Kevin: - I like the tape idea! It would definitely be nice if we could hide the face tape, since for us, a piece of tape on the face is vital to the mic staying on well. That said, as I mentioned, our elements have been used for many shows, including seven others I worked on sound for, and we've never had this issue with distortion, so I would hesitate to say this is the main issue. It looks like they are just rubber bands that can slide off, so it's possible that's what happened to ours (they've likely been in service over 15 years with numerous operators, so anything could have happened). Quote from: Zachary Sherman on March 19, 2019, 11:50:09 PM Eric: Our E6's don't have colored bands. Unfortunately if that's the case, it means the mics will probably have to be replaced with a low-sens version, unless someone feels like creatively building an inline pad into the TA4 connectors on those mics (pads are fairly simple circuits pads that pass full bias voltage I'm guessing are not so much.) -Russ Unlike the successor ULXD1, the QLXD1 doesn't have a pad switch, and it maxes out at only 8.5 dBV, which might be a significant enough difference to explain your problem. The old ULX1 beltpacks had a pad switch and, according to specs, they should have been able to take an input signal of at least 16 dBV with the pad in. In the case of the OP, I'm going to guess that the problem is that your E6s are indeed high-sens. That's why I was asking if the TxOL indicators ever turn on, because that indicates that the low-gain stage of the TX preamp is being over-driven, which as I understand it can happen even if the meters look good (and is impossible to solve without adding a physical inline pad). While I'm not positive about the mic offset (although I get the impression it's just a digital trim), my understanding (from a Shure rep) was that QLXD and ULXD use a two-stage fixed-gain preamp on the TX, so the RX is basically the only place to set "gain" (which at that point is really just digital-to-analogue output headroom, or floating-point-to-integer conversion headroom in the case of Dante output). If anyone has a different suggestion, I would really appreciate it. I'm certain our mic elements aren't the issue, and the receivers are seeming less and less likely to be the problem. TL DR: I don't think I've found the culprit yet. But, like I mentioned, we've done many other shows with the receivers in this position and we've never had an issue. Since it's a black box theater, there isn't space to put the receivers in the pit and I like to be able to see them during the show, especially when having problems like this distortion issue. We do have an antenna distribution system which is rack mounted with the receivers in a portable (albeit really heavy) unit. Our transmitters can only be padded down on the receivers (QLXD1) and they are down far enough that they rarely, if ever, peak on the receivers. This show run is over, so I won't be able to test more with multiple actors until probably June. We have the actors put on makeup first so it doesn't get on their mics, which makes it more difficult for the tape to stick, but it's better than ruining our mics by slathering them in makeup! - Unfortunately, as for spare cables, we already have a pretty low budget, so usually if a mic breaks during a show, I just give it to the director to have it replaced for the next show run.
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