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I'm renting some hanging mics for a play I'm helping with, but I'm not sure what the best way to hang them is...
I may or may not have access to one of those lighting bars.
Some help?
I'm renting some hanging mics for a play I'm helping with, but I'm not sure what the best way to hang them is...
I may or may not have access to one of those lighting bars.
Some help?
Most mikes have vibration isolating baskets- those can greatly help when attaching to a boom or light bar. Make sure that the mike leads aren't dressed in such a way that the vibrations in the light bar are transmitted to them; thin mike cable and generous loops help. Don't be afraid of using a low-cut filter.
Dont even think about not using the low cut, use a high cut too, you just want the dialogue (voices) so all you need is around 100hz to 8khz. The rest will just increase the noise and chance of feedback.
Go wireless lavalier if you can!
Your main problem will be getting close enough to get a decent level without feedback. Try to get hyper cardioids which are very directional. And try to point them at some angle instead of straight down. The problem I see is they will be way too high and pointing at the tops of heads. It might be a lot better to plant them at the front of the stage, maybe in front of the foot lights or some props. Another thing to do, is to turn the mics that arent helping off, but this requires live mixing so you need to rehearse. Good luck, this kinda thing is harder then most people realize, and can depend on things out of your control, mostly the stage acoustics.
I will be using a low-cut filter, and hopefully a high-cut, if it has one (I'm going to be using two of the AT853A). I know it has a low-cut, though.
I wish... We're on a shoestring budget. If you're willing to paypal me the $800 difference to rent lavs for everyone instead of the hanging mics, let me know... 😀
Thank you for the tips. I'll be putting them at an angle.
I know how hard live mixing can be. It sounds so easy, but it's really a pain in the neck sometimes! I was the audio engineer for a play last year, and dealing with 6-8 lavs was definitively interesting, especially since I had to make sure mics were turned off if they were off stage! And that's just the beginning of the troubles...
Unfortunately, we won't have someone doing live mixing at this play. I'm the audio engneer and an actor!
Try 40-60 wireless. 😀
(to be fair, automation helps A LOT)
Those are actually decent choir mics. If you can get a pair of cardioid something on the downstage edge they would really help. EQ for gain, and have fun!
(to be fair, automation helps A LOT)
Those are actually decent choir mics. If you can get a pair of cardioid something on the downstage edge they would really help. EQ for gain, and have fun!
40-60 wireless? What's that?
Nope, there was no automation for me. Just 7 mics and a mixer. 🙂
We're also going to be using a boundry mic on one tables that is part of the set. That should help to get better coverage too.
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"Hanging mics" are suspended by their own cables, rather than clamped to a stand. Many have appliances on the end to make the mic element hang at an angle.
Google "choir microphones" for more information. Choir mics can be mounted on stands, but are often hung.
Google "choir microphones" for more information. Choir mics can be mounted on stands, but are often hung.
Before I would give advicice on miking I would like to know something about the building/venue/structure/size etc! E
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Well, had the play a couple of days ago, and we ended up getting a few Crown PCC-160s to put around the stage, along the front edge, on a table on the set, etc.... They worked quite well. I really liked the rear sound rejection on these. Thanks for all the tips though....
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