zuixro
Active Member
So I read Crown's: "Boundary Microphone Application Guide":
http://www.crownaudio.com/pdf/mics/127089.pdf
(warning, PDF)
All in all, very informative. Gave me some ideas to try.
Two of my favorite quotes were:
Yeah, the director's gonna go for a 2'x2' square standing up behind each mic. (At least that's how I understand it)
and:
Not sure if they were serious about that one.
Yeah I don't know who's big idea it was to get 170's for a 45' deep stage. I'll push for some 160's for our next musical. (Though I would like to try a 170 on the podium for one of our future events)
I know the spacing rules. 3x the distance from the source to the mic. The above PDF mentioned 20ft as being adequate space too.
Haha, that would help... We really need another mix though. Might just have to split the booth feed and go to the camera.
http://www.crownaudio.com/pdf/mics/127089.pdf
(warning, PDF)
All in all, very informative. Gave me some ideas to try.
Two of my favorite quotes were:
Yeah, the director's gonna go for a 2'x2' square standing up behind each mic. (At least that's how I understand it)
and:
Tape a PZM to the drummer’s chest.
Not sure if they were serious about that one.
I can pick up tapping 25' upstage easily with PCC-160s. Now the PCC-170, on the other hand, is still a boundary mic but intended for a completely different purpose, namely lecterns and board rooms. There's really nothing you can do to fix the problem. Also, watch out for phasing issues if you have a spaced pair of mics trying to pick up tapping far upstage.
Yeah I don't know who's big idea it was to get 170's for a 45' deep stage. I'll push for some 160's for our next musical. (Though I would like to try a 170 on the podium for one of our future events)
I know the spacing rules. 3x the distance from the source to the mic. The above PDF mentioned 20ft as being adequate space too.
Haha, that would help... We really need another mix though. Might just have to split the booth feed and go to the camera.