Gear / Technical Help > Microphones & Setup
Ceiling Mount Considerations?
HealthCov Chris:
Ok, so what if I can't get my mics as low as the pa? The pa is angled slightly downward and inward. Owner doesn't want anything hanging down that low. I guess I just angle the mics (if cards) down towards the center of the pa? Same with omni mics?
admkrk:
--- Quote from: HealthCov Chris on December 27, 2023, 08:22:26 PM ---Ok, so what if I can't get my mics as low as the pa?
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Go a little farther back. As long as they are above where anyone can reach, there should not be a problem. Using tiny mics helps also, since they will not even be noticed once the lights are down, and maybe not otherwise.
Chanher:
--- Quote from: HealthCov Chris on December 27, 2023, 08:22:26 PM ---Ok, so what if I can't get my mics as low as the pa? The pa is angled slightly downward and inward. Owner doesn't want anything hanging down that low. I guess I just angle the mics (if cards) down towards the center of the pa? Same with omni mics?
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Omni’s can be hanging straight down if you want, I would get them as low as the owner will allow. Some Dpa 4060’s seem like a great low-pro option, Dpa aficionados plz chime in which version is best suited for this as I am personally interested in doing this one day.
If you end up trying cardioids then my instinct would be to keep them pointed straight forward, as you still want to keep the off-axis rejection minimizing crowd noise. Maybe poined SLIGHTLY downward if they ask you to keep them pretty high up and out of the way.
Sounds like you’re planning on using the rafter that is 6’ from the speakers to mount the mics; from my limited stack recording experience that seems like a good distance. Stack recording experts chime in.
Gutbucket:
--- Quote from: HealthCov Chris on December 27, 2023, 08:22:26 PM ---Ok, so what if I can't get my mics as low as the pa?
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Determine the radiation angle limits of good coverage from the PA speaker. If you can see the high frequency horn through the grill of the speaker, the good coverage angle is typically the same angle as the angle of the horn walls. Confirm by listening even if you can't see the high frequency horn by standing on the floor and listening to the PA as house music plays. Move forward and back near the PA speaker while listening for the point at which the high frequency clarity and level suddenly drops off when moving forward, toward the stage. Once you determine where that point is, look up at the speaker to get an idea of how far off axis that is from where the speaker is pointing - you'll now have a good idea of the downward angle that defines the edge of good coverage. The upward angle from the speaker where the same high frequency drop off thing happens should be more or less a mirror image of that. You'll want the microphone somewhere between those two extremes. With the speaker angled down somewhat the upper angle will be different than the lower one with respect to the room, but should be symmetrical with respect to the speaker. Safer to be a bit inside that good coverage angle rather than right at the edge of it.
From the photos it looks like a mic suspended from the first beam, between the mirror ball and robot light, hanging down so that it's the same height as the bottom of of both of them, is likely to be well placed withing the good coverage angle. Mic on the other side arranged symmetrically with respect to this one.
--- Quote from: admkrk on December 27, 2023, 08:46:26 PM ---Go a little farther back. As long as they are above where anyone can reach, there should not be a problem. Using tiny mics helps also, since they will not even be noticed once the lights are down, and maybe not otherwise.
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All that. I'd think bottom edge of the mirror ball would be okay, but depends on the owner. If you have to go higher it may help to move back to the second beam to stay within the good coverage angle, but it really depends on what the good coverage angle is and how far down the speakers are pointed.
Gutbucket:
--- Quote from: Chanher on December 27, 2023, 07:15:35 PM ---I've curiously followed people using spread cardioid's and I will admit I found the results to be better than I expected; I'm sure it's violating numerous stereo recording principles but I personally wouldn't hesitate to at least try cardioid mics mounted directly in front of each PA speaker. Ideally you would mount mics that have interchangeable capsules and you could try both omni's and cards. If anyone wants to provide the reasons spread cardioids are a bad idea I'm certainly open to hearing them.
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No reason spread cardioids can't work. Stereo Zoom doesn't apply in this case of pseudo-close mic'ing the PA, but where it does the trade off relationship between angle and spacing translates to a wide-spaced pair of cardioids having very little if any angle between them, more or less like a pair of omnis. They then behave like a pair of omnis in terms of stereo recording angle and imaging, only with a forward sensitivity bias. They won't sound quite the same due to that forward bias, mostly the room and audience contribution will be different and not as natural as a pair of omnis. But when that forward bias is needed it might be a better choice. That might make sense from the second beam back. If so, point them forward directly toward the speakers.
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