Bobbsy Posted January 3, 2011 Share Posted January 3, 2011 I've had to mic them a number of times and tried the headset route once. I found that placement (using a DPA mic if memory serves but it was a number of years back) resulted in in very "screechy" sound that needed a ton of EQ to tame. I find an omni a bit farther away gave a much more natural sound. I should say that my application was for subtle reinforcement on a traditional "folk band", not anything heavily amplified. GBF wasn't an issue like it might be for the band you linked too. I guess it's "horses for courses". As with anything in live sound, there's rarely a firm right or wrong way. Link to comment Share on other sites More sharing options...
pritch Posted January 3, 2011 Share Posted January 3, 2011 Well - the previous one when I started typing!Something to bear in mind with a tin whistle is that the sound doesn't come out of where you might instinctively think it comes from! I read the OP's post to mean that they thought it came out of the hole in the bottom of the barrel/pipe/metal bit with holes in, rather than in front of the player's mouth. I guess other people may have different instincts! Link to comment Share on other sites More sharing options...
CharlieH Posted January 3, 2011 Author Share Posted January 3, 2011 I read the OP's post to mean that they thought it came out of the hole in the bottom of the barrel/pipe/metal bit with holes in, rather than in front of the player's mouth.Yes, I did. I now, however, know otherwise http://www.blue-room.org.uk/public/style_emoticons/default/wink.gif Link to comment Share on other sites More sharing options...
paulears Posted January 3, 2011 Share Posted January 3, 2011 just to confuse further - I thought he meant there was a hole in the bottom, not the end? As in where your thumb would be on a recorder, but now reading back I think he means don't stick the mic up the end! In fact we do that on so many instruments where that really isn't the best place at all. Sax, in particular sounds very un-sax like with a bell mounted mic. I realise we have to do this sometimes, but the sound's really weird there - and as you go play lower, it takes a lot more effort to maintain equal volume when playing - and the bell sound is 100% on the low notes, and the weaker higher ones escape through all the holes before they get anywhere near the mic! Link to comment Share on other sites More sharing options...
CharlieH Posted January 3, 2011 Author Share Posted January 3, 2011 just to confuse further - I thought he meant there was a hole in the bottom, not the end? As in where your thumb would be on a recorder, but now reading back I think he means don't stick the mic up the end! In fact we do that on so many instruments where that really isn't the best place at all. Sax, in particular sounds very un-sax like with a bell mounted mic. I realise we have to do this sometimes, but the sound's really weird there - and as you go play lower, it takes a lot more effort to maintain equal volume when playing - and the bell sound is 100% on the low notes, and the weaker higher ones escape through all the holes before they get anywhere near the mic!So for reference where would be the ideal sax micing position then? Link to comment Share on other sites More sharing options...
Smiffy Posted January 3, 2011 Share Posted January 3, 2011 On the edge of the bowl (is that the right term?). Normally I see them clipped to that, if the sax player is a wanderer. Couldn't tell you what the preferred Mic is, but am told they are reassuringly expensive :) Not a noise boy, just done waaaay too many Jazz Festivals :) Cheers Smiffy Link to comment Share on other sites More sharing options...
kerry davies Posted January 3, 2011 Share Posted January 3, 2011 Hi Charlie, just in case you are taking it too seriously have a read through the fine website for Tin-whistlers at; http://www.chiffandfipple.com/faq.html The FAQ is well worth reading if only to reveal the effect of legal drugs on the human brain and if you can navigate their forum without collapsing into hysterics they may have answers to your query. AMT make clip-ons for horns of all kinds for live performance and are bell mounted using wireless technologies like Shure, Sennheiser etc. Their website gives some idea of what you can get for most acoustic instruments. http://www.appliedmicrophone.com/ Link to comment Share on other sites More sharing options...
zonino Posted January 3, 2011 Share Posted January 3, 2011 I've heard great results at very loud gigs from these microphones - http://www.microvox.demon.co.uk/flutepage.htm but obviously £80 is quite a bit for a one off, its on my list of purchases for the band Link to comment Share on other sites More sharing options...
Simon Lewis Posted January 3, 2011 Share Posted January 3, 2011 You often see the bell of a sax being miked, but that isn't the best place to get the characteristic sound of the instrument. The bell acts as a high pass filter, and adds a complex acoustic impedance to the already complex behaviour of the conical bore (which behaves as a closed pipe). A number of systems now allow you to mount the mic on the bell but have the mic facing the tone holes. A tin whistle is an open tube, and uncovering the tone holes effectively shortens its length. I would try and mic it close to but not directly in front of the fipple. Instruments such as flutes are often miced at the embouchure hole, ( I suspect mainly for level), but again miking to pick up sound from the tone holes is useful. Simon Link to comment Share on other sites More sharing options...
CharlieH Posted January 3, 2011 Author Share Posted January 3, 2011 Thanks to you all :D We have a very limited budget, so purchasing one of those mics mentioned is not an option - although it was very interesting to read about them and one or two may find their way onto my personal shopping list sometime in the near future ;) Link to comment Share on other sites More sharing options...
Simon Lewis Posted January 4, 2011 Share Posted January 4, 2011 Don't worry so much about getting specialist mics... it's where the mic is placed and is pointing that is more important! Link to comment Share on other sites More sharing options...
w/robe Posted January 6, 2011 Share Posted January 6, 2011 The bottom octave on a tin whistle is quite quiet and the upper ones very piercing so it is going to require some sensitive op.ing if he is moving between the two. Link to comment Share on other sites More sharing options...
andy_s Posted January 6, 2011 Share Posted January 6, 2011 In this instance* I'd forget about your musical theatre hairline mic techniques. Tell him not to move around, and stick an SM58 in front of him. This will prove reassuringly piercing in tone.Aim the mic just below the slot below the mouthpiece. Seems to work for most of the irish whistle players I've seen. it even seems to work for those really clever people who play two whistles at once. not quite sure how we went from tin whistles to bell end mics, but an interesting diversion nontheless. :) *of course, if you're doing "Pied Piper! The Musical", then . . . Link to comment Share on other sites More sharing options...
CharlieH Posted January 6, 2011 Author Share Posted January 6, 2011 Tell him not to move around, and stick an SM58 in front of himIn normal circumstances I would, however with him being a teacher and me a student it is not easy to do this. I know it should be, but it is awkward. Furthermore, if I did get him to agree in theory, I have a feeling that he is the kind of person that would get caught up in the moment and strat dancing around the stage anyway. Although technicaly neither of these are my problems, in a school environment it is me that would look bad for that Link to comment Share on other sites More sharing options...
J Pearce Posted January 6, 2011 Share Posted January 6, 2011 Why in particular does it need micing(/miking/mic'ing/micalizing)? They're pretty shrill things, does it need to cut over other instruments or is it just solo? Link to comment Share on other sites More sharing options...
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