Topic: Tips for Open Taping

[Pieteker]

I'm thinking about purchasing a Zoom F6 to get into open taping using multiple mic inputs at once. I'm currently using Line Audio microphones (CM3/CM4/OM1) and would love to start experimenting with combining (wide-)cardioid and omni patterns.

What I’m wondering is: what do I need to build a solid open-taping setup in terms of stands, cables, clamps, or other must-have accessories? Since many of you have plenty of experience with open taping, I figured this would be the best place to ask for tips and recommendations.

Thanks in advance!

[heathen]

Your budget is a huge factor for the discussion.  For example, Grace Design makes some outstanding mic bars, but they may be too pricey for some.

[al w.]

One of the things that took me embarrassingly long to figure out was all of the light stand/clamp terminology and how those components fit together. For anyone just starting out, here's a very high level primer:

• Most tapers use light stands instead of microphone stands or camera tripods
• Most light stands have a stud/spigot at the top with either a 3/8" or 1/4" thread. Others may have a stud receptacle with a removable stud. Here's an example
• If your mics are mounted on a stereo bar, you can either screw it directly onto the thread OR screw it on to a rapid adapter which you can then attach to the stud (preferred, by me at least! Rapid adapters are useful for all sorts of things. Man, it took me too long to figure out what they were called, lol)
• You can also build your own stereo bar - look for 15mm or 16mm rod sets typically used for rigging video cameras and such
• Speaking of stereo bars - you can use a regular stereo bar which works fine or you can use a custom 3D-printed mount designed to hold two (or more!) microphones, mounted in a single shock mount (typically a Rycote, but the smaller active mounts fit in the Shure donut. I personally prefer combining Scott's lyre base and a pair of standalone Rycote lyres into a custom shock mount that is perfectly symmetrical)
• There's a whole thread about clamping, but my tl;dr is: 9.solutions Savior Clamp w/ Socket + a stud or spigot + a magic arm OR a Matthews short extension OR a Manfrotto extension pole - and then just mount your mics to that just like you would a stand

There's probably a lot more to share, but this is hopefully a good starting point re: stands and clamping

[Pieteker]

One of the things that took me embarrassingly long to figure out was all of the light stand/clamp terminology and how those components fit together. For anyone just starting out, here's a very high level primer:

• Most tapers use light stands instead of microphone stands or camera tripods
• Most light stands have a stud/spigot at the top with either a 3/8" or 1/4" thread. Others may have a stud receptacle with a removable stud. Here's an example
• If your mics are mounted on a stereo bar, you can either screw it directly onto the thread OR screw it on to a rapid adapter which you can then attach to the stud (preferred, by me at least! Rapid adapters are useful for all sorts of things. Man, it took me too long to figure out what they were called, lol)
• You can also build your own stereo bar - look for 15mm or 16mm rod sets typically used for rigging video cameras and such
• Speaking of stereo bars - you can use a regular stereo bar which works fine or you can use a custom 3D-printed mount designed to hold two (or more!) microphones, mounted in a single shock mount (typically a Rycote, but the smaller active mounts fit in the Shure donut. I personally prefer combining Scott's lyre base and a pair of standalone Rycote lyres into a custom shock mount that is perfectly symmetrical)
• There's a whole thread about clamping, but my tl;dr is: 9.solutions Savior Clamp w/ Socket + a stud or spigot + a magic arm OR a Matthews short extension OR a Manfrotto extension pole - and then just mount your mics to that just like you would a stand

There's probably a lot more to share, but this is hopefully a good starting point re: stands and clamping

I can’t say thank you enough for this detailed answer, man. This will help me a lot. It’ll take some time to study all of this, but I’ve got all the time in the world.

[grawk]

for flexible stereo in open setups:

https://reverb.com/item/63429141-gravity-cases-ms-stb-01-pro-stereo-array-2-microphone-bar-mount-stand

for REALLY flexible stereo in open setups:

https://www.ebay.com/itm/135695612553
plus a 20mm diameter carbon tube of your choice

Rycote or Radius shock mounts

shure A53M shock mounts

various custom to your setup SRS 3d printed mounts make things really easy.

I have a 17' lighting stand for REALLY open, and several assorted smaller lighting stands

For "small footprint", a monopod with a micro tripod base works pretty well

I use the Matthews baby extension, 9 solutions super clamp, and several other utility options for clamping to various things

Honestly, go through this sub-forum, there's a lot of information already there.

