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A mic'ing question......
Old 19th December 2002
  #1
Gear Nut
 
🎧 15 years
A mic'ing question......

How would I go about seting up microphones for a large christmas choir???? Indoors in a large theatre , so hanging mics feasable. THNX.
Old 19th December 2002
  #2
Gear Maniac
 
🎧 15 years
how large of a choir?

are there seperate sections?

how do you plan to place the choir in the mix?

what mics do you have available?
Old 20th December 2002
  #3
Gear Maniac
 
🎧 15 years
Another question: Are you trying to amplify the choir, record the choir or both ?
Old 20th December 2002
  #4
Super Moderator
 
Remoteness's Avatar
 
🎧 15 years
Great questions, guys.


AgonizingpaiN, we need more information about your situation, so we can suggest a workable senario.
Old 20th December 2002
  #5
Gear Nut
 
🎧 15 years
OK. Here it goes:

First of all, I am just going to record the choir.
As for the choir, it consists of 4 sections and a piano: Soprano, Tenor, Altobass, and junior choir. It is a pretty big choir. I've never done this before so I was hoping you guys could tell me how to place the choir in the mix.

The mics is where the real problem lies:

All we have is a coupla shotguns, an AKG c1000s, AKG c900, and an AKG d440.

Thanks guys. I really appreciate yer help.
Old 23rd December 2002
  #6
Gear Maniac
 
🎧 15 years
At the very least you would want to work with a pair of like microphones, ideally a matched pair would offer you the best results.

You don't mention what the shotguns are or where you could place them so I can't offer any ideas there.

Can you rent a pair of good mics for the occasion ?

What is your recording medium, tape, DAW, or ?
Old 23rd December 2002
  #7
One with big hooves
 
Jay Kahrs's Avatar
 
🎧 15 years
A pair of small diaphragm condensors would be great and my first choice. Sounds like you need to make a rental. The shotguns will be too tight and focused on individual singers, the dynamics won't sound good. I'd get something with multiple capsules and experiment a bit with placement and patterns. If the room sounds good and the audience/room noise isn't too loud omni would be great.
Old 23rd December 2002
  #8
Gear Nut
 
🎧 15 years
Thanks for the advice guys. Rentals are, unfortunately out of the question. We experimented with the hypercardioid shot guns, and, like Jay said, they were too focused on individuals. We are recording to DAT through a crappy electrovoice 16x4x2. After hours of experimentation we decided to call the whole thing off because of lack of equipment

Thnx a bunch anyways.
Old 24th December 2002
  #9
Lives for gear
 
Steve Smith's Avatar
 
🎧 15 years
Quote:
Originally posted by AgonizingpaiN
Thanks for the advice guys. Rentals are, unfortunately out of the question. We experimented with the hypercardioid shot guns, and, like Jay said, they were too focused on individuals. We are recording to DAT through a crappy electrovoice 16x4x2. After hours of experimentation we decided to call the whole thing off because of lack of equipment

Thnx a bunch anyways.
hey, as much as it sucks to have to cancel, I commend you guys for realizing that this wouldn't work.. just a question, what made rentals out of the question? was it budget, or availability?
Old 24th December 2002
  #10
Gear Nut
 
🎧 15 years
It was budget, and lack of organization. I was asked to do this at the last moment. If they had asked me ahead of time then I would have posted this question up here a long time ago with a lot more info. Again, thanks alot. I love gearslutz coz, for a kid who's just starting out, this is the richest source of information in the world!!!!!!
Old 30th December 2002
  #11
Here for the gear
 
salty's Avatar
 
🎧 15 years
some tips for reference's sakes..

Hi I do choral/orchestral work occasionally as part of a team led by an ex-BBC engineer, and even though your original question has lost its immediacy, I thought I'd pitch in anyway, having a little experience.

Here's a few observations...

The mic placement is best planned by getting a floor plan from the production team that clearly marks the sections and any soloist positions.

The main set of mics is always a crossed stereo pair on a bar placed 10' or so behind the conductor and 15' above (to start with at least).

The section mics are ideally suspended from the ceiling about 15' above the ground, and if you are using PA, placed at the front of each section, pointing towards the ground at the back of the section (i.e. to get the diaphragm out of phase with the PA speakers). If it's for recording with no PA then dangle the mikes central to each section pointing straight down.

Any soloists ideally have a mic on a normal boom stand. Also in this case the piano would get its own mic.

You'd want to set all this up prior to location rehearsal and finetune during rehersal. We use walkie-talkies during rehearsal so one engineer can make adjustments, listen to PA etc. and the other can operate the desk.

In an ideal world with 4 sections and a piano you'd need at least 7 mics: 2 for the stereo pair, 1 for the piano and one for each section.
You'd also want 3 or 4 spare mics just in case - double miking the piano, solo parts, eqpt failure etc.

As a bare minimum for doing the job you would need to hire a matched pair of mikes for the main stereo pair, maybe 2 c451s or similar, then 'make do' with your unmatched mics for the more focused miking.

I agree that you did the right thing by turning the job down, but this sort of work, while not very glamorous, can pay well and there's a lot of it about at christmas .
Old 30th December 2002
  #12
Gear Nut
 
🎧 15 years
Thanks. That was very helpful, I'm gonna print your post for future reference.
Old 31st December 2002
  #13
Here for the gear
 
salty's Avatar
 
🎧 15 years
Glad it was of help, although I do only gopher work at these sort of events, anything I learn along the way from the aforementioned BBC bloke is at your disposal.
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