Floor Mics
- Thread starterJeepfrk97
- Start date
Last year I worked on a show that over half of the scenes took place right around a desk on stage. I was able to put a floor mic right on the desk! It worked really well for all of those scenes and had no problems other than once during a rehearsal an actor slamed a notebook right on the mic.... but she learned her lesson....
great_beyond
Member
Jeepfrk97 said:
I was wondering what "teasers" are? I have not heard this term in relation to Sound
It's all about what type of microphone you are using the bounce screen for. I used some on a Crown PCC 160, it wasn't completly necessary, it just helped drain out some excess noise from the orchestra pit, and it was more of a cosmetic thing, they looked much more neat and organized. I have also used bounce screens on the Shure Beta91 (usually used as a kick drum mic). I placed it in the rear and that deflected acess noise from pit orchestra as well as audience. It has a cardiod pickup pattern, and the bounce screen was placed in the rear so this did not severly effect the pickup pattern of the mic. You shouldn't have any phase problems, and it will not affect the sound quality from the source.
Hmmm. Yea, I am eagerly searching for ways to get even better gain-before-feedback from our system, which relies mostly on the Crown 160 boundary mics. Highschool plays come across fine, with plenty of gain, but middleschool shows are a serious problem, because we cannot get enough gain into the system, and cannot afford wireless lavs.
MikeJM said:
JBL main mix speakers are mounted about 12Ft off the floor, about 2-3 ft PAST the edge of the stage (and hence 2-3 ft AWAY from the PCC 160's. During theatrical stuff, I usually keep the main mix speakers at 3/4 to 1/2 level on the condenser mics, and leave it up for the effx and music. The side fill speakers, (NEAR DT-2's and in celing speakers) usually carry the bulk of the signal.
I could post pictures, if I found them.
The_Terg said:
Thank you for your comments.
Well it all started while I was mixing a rehersal, and my designer pointed out some of the ambient noise coming from the hang and boundary mics. We also received some bad noise from all the stomping and dancing on stage. A lot of it was transferred through the stage, there was some foam padding type material (made of rubber I believe) lying around. And the designer just cut muiltiple peices (layers) out to match the shape of the PCC160. Again as Mike said, the bounce screen didn't really affect any performance (good or bad) of the mic. This is because of the mic's half supercardioid (about half omni-directional) polar pattern. At most, the screens may have added a little GBF by blocking the mics out from the mains directly above. If there was any sort of boost in performance, it would not be significant. Or at least not very noticeable. Basically the bounce screens were used for primarly cosmetic reasons.
The bounce screens as previously stated are those transparent picture frame/stands found at any grocery or general drug store spray painted black. These are only a few dollars, they were taped down to the stage. They look fantastic from the house.
Here is the best house shot I have on the site... http://msnusers.com/techphotospeter/morefiddlerontheroofpictures.msnw?action=ShowPhoto&PhotoID=228
Another bounce screen shot...
http://msnusers.com/techphotospeter/fiddlerontheroof.msnw?action=ShowPhoto&PhotoID=209
Look around at the fiddler albums there are more shots of the boundary mics.
The_Terg said:
Sounds like your mics are a bit too close to the mains. The last time I used boundary mics they were probably 18'-25' above the mains, the mains are aimed slightly towards the center of rear house. The GBF wasn't quite good, these mics were the least of my feedback problems. I could easily acheive levels way past unity gain w/ unity fader level, all while the main mix at unity of course.
I'm not sure what you meant by "I usually keep the main mix speakers at 1/2 to 3/4 of the condenser mics." Are you referring to the main mix level in referance to the boundary mic fader levels? Typically, the main mix should be up at unity, which is proper. This gives greater headroom, because the you do not have to run channel gain high to get a volume while the main mix is far below unity level. In all of my mixing experiences, I rarely needed to adjust the main mix level. Primarly to take out feedback quickly and easily when I can't find out what is peaking on a system or with gain levels I'm not familar with (ie first day of running lavs, lack of familarity with the gain). Having the main mix up is an optimal setting for acheiving GBC (gain before clip). As you all know you can only crank the gain so hard before it starts peaking and clipping, even with the main mix down.
Foxinabox10
Active Member
That's why they should be isolated from the stage on a music stand perhaps.
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