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How would one mic' this lot up ? |
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4D 
Old Croc 
Joined: 13 November 2008 Location: Winchester Status: Offline Points: 4257 |
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 Topic: How would one mic' this lot up ?Posted: 06 September 2012 at 11:18am |
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So the tech spec said, Don Conreaux & gongs six mic's Then this lot piled onstage with a few more muso's out of shot, keyboards & brass section.. A splendid collection of of resonant, percussive and wind instruments that defied all attempts to make coherent. Separation was almost non existent apart from shrill things like the penny whistles. I had small condensers on the wind instruments, two overheads & a couple of boundaries on the gongs, SM57's on various drums, Beta58's on vox and more condensors on the singing bowls. None of it helped by the fact that each performers would alternatively use their mic' as a vox or instrument mic depending on the tune. I suspect i am going to have to do it all again next year so anyone any good hints & tips on massed gong mic'ing ? 
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DMZ. "The bass was intense. Girls were literally running up to stand next to the subs"
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Creative
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Joined: 05 February 2009 Location: Southend, Essex Status: Offline Points: 139 |
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Posted: 06 September 2012 at 11:32am |
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yes, don't do it!
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Time flies like an arrow - fruit flies like a banana!
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DrDantastic
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Posted: 06 September 2012 at 11:50am |
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One stereo pair of good condensers (Neumann etc.) and vox mics? Maybe far micing might serve you better! I hate gigs like the above so I'm probably not the best to comment!
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odc04r
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Joined: 12 July 2006 Location: Sarfampton Status: Offline Points: 5482 |
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Posted: 06 September 2012 at 12:56pm |
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Dedicated vocal mics with performers asked to use them as such? Otherwise sounds like a potential cacophony. I think the way you did it is the best I could come up with.
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Spartan Audio
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Joined: 09 March 2010 Location: Cardiff Status: Offline Points: 1309 |
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Posted: 06 September 2012 at 5:05pm |
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Wireless headset vocal mics for each 'performer' who sings. Close mic everything else, then a nice pair of ambients.
Or 6 x Schoeps or similar accross the front of the stage, plus the vox mics. |
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http://www.spartanaudio.co.uk
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Steve_B
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Posted: 06 September 2012 at 10:02pm |
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What is the attitude of the band? From the photo it doesn’t
look a large venue and the audience seems to be seated. Unless the aim is some ethnic death metal,
amplify (mic up) as little as possible. Reinforcement is definitely the name of the game, with the
minimum of amplification used to balance the sound. Keep it as quiet as
possible. Even if you choose to mic everything you don’t have to turn them on.
In that size venue, if the instruments are loud enough for distance micing to
be effective, then they are probably loud enough anyway. If you are going to be working with the band regularly talk
to them. If they think that you are on the same page as them regarding their
sound, they are more likely to be open to suggestions and methods you use. In
my experience musicians tend to be conservative and like doing things the way
they always have. If something like a headset mic has not been requested, or is
carried around by the performer, then they are not likely to want to use one. |
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SamV
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Joined: 21 October 2008 Location: London Status: Offline Points: 8711 |
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Posted: 06 September 2012 at 10:21pm |
What he said. |
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tall_mike
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Joined: 22 June 2012 Location: surrey Status: Offline Points: 643 |
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Posted: 04 October 2012 at 7:19pm |
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You're almost into hanging mics from the roof territory!
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Robbo
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Posted: 04 October 2012 at 7:45pm |
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Reminds me of the first time that I worked with the Chieftains from Ireland---Most of the instruments, I had never seen before, but the funniest part was watching a little guy with glsses on sat on a three legged milking stool playing what I now know is a bodrahan---still cracks me up now when I think about it.
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geoSal
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Posted: 04 October 2012 at 11:07pm |
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boring jobs..everything is so simple in words and riders,until the artists arrive there..
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kevinmcdonough
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Posted: 05 October 2012 at 7:36am |
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yeah,
i'd defo give everyone a specific vocal mic, probably just a decent dynamic on a stand as someone says headsets take a bit of practice and getting used to (and people not used to them always talk and forget they're always mic'd up). Gate them all so they're only on when someone is singing. Then a mic on each instrument that needs it, but Steve's advice is spot on doesn't look like the biggest room in the world so treat it like a Jazz/classical concert and amplify as little as possible just to get a good overall volume in the room, don't go crazy with the EQ etc try and keep it natural sounding. And for the Gongs, only bother mic-ing up one or two. They'll give you a touch of the sound in the PA and an extra bit of volume if you need it to bring it up to the level of everything else, but no need to mic them all that'll just put too much into the PA and you'll lose the attack of the initial hit in the wash of noise. k |
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Abe The Babe
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Posted: 24 November 2012 at 5:35pm |
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unless the onstage noise from the audience is low, the room is very dead, there is no monitors, there are very few things on stage or your only using one mic (along with most of the rest apart from the very few instruments on stage) I find close mic'ing is the way to go.
Every mic hears every sound in the venue just at different levels, the only way of having any coherance is to improve the ratio of wanted sound in each mic, to unwanted from spill from PA, nearby instruments, room reflections etc. Steve B's idea is dead right, anything else you need to boost should ideally have it's own mic that has as little spill as possible, Good omni lapels taped to some instruments will actually work better than the usual 57's or even hypercardioid condensers etc as they are so close to the source that they have a much better ratio. Omni's don't have proximity effect so you have the sound a bit quicker too. Obviously this won't always work, but for the likes of a violin where the player probably won't come any closer than 4-6 inches from a pencil mic it's ideal.
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Steve_B wrote: