Figured it makes sense to post it in Live sound, as that's what it is. Sorry for the post length, but it's better than adding drips and drabs of information in later posts. Every year our church runs a pantomime (do they have these in the US? basically it's a comedy play). There's only four 2 hour shows per year (and a technical/dress rehearsal) and we make maybe £1k from it, which goes back to church funds. So big expenses for it are almost out of the question. Every year we have a problem with sound (vis a vis my presence here) which is to do with people being inaudible on stage. Yelling at them to be louder works to a slight degree but not enough to keep the audience of almost 200 - mostly old women - happy. The hall itself is roughly 20m long x 9m wide x 5m high with a pointy roof. The stage is behind a wall (yes, there's a gap in it) at one end of the hall with a raised floor and is about 4m deep. The opening is about 6m wide and just over 2m high - there's a wooden panel across the top which hides lights that reduces the height. The past 2 years, we've slapped 3 cardoid dynamics spaced across this wooden area, pointing down - along with another pair strung from the rear lighting beam. ***************** Basically we have a large hall (20m long, almost 200 people) and a stage with poor forward acoustical projection and quiet actors. There's usually a piano off to the right of the stage, at the front of the hall (this doesn't need to be mic'd). Our 3x dynamic setup at the front (and 2 further back) causes feedback. The speakers are a pair of 300W cabs placed just wider than the stage front. They're also used to provide SFX/music. MS Paint image of the hall: panto-normal.gif. Can you please give thoughts or suggestions on how to improve the setup - to get better gain-before-feedback and also to I reckon that heavy compression on each of the front mics, with a low threshold - so the louder voices don't push more volume and so the quieter voices can be heard. I know this'll sound dull but if it's needed, it's needed. This means spending a couple of hundred on compressors - which I can use for other things. Three other schemes I can think of are: (1) Move the speakers: Move the main speakers to the orange boxes further down, and add a 3rd speaker front-and-centre. This new speaker would only push sound effects, the mic signals would come out of the moved boxes and would be about 5-10 rows back. I could probably put them only a few rows back and not need the centre speaker - but there's a fire exit to contend with on the left side. Also, I'll need to run a cable (2) Different mics: Use 2 mics with a reasonable pickup pattern, at the blue crosses. Some sort of tight pattern condenser comes to mind. Cheap would be nice, and I'd like to be able to use them at other times - unless we rent, in which case, quality is key. The problem is, it's hard to get mics up there and there's no way to place stands, without the curtains getting in the way. (3) Radio mics: Apart from the potential problems from people swapping units, and the large cost... there's also cream pies and shaving foam gets thrown around on stage sometimes. Perhaps a radio mic on a few select people would work... along with the dynamic mics. Yay, additional work. Other information: - I'm prepared to do a bit of fader riding. Hell, it's in the job description: "fader pusher". - When the curtains are opened/closed, there's LOTS of LF rumble gets into any mics which are up on the front panel. Does this rule out condensers? - The place I put mics, the curtains don't touch them but there's stage lights along it - very few places I can actually suspend them. - We have 2 large cabs (mains) and 2 smaller cabs, one of which has a broken tweeter. One of the smaller cabs HAS to go backstage for foldback. Is another monitor in order? - The sound desk will be at the bottom left. - Audiences go back about 17m from the stage, and tend to surpass 200 on busy nights. Thanks a bunch for reading this.