Mostly, just experiment.  You might figure something out better than anyone else before you has.

[VibrationOfLife]

Not affiliated, nor is it my style, but something to look at: https://www.youtube.com/watch?v=sG3SsQbGhOg

[if_then_else]

Late reply, but this is a “minimalist” (by my own standards) 5‑channel on‑stage rig for a little open‑taping tour in Italy in January. This is built mostly from generic photo/film hardware.

Base is a Manfrotto 003 Backlite floor stand with a Dado‑style junction block on top (Manfrotto MSY058A or a Selens‑type clone). Through that I run a pair of 30 cm / 15 mm threaded rig rods as the main crossbar. The *only* things held by generic 15 mm rod clamps are the two outriggers: DPA 4061s on their 1.6 mm cables, mounted at the bar ends. The center mic is a Microtech Gefell M 310 in a Rycote InVision INV‑6, and in front is the NOS pair of MBHO subcardioids on active cables, on Scott’s custom Shapeways NOS bar in a Rycote INV‑7.

For the 4061s I use a Nitze camera cable clamp with 2 mm cable channels that can be locked; that size is perfect to grab the 1.6 mm DPA cables securely.

Most of the grip bits (rods, clamps, etc.) are generic and sold under names like Walimex, ayex, Selens, Nitze or no‑name equivalents on Amazon, eBay or Alibaba. The whole rig breaks down into the Backlite base, Dado, a few short rods, the NOS bar and clamps, so it packs easily and stays train‑friendly.

[Pieteker]

Thank you so much! Very informative.

[aaronji]

It depends a lot on the venue, both in terms of what works and what they will allow. If you can feasibly use a stand, all you need is a stand, a mic bar (and mic clips), long enough cables, and some velcro strips (or whatever) for cable management. If you want to be prepared for whatever various situations you may encounter (on-stage, clamping, small footprint), the list grows.

I would suggest the following; they are all Manfrotto part numbers but there are similar items available from a bunch of other companies, like Impact. So: 1004BAC (stand that goes pretty high and you can adjust the footprint within reason), an 035 (SuperClamp), a 386B-1 (NanoClamp), an 003 (stand base), a 122B (short extension pole), an 099B (long extension pole), and an 026 (umbrella adaptor). Plus a bunch of spigots and some rapid adapters. Safety cables for any clamping. Add in a 6" end-grip Mathellini clamp, and you are good to go for basically any situation you would usually encounter, from low-profile on-stage (003 plus a spigot plus the bar); to clamping up, down, at an angle, or to another stand (one of the clamps, maybe an extension pole, maybe a rapid adaptor,  maybe the umbrella adaptor for non-right angles), to limited footprint spaces (003 + 122B + 099B). The engineer/tour manager for Julian Lage calls it my "TinkerToy set". Of course, I try not to carry all of that stuff, but sometimes you have no clue what you will encounter.

For mic bars, with extensive flexibility and great quality at a (comparitively) reasonable price, try Robert at https://mikrofonschiene.de. The "Basic AB" or "Set 1" would probably be good options, with extra screws as needed.

Lastly, I would suggest making at least a few runs with just a pair before you leap into multiple pairs (especially given wide-ish cards and omnis). The first few times can be a little stressful, even if you have practiced in the living room. Add the hassles of unanticipated venue requirements, people running around, and a dark room (small flashlight, by the way), and it can be a challenge at first.

[pohaku]

Lots of good info here.

I’ll add that I use several different size stands depending on the venue.  On the small end, I use the Manfrotto Nano stand which is easily transportable and fits in luggage.  https://www.bhphotovideo.com/c/product/612771-REG/Manfrotto_5001B_5001B_Nano_Black_Light.html.

A roll of gaffer’s tape in your kit is helpful.  https://www.amazon.com/dp/B00RU1V6T6?psc=1&ref=ppx_pop_dt_b_product_details
 If you plan on/hope to get board feeds, another set of cables with a set of various adapters is also good.  The board may have TRS, XLR or RCA outs so you need to be prepared.  If there is the possibility of more than one taper looking for a board feed, a set of line splitters can also be handy.

[Gutbucket]

Good advice by all above.  I'll add a bit more on approaching it generally..

[snip] I'm currently using Line Audio microphones (CM3/CM4/OM1) and would love to start experimenting with combining (wide-)cardioid and omni patterns.

