Theatrical Stage Micing - What's the best method?

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normington

New member
We're putting on a show involving singing, dancing, acting, comedy and all the rest of it, and it's been left up to me to get the sound sorted for it. So, in your humble and wise opinions, what's the best method to use to mic up the stage? At my disposal, I've got two boundary mics, three cardioid pencil condensers, and one large diaphragm omni condenser, aswell as a few dynamics if they happen to come in handy. I can get hold of one or two other things if it is deemed necessary, there's still time to buy. Any ideas for the layout? It's a fairly small stage, I'd say about 6mx10m.

Thanks, Andy
 
You'll want to use the condensors as much as possible because the mics will be away from your actors.

If possible, I'd put the LDC in the overhead near center stage, and use the cardioid mics near the sides of the stage pointing toward the center stage.

And use a live mixer with phantom power (obviously). You may have to ride the faders quite a bit as your actors move on the stage, so getting to as many rehearsals with the sound already set up will definitely be to your benefit.

Space your main speakers on either side of the stage pointing slightly inward toward the audience. If it's a small stage and a large hall, you will want to project the sound out to the back of the room. The first row will be able to catch most of the sound directly from the stage, but if the speakers are pointing too much toward them, it'll overpower them.

Experiment with the placement according to the performance, and have a few well placed helpers in the seats to tell you when it's optimized.

Hope this helps.
 
The LDC can be in omni, cardioid, or hypercardioid patterns, which should I use if I'm putting it overhead. If I put it on top of the curtain crossbar and angle it downwards towards centre stage, will this be sufficient? It's not a very tall curtain.

I've heard that boundary mics are good for stage micing - is this true, and how should I use them - as directly on the floor they seem to pick up more footsteps than voice - would a piece of foam underneath each mic be good to minimise coupling with the floor? Perhaps they're not worth the bother if stand-mounted cardiods at the sides of the stage will do the job?

Thanks,
Andy
 
If the stage is small chances are so is the hall so the best way is to use no mics and get the performers to open their mouths and use the God given voices they have. Aside from that if you need to have amplification go for wireless lapel mics.
 
Ethan, I meant more along the lines of 'what's the best way, using the equipment I've got and perhaps a little extra', but thanks anyway ;)
We do have two small lavalier radio mics for individuals, but they're not overly good and they're not suitable for head-micing. And of course, there's only two of them.
 
normington said:
Ethan, I meant more along the lines of 'what's the best way, using the equipment I've got and perhaps a little extra', but thanks anyway ;)
We do have two small lavalier radio mics for individuals, but they're not overly good and they're not suitable for head-micing. And of course, there's only two of them.
Click to expand...
What's head micing exactly? You can always rent more lavaliers if cost is a factor.
 
If you're going to use any of these methods, then be mindful of the kind of shoes the actors are wearing.

No matter how you try and do things, foot noise is going to be a major issue if you're going to use any other method besides the lavs. Plan for it and, if possible, urge the director / actors to look in to using quiet footwear. And don't even bother telling them to walk quietly. It won't work. :D

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Thanks. Can someone explain to me the benefits of 'boundary' mics and how I should use them? I have two AT Pro-44's to use and I'm told they're good for stage micing. Putting them on the floor produces alot of footstep noise - I guess a bit of foam underneath them might help - I'll try it if they need to be on the floor. But in general, where do I place boundary mics, and are they worth the fuss?
 
As far as the fixed mic positions, your basic concept should be to blanket the front portion of the stage with mic coverage from left to right.

If possible, try and see if the actors can use hand helds for any important solo songs. Even they are wired hand helds.

The other mics you'd hang. Given you equipment list, probably an omni in the center and two cardioids right and left of that. If there is any important singing happening upstage in a specific spot you might try setting up the other cardioid to cover that area.

You would place the boundary mics downstage at the edge of the stage facing upstage. They would be spaced probably equal distances from center on both sides of center. You would use them only when you had singing numbers where the actors did not move around much. Any kind of dance number you'd take them out.

But after watching the show you should be able to see where the important singing takes place, and then adapt your mic placement to cover those spots as best as possible.
 
Is there a band? Will it be back stage, or off to one side, in a pit, or will it be across the front between the stage and the front row? Sounds like the band won't be mic'd if there is one, though. If there is a band up front and they are not mic'd, then you would probably benefit from from some side fills for the front rows, where more vocals will be needed because of the proximity to the band. The main speakers can point back a few rows and hopefully cover the rest of the house at a better balance with the band.

If the band is mic'd and somewhat isolated (in a pit, backstage) or if it's just a keyboard that can go through the house, then it may be easier to balance vocals with the band.

How big's the house? Is it a concrete grade/high school auditorium or is there some sound damping material? Can you get any soft goods to hang in the house if needed? You'll have a hard time avoiding feedback and muddiness projecting to a big, reflective room with a far mic'ing plan, so I would do wahtever's possible to deaden the room if needed. For example, an 800-seat house that's expecting 300 hundred a night would benefit from curtaining off some of the house (if the booth, sound installation, etc. permit)

Mostly, like some people have already suggested, I would use as little of the PA as is necessary to make the show work. Everyone'll enjoy it more. Best of luck.
 
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