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Recording Plays


BenEdwards

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Posted

Hi. We have been doing quite a few recording for a local theatre. We have been having a suprising amount of success with a couple of shotgun mics crossed from stage left and right. Using microphones like Rode NG2, Sennheiser ME 66. I think this is becasue they are fairly directional this reduces echo. Was wondering if anyone had any advice on this, are there other types of microphones we should try?

On a slightly related note has anyone found any good comparisons on the Rode range of NG shotgun?. They do quite a few but finding a good article comparing them has eluded me.

Posted

Personally I have found the Audio Technica AT-875r to be far better and nicer sounding than the NTG2 or ME66. I have five of them for general use mainly for video work and have used them on quite a few performances for multi camera shoots.

 

 

They are also a shorter shotgun so give less phasing indoors and for most performances I have used three of them in a left, centre, right config front of stage but found that mixing a Sony ECM-MS957 stereo mic positioned centre and two AT875r left and right gave the best results and sound stage.

 

I heard PZM mic's can give good results too but personally I have never used them on stage productions.

Posted
I used to do stage stuff with boundaries and PCCs, like the Crowns and liked them better than shotguns. They seem to blend better when there are lots of people on the go at the same time. The shotguns tend to emphasise people directly on axis (as they're meant to do), so somebody moving downstage left to right goes up/down/up/down/up/down. On boundaries they stay roughly the same volume.
Posted

We've done quite a bit of live streaming of new works, and I've found 2 or 3 PZMs (usually Crowns) across the front of the stage to be excellent. Clear sound, fairly even as actors move, but still alllowing some stereo imaging. If you have significant action upstage you may need some flown mics for extra coverage - that's not something that really comes up for us.

 

They're also far less visually intrusive, so you can usually get them where you want them without objections from other departments.

Posted
We've done quite a bit of live streaming of new works, and I've found 2 or 3 PZMs (usually Crowns) across the front of the stage to be excellent. Clear sound, fairly even as actors move, but still alllowing some stereo imaging. If you have significant action upstage you may need some flown mics for extra coverage - that's not something that really comes up for us.They're also far less visually intrusive, so you can usually get them where you want them without objections from other departments.
I'll vote for Crown boundries as long as they're adequately insulated from the floor.

I use them for video/audio conferencing and show relay, dressing rooms/foyer etc.

Posted
Bartletts now, as the crowns are getting rare. The Bartletts actually have a special version for recording rather than live sound.

 

That shows how long I've had the crowns, they were not rare when I picked them up...

I use the recording versions as only for show relay or conferencing work, never tried to use for reinforcement work.

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