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my apologies if this topic has already been done, but I couldnt find it anywhere. ive recently been looking into some new overhead mics for one of the theatres I work at, and would like your advice, on what works.


at the moment im using 2 ATM10's above csr and csl, but I just cant help feeling that im not getting the best out of them, despite using them in conjunction with 3 pcc160's, they dont the extra depth to the sound, which I would expect from a set of overheads.


any tips on better kit for the job, would be gratefully recieved





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I've shared that frustration. On various productions I've dangled all sorts of mics over the stage at varying heights and never really got satisfactory results. It's always made worse if you have some of the talent on lavs because then the balance between them is then all wrong too.


I've read and now agree that the human voice projects out and down, not up, so unless the overheads are above and in front of a choir say (who are all looking up and singing their hearts out), it's verging on the waste of time. I've settled on either boundary mics or short rifle mics at the front of the stage, supplemented by spot mics hidden in scenery where possible. Oh and as many radio lavs as the budget will allow.



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I dont want to go into what exactly warrants overhead use versus boundary use versus lav use etc..


BUT, if overheads are what you need I would look at the AKG CK series with HM hanging modules. basically the hanging modules incorporates the capsule mount, 10m flying lead with XLR termination and provides phantom power into a single unit . you can hang a bunch of these and then just change the capsules to suit the scenario as need be.


more info here: http://www.akg.com/products/powerslave,myn...anguage,EN.html

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