Mackie Big Knob?

[Guest]

Archived from groups: rec.audio.pro (More info?)

<< Can you elaborate on that? I'm not sure I follow. How do you keep the
control room monitors from feeding back while the producer mindlessly
holds down the talkback?
>>

Two situations:
(A) The talent is on headphones & talkback is only addressing the headphones.
No feedback.
(B) Talent is not on headphones & talkback is addressing the studio monitors.
In this case, the volume of the studio monitors has to be kept in check & the
volume in the control room has to be kept in check. In my studio, a comfortable
talkback level to the studio & a comfortable monitor level in the control room
is below the feedback threshold, although I know I tend to monitor at
conservative levels.
I find a lot of "producers" or clients tend to hold the talkback down
constantly, thinking it's a 2 way conversation, thus muting the response. For
me, it's very helpful to have talkback NOT mute the control room. Speeds up the
workflow by enhancing communication.

Scott Fraser

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

On 22 Jul 2004 17:20:06 GMT, scotfraser@aol.com (ScotFraser) wrote:

>For
>me, it's very helpful to have talkback NOT mute the control room. Speeds up the
>workflow by enhancing communication.
>
>Scott Fraser

Amen to this. I prefer to have the talkback inserted after the mixer,
The circuit I use is here:

http/www.taosnet.com/f10/floobydust.htm


Frank /~ http/newmex.com/f10
@/

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

<< They need Rivers. >>

More, apparently, than he needs them.


Scott Fraser

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

"ScotFraser" <scotfraser@aol.com> wrote in message
>
> I find some singers prefer being in a part of the tracking room where
they
> can't be seen from the control room. Gives them a private space to
perform in,
> I believe.



Then there are some who get nervous if they can't see you. I usually
turn down the lights in the control room so I don't distract the
players. Some have asked that I turn them back up. I guess they're
afraid I might be making rude gestures and faces at them.

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

"EricK" <eric@Raw-Tracks.com> wrote in message
news:2m9r5aFkr3mkU1@uni-berlin.de...
>
> How do you keep the
> control room monitors from feeding back while the producer mindlessly
> holds down the talkback?



That's one of my complaints about both the Knob and the thing Hank
noted -- no provision for an external talkback mic (or even a remote
switch, for that matter). I use a directional mic hanging on a Luxo arm
above the console (radio DJ style) which gives me control over who talks
and when.

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

<< That's one of my complaints about both the Knob and the thing Hank
noted -- no provision for an external talkback mic (or even a remote
switch, for that matter). >>

The Mackie Big Knob has a 1/4" jack for remote switching of the talkback.

Scott Fraser

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

"ScotFraser" <scotfraser@aol.com> wrote in message
news:20040724120722.29549.00002086@mb-m16.aol.com...
>
> The Mackie Big Knob has a 1/4" jack for remote switching of the
talkback.


Oh.

Okay, but I still can't use my own mic.

Thanks for the correction!

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

"ScotFraser" <scotfraser@aol.com> wrote in message
news:20040724120722.29549.00002086@mb-m16.aol.com...
>
> The Mackie Big Knob has a 1/4" jack for remote switching of the
talkback.


Oh.

Okay, but I still can't use my own mic.

Thanks for the correction!

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

<< Okay, but I still can't use my own mic.
>>

Not without drilling some new holes & cutting some traces & mucking about
inside. And there is no space, none at all, on the back panel for another jack
of any size. It's full up.


Scott Fraser

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

scotfraser@aol.com (ScotFraser) wrote in message news:<20040721034938.04176.00001321@mb-m26.aol.com>...
> << Anyone have any first hand knowledge of the "Big Knob"? >>
>
> Yes, I just bought one for a project that involves setting up a DAW in the
> artists' rehearsal space.
>
> <<I am wondering
> about the talkback functions. A person that I don't trust too much said
> something to the effect that when you press the talkback button, the
> control room monitors DON'T DIM. I'm looking to know whether or not the
> talkback dims the control room. >>
>
> The talkback does not dim the control monitors.
>
> <<In my mind, the product would be useless
> if they didn't implement the talkback function properly.>>
>
> I personally am extremely pleased that talkback does not dim the monitors
> because it is now possible to carry on a 2 way conversation with the talent
> while the producer is mindlessly holding the talkback down.
> Scott Fraser

I bought a Big Knob a few weeks ago. It sounds great but does have
some limitations. I called Mackie and spoke with a very curteous and
attentive tech. Here's the deal.

Engaging talkback does not mute the control room speakers as has been
noted.

Talkback also does not mute the program/playback buss. In other words
if you wish to give a "heads up" to the talent while something is
playing back, the talkback signal is simply summed with the program
material. There is no ducking or muting. In a broadcast situation this
is simply unacceptable.

The headphone amp output and studio monitor amp output is "ganged"
(for want of a better term). Thus, one knob controls level to the
headphone amp and studio monitor amp. Obviously it would be nice to
have these otuputs independently controlled.

Muting logic is not available on a rear connector. For example, when I
engage my master mic switch (which also lights the on-air/recording
tallies), it would be nice to have the Big Knob mute the studio
monitors--it doesn't.

Kurt, the tech, said that Mackie is aware of these limitations, and to
include them would raise the price of the unit. I would rather spend
the extra money to have increased functionality. I don't mind omitted
bells and whistles, but "please at least give me the basics."

Stu B.

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

I wouldn't use wax, and rosin is a big no-no.

FIddle "peg dope" ought to work ok,, but I use (on the recommendation
of a maker of very high-class violins!) :

** LAVA brand soap **

You rub it onto the bearing surface of the peg (dry!).
The soap lubricates, and the pumice grit provides just enough
friction-- but it never gets sticky!

If your pegs still stick after that treatment, they are out of round,
and need to be "dressed". Any luthier who works on violins will have
the tools for that job.




"U-CDK_CHARLES\\Charles" <"Charles Krug"@cdksystems.com> wrote in message news:<UgPLc.28737$gt1.26181@nwrddc02.gnilink.net>...
> On 21 Jul 2004 18:11:43 -0400, Mike Rivers <mrivers@d-and-d.com> wrote:
> >
> > In article <2m7no8Fk07jaU1@uni-berlin.de> kurt@nv.net writes:
> >
> >> I used to have a stick of some blackish-brown compound for my violin pegs that
> >> worked fairly well.
> >
> > I've seen violin players use rosin. But that's to make them stick. I
> > need to make them unstick so I can turn them.
> >
> > Tapping them on the small end of the taper usually frees them up, but
> > that gets the whole banjo out of tune. But then, who cares?
> >
>
> Beeswax. Buy it from a woodworking supplier, as it's generally cheaper
> than some of the other varieties.
>
> Should be sticky enough to hold, but pliable.