vocalist or instrument. Keep in mind that's the most basic setting. You can start getting creative once you get a feel for the basics.
 
Sorry Houston, I figured this for a teaser! My answer is the correct one! LOL
 
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