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Gear / Technical Help => Ask The Tapers => Topic started by: achalsey on May 28, 2010, 05:40:35 AM
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To preface, I will be running stage lip omnis and would love any info on best ways to run those (VERY open to DIY ideas). I know to not run right in from of the drum kit or something, but thats about it.
The story: I'll be doing a lot of taping for a small band that will be hitting mostly chill restaurant/bar combos (generally with terrible acoustics) where a stand probably won't be ideal. The omnis will obviously be easier but I'd like to try a pair of cards out when I can and am wondering the best way to set those up in what will probably be a dinning setting.
For reference: I've got an R09 and an H120, so will be running through the SBD almost every night with one of those, and trying to get an AUD pull from either my CA-14 omnis onstage, or Church cards from the sweet spot (either powered by the 9100). I do have a UA5 but don't know enough about cables and adapters to yet to try to put that into heavy rotation until I get a little more experience.
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i've taped a few spots similar to that and every room is different. the "sweat spot" is usually the least ideal place to set up. it's usually occupied by a collum or fan/ac unit. running a stand shouldn't be any more of a problem than in any other situation tho. just grab a table in a not-so-obtrusive spot and you should be as good as it gets. use the bar as a last resort unless you like the sound of glass crashing in your tapes.
i would think stage lip would be a bad choice in that kind of environment, tho a matrix w/ the board might work since each will be missing what the other has. i wouldn't use omnis unless they were split on either side of the stage, but that's me.
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Awesome, thanks. But, I just talked to the guy I'll be hitting the road with and it looks like the girl supposed to do merch is too much maintenance to come along, so I've now been recruited to occupy that role.
Not being able to monitor a stand, I guess I'll just see if I can feel comfortable I don't have to worry about the setup onstage and run that.
Thanks for the input though. I'll be testing out the waters with some matrices and will let all know how they turn out.
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I run Church Audio CA-14 Omni's onstage with my band all the time. I've been able to get some great recordings this way.
A couple things to note.... I set the Omnis up about 4 feet high, centerstage somewhat close to one or both on stage monitors. Spread about 12 inches apart. You can spread them more for a better stereo effect, but that would probably require more stands, and I like to keep it simple. The mics will pick up stage volume from drums and amps and then get vocals from the monitors. If the band runs alot of different things thru the monitors, your results could vary. My band typically does not mic amps, we mainly only have vocals coming thru the wedges, so as long as the stage volume is a good balance (no one band member is much louder than another) you will get a good mix.
Here's some examples:
http://www.archive.org/details/bk402010-01-16
http://www.archive.org/details/bk402010-04-24
Good luck
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I run Church Audio CA-14 Omni's onstage with my band all the time. I've been able to get some great recordings this way.
thanks for the tips!
Have you ever tried any card pairs of mics? if so, what patter do you think would work best?
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I used to run my old DPA 4060's on stage, and mixed them with the board. Only in small clubs and bars. Loved the outcome.
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all those suggestions sound good, but avoid omnis from anywhere besides on stage (glasses klinking, etc. )
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Thanks for all the input. Johnny those recordings sound amazing, by the way. This is all making me much more excited to hit the road and finally try these out.
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You want to position yourself away from noises you DON'T want. For me that means running the mics at almost ceiling level. Not that I've visited many victorian type bars with high ceilings. Basically anywhere eye level or lower is undesirable. Things falling on the floor, glasses and plates at table height, people chatting standing up. Basically get the mics at least 3' above peoples eyes to achieve a better balance of sounds you want with sounds you don't want. On the lip of the stage, while convenient and courteous to the audience, is probably the least ideal placement IMO. And run on batteries so no one is tripping over your cables and other issues that can easily be solved with that one criteria. Plus various security issues as anything not nailed down is pretty much fair game in a bar.