dfinn Posted February 5, 2005 Share Posted February 5, 2005 Hi, I have recently finished doing a production at my school with their new PA kit. We have a new desk, amps, fx, eq, cabs etc but hired mics. I need some advice on what to hire in for future productions. For this produciton we hired 4 lavier radios which were great and 5 sennheiser rifle mics. I had some serous problems with them. Sometimes they worked fine and I got a great signal but other times they just died. I was told to go ond twist em and re attach the two parts of them but this did nothing. It was probably me being stupid but I couldnt get them to work. I changed the leads and ensured I had 48v power on. I also need some advice on diferent types of mics. I particularly need help finding mics for over head and to mic the whole stage as I have a production coming up soon which is all singing so I would like to mic the whole stage without radiomicing everyone. I know that 2 overheads and 3 or 4 mics on the front will be enough but I need to know what types/ makes I should be looking at. thanks Daniel Link to comment Share on other sites More sharing options...
AaronHorn Posted February 5, 2005 Share Posted February 5, 2005 It was probably me being stupid but I couldnt get them to work. I changed the leads and ensured I had 48v power on. Stupid question I know but are all you cables balanced? Link to comment Share on other sites More sharing options...
dfinn Posted February 5, 2005 Author Share Posted February 5, 2005 yuh I was running all XLR's through a multicore. Its weird because sometimes they worked buto oheres they didnt and would just cut out whilst in use. what would you suggest for overhead and chorus/choir/ stage micing Daniel Link to comment Share on other sites More sharing options...
tomchennells Posted February 6, 2005 Share Posted February 6, 2005 you cant beat a decent pair of hanging mics over a chior or chorus, something like the audio technica ones would do if your budgets tight, theres lots of good hanging mics around and I havnt come across any really bad ones atall, the only issue of course is your lx designer will curse you for them casting horrible shadows in his nice face washes - tom Link to comment Share on other sites More sharing options...
dfinn Posted February 6, 2005 Author Share Posted February 6, 2005 Hi, Thanks, would I be able to use the same mics at the front of the stage on stands as out stage may be extened for the performance. Daniel Link to comment Share on other sites More sharing options...
dfinn Posted February 6, 2005 Author Share Posted February 6, 2005 Actually looking at all the mics that are available I could do with someone giving me an exlanation into the different kinds of mics and what each one can be used for. If anyone would do that I would be really greatful. Daniel Link to comment Share on other sites More sharing options...
djw1981 Posted February 6, 2005 Share Posted February 6, 2005 Actually looking at all the mics that are available I could do with someone giving me an exlanation into the different kinds of mics and what each one can be used for. If anyone would do that I would be really greatful. Daniel<{POST_SNAPBACK}> I would always prefer to use AKG SE300's on long boom stands for thaat kind of effect. Link to comment Share on other sites More sharing options...
audio Posted February 6, 2005 Share Posted February 6, 2005 The best guide I can find off hand in my favorites is THIS. If you ignore the audio technica references :D , and just read the microphone types, its pretty good.Also, its pretty church specific, try and read more generally, i.e. choir = chorus on stage, general stage cover etc.... For your musical, I suggest hiring in some of these Boundary microphones (the link is really just to show you a picture, rather than suggest a specific design, just ask the local hire company). Place three along the front of your stage on a piece of foam, and they should manage to give you just as good results as radio-mics Enjoy :D Link to comment Share on other sites More sharing options...
audio Posted February 6, 2005 Share Posted February 6, 2005 Just found this is a magazine which might be useful ??? "Three basic types of microphones useful in a theatrical production are: lapel, hand-held, and area microphones. The lapel (lavalier) and hand-held microphones provide the most freedom of movement and the least visual distraction when they are wireless. These microphones are very useful for individual reinforcement. Boundary microphones are a very good choice for covering a whole stage area. Only unidirectional (favoring one direction) boundary microÂphones should be considered for purposes of theatrical reinforcement. Unidirectional models will help increase the amount of amplification before the onset of feedback. Also, unidirectional boundary microphones are less sensitive to audience noise and can also help isolate voices from the orchestra or instrumental accompaniment. Quantity Depending on the width of the stage, two to four boundary microphones can be placed across the front of the stage. The best method for determining how many to use for a particular production is as follows: Start with one boundary microphone centered at the front of the stage. If any dialogue is lost at extreme stage left and right, then add an additional microphone." Link to comment Share on other sites More sharing options...
dfinn Posted February 6, 2005 Author Share Posted February 6, 2005 Thanks thats great. As I am only young I am not very experienced so this help is really useful. I presume these boundry mics require a 48v phantom power source? Also with say 3 boundrys on the floor would they pick up at the back of the stage or would it be wise to fly a couple of mics ot pick up the back area of the stage. thanks Daniel Link to comment Share on other sites More sharing options...
audio Posted February 7, 2005 Share Posted February 7, 2005 Most boundarys I have worked with operate on either battery or +48v, but it is much easier to use the phantom power (+48v), as I normally forget to change batteries :) Also with say 3 boundrys on the floor would they pick up at the back of the stage or would it be wise to fly a couple of mics ot pick up the back area of the stage.Daniel<{POST_SNAPBACK}> It depends really on how deep your stage is and how much gain you can get from the mics before feedback. Generally I set up a few flown mics on our front lighting bar just to increase pickup at the back of the stage, as our boundary mics are on the apron, and quite a long way from the back wall. John :( Link to comment Share on other sites More sharing options...
dfinn Posted February 7, 2005 Author Share Posted February 7, 2005 Hi, Thanks im just getting an idea of what mics I will need to hire in for upcoming shows. Not being funny but why do you wanna know where I go to school? Link to comment Share on other sites More sharing options...
Matt Posted February 7, 2005 Share Posted February 7, 2005 yuh I was running all XLR's through a multicore. Its weird because sometimes they worked buto oheres they didnt and would just cut out whilst in use. what would you suggest for overhead and chorus/choir/ stage micing Daniel<{POST_SNAPBACK}> could be your multicore, especially when they are coiled and uncoiled a lot of tve time - some of the wires inside can actually snap and cause intermittent use exactly like you describe... can be a rite pain!!! Link to comment Share on other sites More sharing options...
dfinn Posted February 7, 2005 Author Share Posted February 7, 2005 Hi, well the multicore was only installed about 2 weeks ago. I tried the mics separately direct form the desk through a short XLR lead and had the same problem. Daniel Link to comment Share on other sites More sharing options...
Matt Posted February 8, 2005 Share Posted February 8, 2005 it could be the connection on the mic or on the desk... have you tried testin known workin mics with tve desk to rule out bad connections on XLRs etc... Link to comment Share on other sites More sharing options...
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