Gear / Technical Help > Microphones & Setup
Location Location Location
heathen:
Lately I've been trying to make an effort to think more about getting the best location in a venue first, and then gear tailored to that location second (rather than the other way around...I find I'm more inclined to think of gear first and foremost). I think it's fairly well-established that decent gear in the perfect location will make a better-sounding recording than superb gear in a mediocre location. (One thing that opened my eyes to this is the Audience Recording Hall of Fame thread...that Pink Floyd show from '77 was recorded on mics that most people on here would avoid if given the choice, yet 40 years later it still sounds great, which I can only assume is a testament to the taper picking the optimal location rather than having the best mics in existence.) So, what I've been trying to think about is: what gear best facilitates me getting set up in the optimal location?
One important caveat here is that, when possible, I prefer to mount my mics on something other than myself. That's just my own personal preference, of course, and not some rule that I think should apply to everyone. I can and do stealth shows with mics on my person, but given the choice I'd rather avoid that.
One of the things that I have found (in my admittedly limited experience compared to most tapers on here) that limits where I can set up is my mic stands. I use mic stands with the three legs in the bottom section, like many on here. Those obviously take up space because of their footprint, but they also can be tripped over in a dark and crowded venue. Obviously, mounting mics on my person is a way to prevent this, but see my caveat above. Another potential solution is using a clamp or securing the stand to something so the legs don't need to be extended. The limitation with this approach is the need to have something to clamp onto...if that something isn't in the ideal location, then it's not terribly helpful.
That leaves alternative mic stand designs. One that doesn't present as much of a tripping hazard is the mic stand with a heavy base. Those heavy bases, however, present problems in terms of portability (does anyone feel that they want to make their bag heavier than it already is?) and questions from security when bringing gear in. Another possibility is a monopod. There's virtually no tripping hazard with a monopod, but the big downside is that it can't stand up on its own. You're left to either recruit a very willing helper, or keep one hand on the monopod throughout the show. I have seen some monopods with little feet that can extend at the bottom, but those don't seem nearly stable enough to be trusted on their own in a dark and crowded venue.
A context I have in mind for this whole issue is a show where maybe taping is allowed, but they want you to set up in a less-than-ideal location (so you try to get set up in the sweet spot instead, but have to keep a low profile). That or some of the shows where might have no trouble bringing in whatever gear you want, but you still have to keep your setup inconspicuous.
Unfortunately I don't have any silver bullet answer, and am more looking for input from others about how to tailor your setup towards prioritizing location. This is not to suggest that anyone on here just sets up wherever is most convenient and doesn't consider where the sweet spot might be. Keep in mind I'm thinking of my own tendency to focus on gear first, which maybe others succumb to at times as well.
(I know I've focused a lot on how to mount mics, but I recognize there are other considerations as well. For example, it's easier to set up anywhere with a more compact setup...actives, IPAs, and M10 versus bigass LDs, outboard preamp, and 788T.)
rippleish20:
I started taping in 79 and stopped for a long time after Jerry Garcia died. I got back into taping four years ago, but streamed shows live for two years before that using a phone. I'm telling you all of this because it confirmed to me that location is, in many ways, more important that equipment. The beauty of hand streaming with a phone is that you can easily get in the sweet spot. Going to a full rig makes things a lot more challenging as it's unusual to be able to setup the sweet spot with a stand and equipment. Because of all the talking at shows I try first to get SBD patches and this locks you in even more to a location that may not be good for audience recordings.
ycoop:
--- Quote from: rippleish20 on May 16, 2018, 03:33:09 PM ---
I started taping in 79 and stopped for a long time after Jerry Garcia died. I got back into taping four years ago, but streamed shows live for two years before that using a phone. I'm telling you all of this because it confirmed to me that location is, in many ways, more important that equipment. The beauty of hand streaming with a phone is that you can easily get in the sweet spot. Going to a full rig makes things a lot more challenging as it's unusual to be able to setup the sweet spot with a stand and equipment. Because of all the talking at shows I try first to get SBD patches and this locks you in even more to a location that may not be good for audience recordings.
--- End quote ---
What’s your general approach to getting a patch?
Given my current external mic-less set up, I figure my best chance at a good recording consists of a patch+well placed portable recorder internal. Haven’t figured out how to secure the patch part though.
heathen:
Getting a board patch isn't the solution in all cases, though. Lots of bands that allow audience recording don't allow board patches. Even when a band allows a board patch, the feed you get could have any number of problems (I'm sure we've all been there).
lsd2525:
--- Quote from: ycoop on May 16, 2018, 03:40:28 PM ---
--- Quote from: rippleish20 on May 16, 2018, 03:33:09 PM ---
I started taping in 79 and stopped for a long time after Jerry Garcia died. I got back into taping four years ago, but streamed shows live for two years before that using a phone. I'm telling you all of this because it confirmed to me that location is, in many ways, more important that equipment. The beauty of hand streaming with a phone is that you can easily get in the sweet spot. Going to a full rig makes things a lot more challenging as it's unusual to be able to setup the sweet spot with a stand and equipment. Because of all the talking at shows I try first to get SBD patches and this locks you in even more to a location that may not be good for audience recordings.
--- End quote ---
What’s your general approach to getting a patch?
Given my current external mic-less set up, I figure my best chance at a good recording consists of a patch+well placed portable recorder internal. Haven’t figured out how to secure the patch part though.
--- End quote ---
1. Research. Some bands are known to be patch friendly. Reach out to band or manager beforehand if possible.
2. Talk to the soundguy. Try to be there before soundcheck if possible.
3. Be prepared with the right kind of cables. I usually find the need for female XLR's, but all boards are not the same.
If you keep going to the same venue a lot, get the know the house soundguy. He/she will be familiar with the board, and may or may not be willing to allow a patch regardless of what the band thinks.
Some of the newer digital board will even let you download directly to a thumb drive
Given my current external mic-less set up, I figure my best chance at a good recording consists of a patch+well placed portable recorder internal. Haven’t figured out how to secure the patch part though.
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