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av:microphones [2021-05-01 01:58] – created Tony | av:microphones [2022-04-12 18:59] (current) – Tony | ||
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+ | ====== Microphones ====== | ||
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+ | This section will tell you how to mic common things such as an MC, a small band or an ensemble. My talk again will be brief, because there is a whole world of material out there foryou to peruse yourself Ask questions and be experimental. No one says you have to do it this way. Just use something that sounds good. | ||
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+ | ====== Speech ====== | ||
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+ | ===== Podium ===== | ||
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+ | You will most likely mic speech the most. Traditionally, | ||
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+ | A more professional alternative to using microphones on stands for the podium is to use a gooseneck microphone. I'll write more about it if l'Am ever gets one... | ||
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+ | ===== Types of Microphones and Examples ===== | ||
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+ | For most speech, a good dynamic microphone will work. The workhorse of PA microphones is the Shure SM 58. Reconditioned ones are relatively inexpensive to purchase. New SM 58s are good as well, and often come with warranties if the microphone ceases operation. If you have to rent mics, the SM 58 is also inexpensive and easy to use. They work well on speech, and are standard issue for small scale bands. | ||
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+ | If you have the luxury of using a condenser microphone, it should be used for vocals, especially if the music is classical or jazz. These mics can't be thrown around as much as dynamic mics, but they sound great. Most condensers come with shock mounts and good stands. Used ones are in the low three digit range, while new ones can range anywhere from $600 to over $3000. It is a good investment to buy at least one for your crew. When you are miking speech, be sure that the mic is easy to use and relatively good looking, especially if it is going to be shot on camera. | ||
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+ | ===== Tips ===== | ||
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+ | * Microphone stands are often used for speakers, and very often for singers | ||
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+ | * Be sure the stand doesn' | ||
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+ | * Adjust the stand in rehearsal so the singer doesn' | ||
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+ | * Tape or label the stand so you remember where everything goes if you have to set it up again. | ||
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+ | * Don't wrap the cable around the stand, especially if you know the speaker or singer is going to take the microphone off and walk around with it. The unwrapping could make unwanted noise, or make the stand tip. | ||
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+ | * If a mic is going to be handheld, be sure your talent knows how to use the microphone and talk into it. Work with the talent and make sure they feel comfortable holding the mic. Be sure that you have enough cable for them to walk around. | ||
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+ | * Put pop filters (l'Am has one already) on the microphones to avoid popping or blowing sounds. Be sure that the talent doesn' | ||
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+ | ====== Music ====== | ||
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+ | This should be a page by itself I'll briefly cover the basics, and leave the rest for you to research. You get points for inventiveness and creativity with music miking. Just remember that you're working with a budget and a limited supply of mics. Most of the time, you'll have to rent proper mics if you are going to mic a band for a performance. | ||
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+ | ===== Drums ===== | ||
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+ | A drum kit always contains a bass or kick drum, a snare, a high-hat, cymbals (ride and crash) and some tom-toms mounted on the kick drum, or on the floor. You will always have to mic the kick drum, especially if your mix is going to tape. For this, a large diaphragm dynamic mic works the best because it can handle the high sound pressure level (SPL) inside the drum. If you rent mics, an AKG D-112 works. So does an Electrovoice RE-20. Place the mic inside the drum, close to the head that gets hit by the beater Experiment with the mic placement until you get a sound you're satisfied with. When miking the snare drum, keep the mic close to the head, but out of the way of the drummer. Use a Sure SM 57 or an equivalent dynamic microphone. Research and experiment with the mic placement. Unless you have the budget to mic every single drum, you will most likely mic the rest of the kit with two overhead microphones. (you' | ||
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+ | ===== Guitars ===== | ||
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+ | Miking guitars can be challenging, | ||
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+ | Another way of miking an electric guitar is not using a microphone at all, but a direct insertion box. The DI box lets you take a balanced signal from the amp or guitar, while the guitarist has the freedom to amplify the same signal to their heart' | ||
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+ | ===== Pianos ===== | ||
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+ | A piano can be easy or hard to mic, depending on what it is playing. For rock, blues or funk, the best way to mic an upright piano is by placing two microphones directly in front of the soundboards at the back of the piano. This is where the piano is the loudest, which will give you a lot of flexibility as an audio director. If you are miking a piano for jazz or classical music, a more subtle sound is required. For this, open the top of the piano and place two microphones inside, facing the strings. Keeping the mics slightly above the top will give you a lighter and more appealing sound. Experiment with the techniques discussed here and ask around at music stores. | ||
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+ | ===== Ensembles ===== | ||
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+ | For a choir or a band, miking up each instrument is impractical and would cost you thousands of dollars to rent the equipment. A simpler approach is possible by using two directional microphones in a stereo pickup pattern. The mics can either be placed one over top the other at an angle of 90 degrees, or placed side by side, facing away from each other at an angle of about 110 degrees. Experiment until you are satisfied. It is rare that you will have to mic an ensemble, especially if it is for an assembly. The Market Square has great acoustics, so it is rarely necessary to mic a band or choir for PA. If you're putting a video together, these mic techniques will give you a nice stereo pickup. I won't bother going into miking individual wind instruments here. It is too detailed and this page would probably be twice as long. Consult the web, music stores or a library for more information. |