Microphones Program Sound Source

[R.Young]

Hi everyone,

I'm looking for suggestions for a microphone for program sound (intercom, backstage, dressing rooms, and video recorder) The space is a fairly small black box theatre, I've seen a shotgun mic used for this purpose before, I've also seen a boundary mic mounted on plexiglass and hung facing the stage. Just wondering if anyone has a solution that they really like?

Thanks,

Ryan

 

[RonHebbard]

Hi everyone,

I'm looking for suggestions for a microphone for program sound (intercom, backstage, dressing rooms, and video recorder) The space is a fairly small black box theatre, I've seen a shotgun mic used for this purpose before, I've also seen a boundary mic mounted on plexiglass and hung facing the stage. Just wondering if anyone has a solution that they really like?

Thanks,

Ryan

@R.Young Are you interested in mono or stereo? If mono there are a myriad of choices; if stereo Crown used to market their SASS-P (Stereo Ambient Sampling System-Phantom powered) which worked EXTREMELY well when I installed them in at least three venues. One of the SASS-P's pluses was it's stereo signals combined seamlessly to mono. I used to install them with an ATI quad 1 x 4 balanced DA to provide individually driven line level stereo sources for the sound booth monitors, recording and visiting broadcasters with the third DA providing individually driven mono sources for backstage monitors, hearing aid assists and simultaneous translators, et all and the fourth DA's input and outputs routed to the ADC patch bay for utility purposes. (You rarely can have too many audio DA's; always useful to press into service as a 'press mult' when media turn up and ask for a feed.)
EDIT: Added an inadvertently missed closing bracket.
Toodleoo!
Ron Hebbard

 

[MNicolai]

I always use Shure VP88's in mid/side mode. Mid provides clarity and a dialed down side provides a little room sound, particularly if someone wants the mic to do double duty for recording. I wouldn't spend $800 on one if you're budget constrained though.

 

[R.Young]

Thanks Ron,

In this case we only need a mono source. And while the SASS-P looks really cool, it also seems to be discontinued. (Also looks like the SASS-P MkII is also discontinued) This is for a future project, so I need to find something that is current, and that will likely be able to be purchased in a year from now.

Ryan

 

[R.Young]

I always use Shure VP88's in mid/side mode. Mid provides clarity and a dialed down side provides a little room sound, particularly if someone wants the mic to do double duty for recording. I wouldn't spend $800 on one if you're budget constrained though.

Thanks Mike,

This looks like a fantastic option. It may be a bit on the pricy side for this particular project, but I'll see how I can make the budget stretch.

 

[MNicolai]

If you don't have purchasing requirements that restrict the purchase of used equipment, they go for about $450/500 used on eBay.

Also make a great overhead drum kit mic.

 

[R.Young]

If you don't have purchasing requirements that restrict the purchase of used equipment, they go for about $450/500 used on eBay.

Also make a great overhead drum kit mic.

Unfortunately for this project we will have to purchase new. But I'll certainly file that away for for other projects that I work on.

Thanks Again,

Ryan

 

[TimMc]

Rode NT-4

 

[macsound]

I've always used a 57. Usually that was all that fed the dressing rooms, like not combined with any board feed.
I'd sway against using a shotgun mic because the source of the audio isn't always in the same direction. Especially during less formal events or rehearsals, hearing what's happening in the house is as important as hearing the stage.

Now I'm using the technique for combining the house 57 feed on a compressed feed along with board feed for assisted listening too.
For record, I'd use something separate because the needs are different and usually want something less roomy than dressing rooms.

 

[John Scrip]

I've always used measurement mics as close to front-row-center as possible. Super cheap (well, you can get expensive ones, but for program mics, a 20-20k flat measurement mic doesn't need to be pricey), omnidirectional so you get the audience clearly as well (but that's why you need to be near the stage - so you're not getting too much room). And if you get two, put 'em a foot apart and you're set for stereo archival recordings.

 

[microstar]

EV 635 hung in the center of the stage area.