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The email blast from the head of my son and daughter's theater group relayed a frantic plea: "We need to raise $16,000 before the upcoming spring performances," Anya Wallach, the executive director of Random Farms Kids' Theater, in Westchester, New York, wrote in late May. If the money didn't materialize in time, she warned, there could be a serious problem with the shows: nobody would hear the actors.
Random Farms, and tens of thousands of other theater companies, schools, churches, broadcasters, and myriad other interests across the country, need to buy new wireless microphones. The majority of professional wireless audio gear in America is about to become obsolete, and illegal to operate. The story of how we got to this strange point involves politics, business, science, and, of course, money.
Story: https://www.wired.com/story/wireless-mics-radio-frequencies-fcc-saga/
(Score: 3, Informative) by RS3 on Tuesday August 14 2018, @12:07AM
I have one of these: https://www.ebay.com/itm/SABINE-ADAPTIVE-AUDIO-FBX-SOLO-SM820-FEEDBACK-ELIMINATOR-XLR-PHANTOM-MIC-FILTER/273384191478 [ebay.com] Haven't used it in a few years (that's a good thing). They and others make bigger better ones.
Yes, I have, and have recently used 1/3 octave (31-band) and parametric EQ.
Most digital mixers have very fast internal digital sample / processing rate. You can sample at 48KHz, then "upsample" to whatever your DSP / processing can handle, then downsample and D/A, so latency is truly minimal- microseconds. I frequently use a SoundCraft Vi3000 and I think the overall latency is specified at 2mS or so. I forget where you start to hear, and it depends on what you're doing, maybe 15 mS? It has 4 fully parametric EQs per channel and 4 on each output / bus, plus full graphic on outputs and mix busses, but I forget- I think it's more than 31 bands, and you can set the "Q" on those.
Interestingly there's a philosophy I only recently (a few years ago) learned that it's desirable to use some overall delay in an audio system- that it reduces feedback. I've messed with it and it certainly greatly lowers the frequency of feedback. Like 12 mS will pretty much stop anything above 2K or so, depending on all factors such as room, speaker placement, type, mics, etc.
And we use delay to get the "kick" drum's acoustic wave to line up with the subwoofers. Roughly 1 mS per foot of distance. So much fun to be had...