Micing for school play

[dfinn]

Hi people,

 

In a previous thread I have asked for help on microphone choice for micing a stage for a school show. It is an all singing show but I wouldnt really class it as a musical. It is called "Born for this" and is about the Stations of the cross.

 

The stage area I wish to mic is roughtly 15 - 18m wide and 6-8m deep.

 

From all the help I got on here (which was great by the way) I have decided on hiring in:

 

3x Boundry mics to put on the floor on the front edge of the stage. I have chosen three because I was advised to use odd numbers starting with a centre and where I get no pickup add a 2nd one on either side at the same distance.

 

2x overheads to give the people at the back of the stage some pickup. Will two be enough?

 

Could you give me your opinions on my choice as it is really hard for a new sound technician to make the right choice on mics.

 

Also what is the pickup range on overheads and boundrys and what is the best way to rig both?

 

Thanks

 

Daniel

[coopl010]

very good idea :huh:

[dfinn]

HeHe,

 

hey evryone this is Liam, hes a fellow technician from school.

 

Liam you will find loads of great advice on here.

 

Now people will what I have suggested be suitable?

 

Daniel

[coopl010]

HeHe,

 

hey evryone this is Liam, hes a fellow technician from school.

 

Liam you will find loads of great advice on here.

 

Now people will what I have suggested be suitable?

 

Daniel

<{POST_SNAPBACK}>

thanks

[dfinn]

Hi,

 

All the boundary Mics I ahve seen on the net dont use XLR? is this right if so why dont they use XLR like all other mics? and how will I plug these into a multicore?

 

Daniel

[david.elsbury]

Hi,

 

All the boundary Mics I ahve seen on the net dont use XLR? is this right if so why dont they use XLR like all other mics? and how will I plug these into a multicore?

 

Daniel

<{POST_SNAPBACK}>

If they are balanced, then you need to convert the connector to an XLR, maybe with a lead. If they are not balanced, I would suggest using a DI box, preferably a high-quality active one, to get the signal to a sound desk.

 

David

[IanG]

3x Boundry mics to put on the floor on the front edge of the stage. I have chosen three because I was advised to use odd numbers starting with a centre and where I get no pickup add a 2nd one on either side at the same distance.

 

2x overheads to give the people at the back of the stage some pickup. Will two be enough?

 

Could you give me your opinions on my choice as it is really hard for a new sound technician to make the right choice on mics.

<{POST_SNAPBACK}>

 

Your plan sounds good to me. Two overheads will normally be enough unless your stage is particularly wide - adding more if it isn't will lead to phase interactions between the mics (a good rule of thumb is that mics should be 3 units apart to every 1 unit of distance to the sound source - so if they are 1.5m from the actors they should be at least 4.5m apart)

 

Also what is the pickup range on overheads and boundrys and what is the best way to rig both?

<{POST_SNAPBACK}>

 

Mic's don't have a 'range' as such - any sound which arrives at them will be picked up. The limiting factor is how loud you can make them before they start picking up their own output from the loudspeakers, and feed back. That depends on a lot: the acoustics of the venue, the placement of the mics and speakers, the amount of gain, the frequency response of the audio system etc. etc.

 

If you have an equaliser to notch out any problem frequencies, you can get enough pickup at reasonable sound levels from the mics you're using to cover the entire stage. If you have more (parametric or graphic) equalisers you can use one per mic or subgroup to ring out each microphone individually and get more gain before feedback (there are many good posts on here about how to ring out a system)

 

In terms of rigging - the boundary mics should sit flat on the stage, or on a small piece of foam if they're picking up too many footfalls. You could put some acoustic foam behind them if they're picking up sound from the band/orchestra if you have one.

 

Overheads - experiment but remember they should be pointing at where people's mouths will be not the top of their heads!

[dfinn]

Hi,

 

We have a A&H GL2200 desk which gives me eq control over each channel. I may also run the overehads off a sub and the boundrys off another sub but I dont have any eq on subs but see little point if weach mic has been eq'd individually.

 

Ithen havea ultragraph pro eq which will help me eliminate and problem freq's which I can get rid off from the desk.

 

So when you huys mic up a stage using boundrys do you get ones with XLR for a multicore or get a di box?

 

Thanks

 

Daniel

[IanG]

So when you huys mic up a stage using boundrys do you get ones with XLR for a multicore or get a di box?

<{POST_SNAPBACK}>

 

Every boundary mic I've ever used has had a cable with an XLR connector on it. (Usually a smaller connector at the mic and then the XLR at the other end)

[dfinn]

Ahh brill. Ive been told that condensor mics would also be good for this? Would these be better than the boundrys for the fornt of the stage?

 

Also would condensors be good for flying?

 

Daniel

[IanG]

Ahh brill. Ive been told that condensor mics would also be good for this? Would these be better than the boundrys for the fornt of the stage?

 

Also would condensors be good for flying?

<{POST_SNAPBACK}>

 

Some boundary mics are condensors (most, I expect). Boundaries are definitely the best way to go for the front of the stage.

 

For overheads, a pair small diaphram condensors would be a good choice.

[paulears]

"I would suggest using a DI box, preferably a high-quality active one, to get the signal to a sound desk."

 

 

 

DI boxers are for converting line level TO mic level - you can't plug a mic into the line level input and get something usable from the XLR out - even on an active box, it won't work. To be fair, 'something' will come out, but the level will be far too low to be usable.

 

 

If the mic output is unbalanced, then in all probablity the mic will have an internal power supply (1.5v batt is common). If so, just make a unbal to bal ""XLR convertor.

[david.elsbury]

"I would suggest using a DI box, preferably a high-quality active one, to get the signal to a sound desk."

 

 

 

DI boxers are for converting line level TO mic level - you can't plug a mic into the line level input and get something usable from the XLR out - even on an active box, it won't work. To be fair, 'something' will come out, but the level will be far too low to be usable.

 

 

If the mic output is unbalanced, then in all probablity the mic will have an internal power supply (1.5v batt is common). If so, just make a unbal to bal ""XLR convertor.

<{POST_SNAPBACK}>

Point taken, sorry for being confusing. You are quite right. The reason I was suggesting a DI was because (as I read the OP's plan,) running an unbalanced signal down a multicore has the potential to pick up nasty hums and buzzes. Hence the use of a DI, (which as you say is the wrong tool) to balance the signal. But I digress. Back to my corner, sorry if I have confuzzled anyone...

David