What's the best practice from +4 db to MIC level

I'm thinking about assembling an audio rig for when I perform live (MIC --->  MIC Pre ---> EQ --> Dynamic processor ---> FX processor. . . . . .  I visit (Play Sax) several Churches from time to time and find that most sounds guys working the mixer don't know what they're doing.  I'd like a little more control over my sound.  Of course,  I understand this means telling the sound guy to bypass the onboard eq and any other whistles, bells and kazoo's in between.
 
So, what's the best practice to go from a +4db output to a MIC level input into the FOH console?
 
Thanks for any insight.
 
regards,
Rich

First, you are likely to piss off the sound guy - church or not.  It would be like him telling you he's not going to turn you up during your solo because he doesn't like your playing.

If you approach it as you've found your "sound" it might go better.  Get a nice channel strip (and bring your own mic and cable) so you seem like a prima donna and not a hack.  I can't suggest what would be a good one for a sax, but I know the Portico II sounds good on it.  I wouldn't want to drag one around town, tho.

AS far as matching from the box to the cable, the sound is probably wired box to board preamp - you'll need adaptors to use the XLR cable to line input, along with step down transformers depending upon the board.  he might have an open line channel, but don't count on it.

It seems like a lot of trouble, but might be worth it.  I'd talk to the guy(s) first, tho, and tell them what you usually do live as far as sound.  My wife's band saxophonist just likes the lows cut, some top end and slather on the reverb.  She also does the flute and that works too, so one 58 to rule them all.

@ 

Bit, I'd be surprised if a console did not have line level inputs available.  However, I rarely see line level inputs available on stage.  Part of the reason for the question.
 
@@:  Yeah, I may be a prema donna although I don't think I would be any different than a guitarist asking for a specific amp to play through when on the road.  FWIW, I have been at the FOH running sound when visiting musicians/bands have had specific needs as such.  Many guitarists have spent countless hours fine tunning "their sound" only to be at the mercy of a scenerio just as I have described above. 
 
To be honest I use the term "my sound" loosely.  My desires are not unwarranted.  I can typically play any of 4 possibly 5 instruments in a song set.  Each having unique EQ requirements.  These being: Tenor Sax, Alto Sax, Soprano Sax, Penny Whistle and Flute.  I'm always moving the mic around and it's frustrating to hear a piercing shrill sound when I'm playing my tenor sax.  A clip-on mic for each of the sax's might be a better/cheaper solution but most venues don't have 3-channels to dedicate to my instruments.  Finding and happy medium on the EQ for all 4/5 instruments on 1 universal mic is equally as challenging.  Just talking out out laoud but an alternative may also to to have a small 4 or 6 channel mixer on stage with me.  Hmmmmm . . . . . .  There are many choices.
 
@ Jeff:  Thanks for the info.  I'll check the links you've referenced when I get a chance.
 
regards,
Rich
 
 

Rich,

I understand your concerns about sound, it just is that sound guys can be fickle, esp. "volunteers." It is better to explain what you want.  If you've tried that and it doesn't stick, either because the sound man is ego driven or incompetent, then go for it.  But I would find a more delicate way to skip the bad sound than tell the soundman he should volunteer as an usher.

@

I think it would depend on whether you are playing as a solo act with tracks or live with a band or whether you're filling in for an in-house band.

I just picked up a couple of AKG C419ml clip on condensors for $49/ea at GC on clearance (although I had to spend another $40 on a phantom XLR->mini XLR adaptors) for my sax and bone player (large venue).  They'll go direct into FOH and mixed in as needed.

I've had professional acts in like http://www.tombraxton.com/ and they often bring their own rack with DSPs for "their" own sound and the ability to change settings on the fly.  If that's the case, I think putting your own rack together for "your sound" is very doable and appropriate.  You are still going to rely on the in-house guy and as AT mentions you never know what you're going to get - their attitudes are similar if not worse many times than musicians
 
For that, I'd look at something like the Presonus Live stuff with built in DSP, memory scenes, and even contol surface apps for iPads and phones.  With that you'd have a line or balanced in and a balanced line out into any available mic input. JMHO

It might be OK to suggest not using a mic but it does not help in situations where a mic is really necessary.

I can find out for you what the gear is but here in Australia we have a rather famous sax player. (Jamie Oehlers) At a recent gig I noticed Jamie uses a very nice mike attached to the bell but not right on the edge. It uses a special bracket that puts the mic a little further out the front but still pointing into the bell. He uses a wireless system to get the signal across to the back of the stage. You could investigate something like that. It is the ultimate in freedom. From there Jamie sends the signal straight to the PA and leaves it up to them to get right which in most cases happens. But in your case you could run the signal from the reciever into your processors and then send that down the line to the PA guy, (at line level too) telling him to use no EQ (flat) or effects etc.

Jamie plays tenor and has a beautiful acoustic sound that is warm and fat and with this mike he gets exactly the same sound in the PA which is quite excellent. The mike is probably a DPA and costs five grand LOL!

It should help to produce a better sound out front. There are still two things you have no control over though. One is how loud you are out front and the other is how well the PA is tuned to the room and hence how does the sax actually sound out front. If the PA FOH sound is well balanced and well tuned it should be OK then. But if not then anything goes out front and it might be terrible. But that is not your problem.