Microphones What to use for stage mics
- Thread starterBrenden Friedel
- Start date
Aaron Becker
Well-Known Member
General advice here for "stage micing" - area mics will (almost) never sound as good as microphones worn by actors/performers (assuming you're trying to pick up individual voices)- because the simple principal of gain and microphones is you're going to get more gain-before-feedback with a microphone in front of or next to the mouth of each person you're trying to pick up. I generally use area mics to feed backstage areas, but not for actual live room reinforcement. You're simply not going to get the results you expect by putting microphones 20' away from people and expect it to sound good.
Not trying to sound harsh, but I've seen venues do it time and time again - there is a reason the big dogs buy a pack for every person they need on stage. The closer you can get these area mics, the more isolated they'll be from other people - the more evenly spread, the more gain before feedback you'll need. Kind of a never ending vicious circle plagued with feedback and complaints from the audience and directors they can't hear. Remember - microphones don't create sound, they only pick up what is there (or not).
That being said - any of these mics will work great for either area mic'ing for feeding backstage, recording, or mic'ing large groups for reinforcement. But if you're trying for individual voices, you'll be disappointed no matter which you use.
Not trying to sound harsh, but I've seen venues do it time and time again - there is a reason the big dogs buy a pack for every person they need on stage. The closer you can get these area mics, the more isolated they'll be from other people - the more evenly spread, the more gain before feedback you'll need. Kind of a never ending vicious circle plagued with feedback and complaints from the audience and directors they can't hear. Remember - microphones don't create sound, they only pick up what is there (or not).
That being said - any of these mics will work great for either area mic'ing for feeding backstage, recording, or mic'ing large groups for reinforcement. But if you're trying for individual voices, you'll be disappointed no matter which you use.
“Pick up voices” - are we talking individuals, spoken lines, a meeting/town forum, singing; or a group of voices, singing or something else? Concert setting, theatrical, or other?
Your intended outcome will help steer a good discussion.
I agree with the above that there are probably better ways, but if you have to use existing equipment, let’s go down that road.
Your intended outcome will help steer a good discussion.
I agree with the above that there are probably better ways, but if you have to use existing equipment, let’s go down that road.
BCAP
Well-Known Member
How big is the venue?
Dimensions of the stage?
Height / Width of the proscenium?
Kind of production?
Size of the production / cast you are hoping to provide sound for?
Do you have a mixer console (digital) capable of inserting a notch filter in a channel EQ?
Any acoustic absorption or diffusion in the venue's walls?
Are your actors / singers moving around or are they stationary?
Dimensions of the stage?
Height / Width of the proscenium?
Kind of production?
Size of the production / cast you are hoping to provide sound for?
Do you have a mixer console (digital) capable of inserting a notch filter in a channel EQ?
Any acoustic absorption or diffusion in the venue's walls?
Are your actors / singers moving around or are they stationary?
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For recording? Assisted listening? Reinforcement with PA?
Brenden Friedel
Active Member
We are already using 18 body mics and 2 handhelds but there are some events where I have 4 stage mics and hanging mics. In one of the events, I need it in it is a group of 12 singers with 1 of them wearing a body mic since they are the lead. The others are background singers but you can't really hear them and I can't mic the background vocals because I do not have enough time before the next act to mic them.
Brenden Friedel
Active Member
I do not know the Square footage of the venue. Stage is 55' across. It is an acting/singing production. Height is about 18' Speakers are JBL 3 VRX9a32p hung 20' up on the left and right side and 2 VRX i dont know the model but VRX subs on either side and mixer is a Yamaha LS9-32. There is absorption around the theatre about every inch. and most acts wear mics just 3 are large groups that move around alot
Lots of ways to tackle it with the mics you have and a digital mixer - I’m voting for the Shure - only because of the native supercadiod pattern, and downstage needs. Really any of them can probably accomplish this with a good mixer setting.
The closer your singers to the mics, the better your results will likely be. I do this regularly with some really good shotgun mics, and they get the job done most of the time- but not always.
I also use an LS9 - and spend a lot of time with those mics before every run - acoustic changes affect the settings when you tighten things that much. Eq can sometimes change when a piece of scenery is moved or curtain changes position.
Ride those faders on every phrase...
The closer your singers to the mics, the better your results will likely be. I do this regularly with some really good shotgun mics, and they get the job done most of the time- but not always.
I also use an LS9 - and spend a lot of time with those mics before every run - acoustic changes affect the settings when you tighten things that much. Eq can sometimes change when a piece of scenery is moved or curtain changes position.
Ride those faders on every phrase...
Brenden Friedel
Active Member
On these types of mics, I prefer to set a PEQ on each channel, as opposed to mix/matrix. I just like the individual control, as these will definitely be finicky little buggers. Less is more - use as few mics as possible (mine are spaced @ 3m apart, and I try to use only 1 or 2 at a time, sometimes 3). It is hard to mic a large size area without causing problems, so minimizing those will be the challenge. If you haven’t tried this before, I’d suggest plenty of experimentation in advance.
Your space seems nice - is this a school?
Brenden Friedel
Active Member
BCAP
Well-Known Member
Thanks Brenden. I originally typed a longer response.
I too use the cardioid Shure MX202 in one of the theaters I do work at. For that particular theater they are the main overhead mics and they can't afford wireless so they totally depend on them. This theater is also quite small, only 100 seats. I hate using overhead mics only, but the MX202 do not sound too bad as long as I can ring out each mic with channel parametric EQ. Be ready to change the notch frequencies, as that can change. Agree with riding the faders on these. In the venue I'm using them in the MX202s are always just under the verge of feedback. Too many reflective surfaces.
I'm not a fan of the C1000(S), the ones I've used were noisy and did not have the best frequency response for what I was using them on. Combined with a really great mic pre they might be amazing. But I typically push that one down the list. I've used NT5s that sounded okay but had quite a noticeable HF boost. If you can EQ to taste they might be passable. If you want an opinion I'd say use the MX202s and if you have to pull in the NT5.
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