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Gear / Technical Help => Microphones & Setup => Topic started by: acidjack on February 25, 2010, 12:07:32 PM
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The venue I'm recording in tomorrow, Cake Shop in NYC, is one of the worst setups I have seen.
Room is extremely long and extremely narrow. The ceiling is about 12-15ft high, except over the stage, where it is about 7.5ft.
The bar runs along the entire left wall.
On the right wall are seats. There is nowhere to put a stand.
In the past, I have taped mics at an area along the right wall where there is an indentation, which basically puts them 6ft in front of the right stack.
However, this doesn't work perfectly, either, since they don't mic all instruments. So, you often lose a lot of whatever instrument is on the left since the sound is coming out of only amps. (I am recording amplified rock music).
This night I will not have the option of using the indentation, so I'm thinking of trying the following:
Put DPA 4061 at maximum spread I can (about 3ft) on the low ceiling over the stage. The area I am talking about would be about 1-2 ft in front of the actual stage, but slightly behind or parallel with the little PA stacks (oh, and the PA stacks are at eye level, and not very good).
Obviously my concern is that the mics being slightly behind the stacks will be a problem, too, though I don't know how much of one since (a) they're omnis and (b) they'll be picking up the monitors.
The other, possibly more "elegant" solution is to do this the old fashioned way and wear the 4061s HRTF, and stand up close.
Thoughts?
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Hard to tell without actually checking out the sound in the place.
Here are some similar things I've done with the little DPAs which might give you some ideas. Works really well when the band is up front near the mics, not as great when they are far back on a deep stage:
Spaced miniature omni's, stage-lip on thin welding rod 'stalks' for near invisibility (http://taperssection.com/index.php/topic,96009.msg1279100.html#msg1279100)
Four evenly spaced miniature omni's in a row, stage-lip on thin welding rod 'stalks' (http://taperssection.com/index.php/topic,96009.msg1539955.html#msg1539955)
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wear the mics. you will be able to move to the best spot. I wouldn't put the mics behind and above the PA if there are any vocals.
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Craig makes two excellent points. The things I've recorded using the techniques above were either amplified instrumental groups with limited vocals or fully acoustic.
Illconditioned mentions hanging wide-spaced omnis about 6' or so in front of the stacks in smaller venues to catch the FOH portion as well as the on-stage and room sound, but that probably takes some trial-positioning to get the balance right.
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You can always tape them to the ceiling as BLM mics. As I have found, and as Gutbucket has before me, the sound is quite bright as BLM's and require some post fiddling to reduce the brightness. The problem with this setup in a joint like you describe is that you will need long cables. ;o(
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You can always tape them to the ceiling as BLM mics. As I have found, and as Gutbucket has before me, the sound is quite bright as BLM's and require some post fiddling to reduce the brightness. The problem with this setup in a joint like you describe is that you will need long cables. ;o(
Yes, this is what I probably would have done (I have about 20ft of cable) but for the fact that the only viable spot on the ceiling is that low overhang that is still somewhat behind the PA... The ceiling in front of the PA stacks is way too high - probably 7-10 ft above the stacks..
Seems like the best bet is to just wear the mics. sometimes, even when it's not "stealth", I guess it's the better way to go!
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..sometimes, even when it's not "stealth", I guess it's the better way to go!
Often true. Location, location, location.
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For what it's worth... I have run stage lip/on stage with a cards in ortf or midside, near monitors and sometimes you get just the right amount vocals through that. I've also run overhead clamped to light which is generally a couple of feet in front of the stage. That sometimes works good, sometimes weak.