Microphone position for a Clarinet

[ojc123]

Gig coming up soon where I have to amplify a Clarinet. I thought nothing about this till I was recently at a jazz gig where the microphone (SM57) was placed about 30cm from the mid point of the clarinet, just close to the keys. The sound was very breathy and there was a lot of key noise, to the point where I started to hope the clarinettist would stop playing so I could enjoy the show. The other instrument sounded perfect.

 

I've googled a bit and found a number of strongly held views about placement for a clarinet. I'm favouring the SM57 slightly off axis from the bell as a starting point. I may use gentle compression. I could dedicate a channel of EQ to help.

 

Anyone have any suggestions about placement for this instrument? I have SM57s, SM58s, Behringer XM8500s (better than they should be) and a couple of unbranded condenser shotguns.

Thanks in advance.

[GR1]

I would use a clip on mic - some are twin kits. Any stand mic is a compromise of the player not being able to move off mic and being close to reduce bleed/feedback which increases the mechanical noise. If you look at the positioning of some clip on mics they are positioned to make a balanced sound so there is not too much mechanical noise or too much from the bell. I would wait to find out how good the player is before considering compression. You are after all changing a players performance which is desirable in some instruments but not in 'classical' instuments so much. If you can't hire a clip on for the night go with the 57 and give yourself time to play with it. If you invest time in the musician they will probably repay you with a disciplined show which will sound good.

[J Pearce]

One thing to consider is that the sound only comes completely out of the bell when playing the lowest note. The rest of the time a large portion of the sound comes out of the holes along the length of the body.

I find a position in front of and above the bell usually works nicely.

[paulears]

You're going to get loads of different opinions on this one, and most are based on a particular style of playing. So if you want the mellow tone and sort of Acker Bilk (look him up) tone, then what comes out of the bell - which is responsible for most of the mellow tone. The sound that emerges from the various tone holes at the middle position often sound a bit odd. I'm not certain of the reason, but it was once explained to me that the instrument is mostly cylindrical apart from a slight bulge in the middle - and this means that the upper register can sound a bit harsh if you focus there - and of course you do get lots of mechanical noise - but ONLY on some players, who have developed a very harsh playing technique that kinds of clacks? If you don't have the chance to experiment with the player, then one at the bottom towards the bell, and another just a bit lower than where the left hand stops can be blended together to give best/worst of both worlds. For a repeat gig, you can then find the ideal spot for the individual. Mine is old and a bit rubbish, and I don't think has ever sounded bright, so for me - end on, just able to see the the lower tone holes seems a good place. There are just to many variables for an absolute definitive answer on this one. However, somewhere between middle and bell should give you something eq-able.

[ojc123]

Thanks everyone. I intend to have a play anyway but ideas are helpful. I hadn't given the gig a thought till I heard the instrument at the Jazz Concert. I have to make the clarinet sound better than that.

 

ps I am easily old enough not to have to look up Acker Bilk!

[paulears]

I thought I'd have a go and try it out.

 

Disclaimer - ok, my playing is rubbish - not me, split reed, bad shoulder, lack of talent etc etc BUT recorded with a decent large diaphragm condenser, set to cardioid and despite my mutterings, recorded in three positions - one about 1 foot above the top three holes, then at about a foot above the bottom right hand holes, tilted back so the top of the instrument is still covered, but favouring the right hand, then the mic at about a foot away from the bell. I deliberately left the levels set the same, so you can see how the upper register is louder in some of it. In every case, a bit of low register, followed by upper register. SO ignore the playing and listen for the mechanical noises and rather horrid top register and mellower bottom in some positions. No EQ, NO normalisation - just the raw audio into an mp3 file with a reasonable codec.

 

http://www.limelight.org.uk/clarinetpositions.mp3

[whisky-zulu]

I'm currenty working with a Glenn Millar style Big Band, and of course that includes having to mic Clarinets. The solution they came up with was to use AKG C1000s, with the player seated, the mic positioned about 2 foot above the instruments. Here's a piccy, but it's not great, but you can see 2 of the C1000s used over the Woodwind section.

[gafferted]

Given time in the sound check I've been known to get an assistant to hand hold a mic - half decent condenser like a C460. Get them to move the mic up and down the instrument as it's played to find the best final placement.

 

As others have said it can be very different depending on individual players techniques and instruments, and musical styles. Pulling a high register solo out from a blaring big band is very different from a mellow trad outfit.

 

You can also do this with you own ears on all sorts of instruments. Ok you look a bit of a pratt but it does usually work!

At risk of stating the obvious don't mic any closer than you have to to get the required level. You'll get a much more natural sound at a couple of feet than at a couple if inches.

[ojc123]

Thanks for that Paul. It seems that the worst place to put is exactly where it was on Saturday. I prefer the mic above or below with above having the edge on this hearing.

There will be experiments.

Thanks for the input. I'll report back.

[ojc123]

Gig was last night. I put a condenser mic above the top holes and one below the bell because I had the option. We had someone mess with the mic placings and mixed the two sources till we got a sound the performer liked. It may not have been perfect but it was certainly better than the gig that prompted the original question. Thanks to everyone.