[snip] Lastly, I would suggest making at least a few runs with just a pair before you leap into multiple pairs (especially given wide-ish cards and omnis). The first few times can be a little stressful, even if you have practiced in the living room. Add the hassles of unanticipated venue requirements, people running around, and a dark room (small flashlight, by the way), and it can be a challenge at first.

^
This is sound advice.   Once comfortable with it all, if you are interested in playing around with multiple mic setups, you'll find a balance of complexity that works for you.  The process might look like the following, take it as far as you like:

• Start with a standard 2 channel stereo pair setup, say the CM3 in NOS, CM4 in DIN or whatever.
• Mess around with the setup to better understand the implications and why and what it does.  I suggest Improved PAS, which optimizes spacing and angle between a pair of mics based on the recording position.
• Run two (or more) stereo configs at the same time.  This is the best way to compare different stereo setups, and to quickly get a feel for their differences.
• Try multi-microphone arrays of more than two mics mixed together.  This is a significant conceptual break with everything previous. Combine standard stereo setups which are different enough that they're less likely to problematically interfere with each other. Spaced omnis make a great addition to a coincident pair (the two are totally different approaches). Wide spaced omnis can also make a great addition to a near-spaced pair.  Play with the combinations.  Listen to determine if a closer-spaced near-spaced pair works better in combination with the omnis than a wider near-spaced pair.  You may find your preference for particular individual stereo pairs and your preference for what works best when two pairs are combined begins to diverge.
• If/when you get to the multi-channel array stage, be ready to rethink things.  Standard two channel arrays are optimized two microphone setups.  You can add other mics and achieve great results from doing so, but to really make the most of it you can start to modify the 2-channel configurations to better accommodate the additional mic channels.  For example, if you add a center mic to a stereo pair to create a stereo triplet, it helps to space the L/R pair more widely so as to optimally incorporate the center mic channel.  To really optimize things further for the a multichannel array, you'll begin to de-optimize each individual pair when used on its own in isolation.  This is the most difficult step conceptually and in practice for many folks.
• Refine it all to fit what you record, where you record, what you expect from your recordings, and your comfort level.

More specifically, I'd strongly consider picking up a highly directional pair of microphones - super/hypercardioids, perhaps even a short shotgun.  All the mics you list having on hand lean toward the more open pattern omni side of the spectrum.  The CM4 is the tightest of them yet still relatively open compared to some other cardioids. Hands on experience with what a more highly directional pair can do, what it can't, and how best to use it will be helpful, and provide for a good comparison/contrast with your wide cardioid and omni pairs.  And.. if/when you start playing around seriously with multi-mic arrays, it will help to combine tight patterns with more open patterns.  This gets back to using combinations that are different enough from each other that they tend to complement each other rather than potentially compete.  Try a tighter-angled supercard pair in combination with a wider spaced subcardiod or omni pair.  Try a single supercard or X/Y supercard pair in the center between a somewhat wider than normal spaced subcardioid pair.  Try it the other way around with a single subcardioid in the center between a somewhat wider spaced but more directional supercardioid pair.

Multichannel combinations using only very open pattern mics can work great in the right situation, but will generally require good acoustics, good recording position, and wider spaced setups.  If you end up using multi-mic array setups regularly, you'll get the most flexibility from combinations of highly directional mics and less directional ones.

[Gutbucket]

Late reply, but this is a “minimalist” (by my own standards) 5‑channel on‑stage rig for a little open‑taping tour in Italy in January. This is built mostly from generic photo/film hardware.

^
Love this as a good example of a complex but well optimized multi-microphone array.  The individual pair configs making it up are more or less standard stereo configs, but are different enough from each other that they are likely to complement each other nicely in combination.  It uses a single highly-directional supercardioid the center to nail down a clear and upfront sounding solid center image and spaces the more open patterned mics out widely enough to leave room for the tight pattern center mic while providing a nice wide and open stereo bed in support.  There's a design eloquence in the microphones getting progressively more directional moving toward the center.  Great on-stage setup.

And FWIW, I suspect the vertical spacing of the center mic above the NOS-spaced pair of subcards may actually help rather than hurts things, by potentially improving the quality of diffuse reverberant pickup somewhat (arriving randomly from all directions), while keeping the direct arriving sound from the front sufficiently time-aligned across all three directional mics (forming an LCR mic triplet).