Live Microphone techniques

Well do you know if they have electric acoustics? That would make life a little easier. If not the best solution are the "clipped" mics that go directly onto the guitar. Mostly because they are going not going to be completely still and stay in the same place the whole time. By having a clip on mic you don't have to worry about any possible "dynamic" issues that might happen from them moving closer or farther away from the mic position.
 
Like I said I think I've got it sussed anyway....Never liked using electric acoustics. Would much rather mic the guitar. I haven't looked into 'clipped' mics yet though. Was wondering if they would give me the quality I want over a couple of sdc's. (Was gonna prop the artists on stools and get them to remain still ;) )

Main reason was to share the info on Mic techniques. But you have me intrigued with the clipped Mics

Do they work well? (Compared to NT5's) and at what cost.
 
There will be no avoiding their movement even on a stool - once you find the sweet spot for the guitars they will move to be able to sing correctly into their vocal microphone it's always a catch 22.

But hopefully you will have plenty of time for a decent sound check before things start happening ..... but even then just before they are to play be up there on the stage ad position those microphones!

I always start with the vocal microphone making sure that they are comfortable there the move the instrument microphone into position then after they are going reposition the arse on the stool and you have to move the microphones again.

Best idea yet that always is worth it's weight in gold is to try and bring someone with you who can either stand at the console for 30 seconds as you go and move the microphones during their performance or have that person move it for you
 
Richie2708 said:
Never liked using electric acoustics. Would much rather mic the guitar.
Click to expand...

That'll change when you find you can't get even close to enough level from a mic before feedback. It might not happen at this gig, but it will sooner or later.

Key points of live mic technique:

1. Inverse square law. The closer something is to the mic the louder it will/can be. You get 6dB of gain by halving distance to the mic. If bleed or feedback is a problem reduce the distance between the mic and the source and lower the gain.

1b. The closer someone sings to the mic the more sensitive it is to small movements. If he backs off an inch from the lips-on-grille position you lose a lot of level. If bleed and feedback aren't problems (acoustic coffeehouse type gig) consider having him stay 6" or so off the mic, and use a cardioid rather than a super- or hyper-cardioid mic. Then the singer can move around, look at the fretboard etc. without large changes in level.

2. Proximity effect. With directional mics the closer you get the more bass and low-mids you get. You can use this to your advantage in combination with the above. If the singers are singing lips-on-grille you can be fairly aggressive cutting lows and low-mids to get back to a natural tone, and as a byproduct greatly reduce plosives (booming P and B sounds).

3. Polar pattern. Know what your mics' polar patterns are. With vocal mics aim the null of the pattern at the wedge. For cardioid mics with the null 180° off axis tilt the mic up and put the wedge directly in front of the singer. For super- and hyper-cardioid mics either set the mic flat and place the wedge directly in front, or tilt the mic up and move the wedge about 30° to the right or left of the singer. Also take advantage of polar pattern when micing drums, either to include or exclude multiple sources in one mic.

4. Use fewer drum mics when possible, or be ready to turn them down or off in the mains. On a small stage the vocal mics will be your overheads. Just do kick and snare mics, and maybe toms. For reggae a dedicated hihat mic may be required. If the snare is too loud don't put it in the system, but if you have a board with groups you can leave the fader up without assigning it to a bus and use the channel to trigger some reverb. My habit would be to mic the whole kit up but use only what was needed.
 
Richie2708 said:
Main reason was to share the info on Mic techniques. But you have me intrigued with the clipped Mics

Do they work well? (Compared to NT5's) and at what cost.
Click to expand...

Like anything, you pay for quality. They have $40 clip on mics that will at least work but can be really distorted and just sound like shit. And then you can pay for something like the Rhode Lavalier. Which runs around $250, the sound is top notch and you won't have to worry about any dynamic issues if the artist shifts position a little or turns away from the mic a little. The Rhode is the only one I have experience with, I've played an acoustic show where the sound tech hooked a rhode up, I think shure and akg make a clip-on as well.
 
These are the best for micing acoustic instruments, however they are not cheap. I recommended one to a friend that plays Viola as she never like the DI pickup sound. The reprts back were that it sounds great.

Alan.
 
Thank you all....will have a good read and see what suits :).... Its always a pleasure to be part of this forum when you get help like this.
 
You must log in or register to reply here.
Back
Top