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Open Taping: Looking for suggestions for some 6-ch mic array and config

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if_then_else:
So, I got taping and filming permission at a small club show in mid-September.
The band members are some long-standing friends of mine (a six piece from Italy
combining space/psych/kraut rock and free jazz). Their synth player is a renowned
sound engineer and producer (and occasional FOH for another favourite band of mine).

I'm going to attempt a multitrack-recording (6-mic channels) + SBD.
The video footage might be webcast by the local promoter at a later date.
As for the audio recording, I'm going to bring along
   1x SD mixpre-6,
   2x Sony PCM-M10s,
   1x Audioroot Femto preamp,
   2x pairs of MBHO mics (hypers and subcards)
   1x pair of Sennheiser MKH-8020s (omnis)

So my question for the mic-array experts here is:

Under ideal circumstances, how would you arrange the mics best and which configs
would you choose?

I'm currently leaning towards using a Faulkner array (subcards and omnis) on-stage
or at the stage-lip and placing the hypers a bit further back (in PAS config).

Any specific recommendations of configs which might work better with this specific
music genre and in this setting? [The venue appears to be the town's oldest pub -
going back to the early 18th century.]

acidjack:
I'd probably split the omnis toward the edges of the stage/outer edge of the band, run the sub cards wide in the center, and as you suggest, PAS the hypers from (ideally) a FOB/DFC spot.

opsopcopolis:
With that many channels why don't you just try for a proper multitrack?

if_then_else:

--- Quote from: acidjack on August 20, 2017, 05:27:22 PM ---I'd probably split the omnis toward the edges of the stage/outer edge of the band, run the sub cards wide in the center, and as you suggest, PAS the hypers from (ideally) a FOB/DFC spot.

--- End quote ---

Thanks for your suggestions.

The practical  distance between the split omnis will depend on the available mounting options:

I don't want to limit the free moving space of the band. The promoter told me that there were some exposed ceiling beams onto which I could clamp the mics and the camcorder. If so, I'll go for a wider split. Otherwise, I'll use a Cardellini clamp at the stage-lip and split them > 60 cm.

kuba e:
PAS hypers give you a very similar sound like sbd and onstage subcards together. Maybe I would try hypers on stage instead omnis. I would try direct the hypers from left and right edge of the stage towards the audience to capture the acoustic of the room. Hypers should be placed so that they capture the acoustics of the room but they reject pa and stage sound. And you can use remaining omnis for close miking. It's just an idea, your solution is without risk.

I've been recording a concert in the old town square recently. I got a sbd signal, and I set up pair of cards at 60 m from the podium. There was significantly more echo than direct sound because buildings. Stand alone listening to dry sbd or echo aud was not possible. But they went well when mixed together and the recording was solid.

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