Great advice from all above.
Quote from: Johnhardy1 on July 07, 2026, 01:27:50 AMI've also found out that I should be able to set up in a small firepit which is right-middle of the stage and about 15' back.
That sounds like a perfect location and well protected. At an local outdoor stage where I occasionally record, the best change I've implemented in years was switching setting up in a water feature, centered and about ~15' back from the stage.
Stands and mounts are a whole corner of taperdom in itself, you'll find multiple threads on them in addition to what we touch on here. Lighting stands intended for photography work well as taper microphone stands. They come in many different sizes from tiny to huge. A smaller stand is lighter, easier to carry, easier to fit into small spaces, easier to get into venues, but will not be as stable, cannot go as high, will get more wobbly when extended to near full height, and you will need to more actively protect it. A bigger stand is more stable and secure, which helps if you might not be stationed next to it for protection the entire time. Bigger stand also allows for going higher when needed and still remain stable, but can still keep the microphones low at seated head height if/when you want or need to. It will be significantly more stable when you extend to close to its max operational height, and that can make a big difference if there is in wind. But when stowed it will be longer, heavier to carry, and more difficult to get into some places. Helps to use a stand that can actually go a higher than you actually require, because any telescopic stand is more rigid and stable when each of its sections is not fully extended as far as they will go. A "large stand" should have a foot print not much larger than a folding chair so it can be well protected within a row of chairs without presenting a trip hazard. A lot of tapers end up with a few different stands to choose from depending on the situation. You'll need to coordinate things like the connection at the top, but that can generally be adapted to whatever type you end up using, typically a 3/8" threaded stud, a male "spigot" stud or female "spigot" socket. Clamps, table/low-on-stage stands and other support gear dovetails into this.
Although many tapers always use shock-mounts, like Morst I just mount the mics rigidly using mic clips. I've not found noise transmission through the stand to be a problem in practice, so I consider shock mounts unnecessary, bulky, simply another thing to be concerned with and manage, and in my tests when setup so as to actually be somewhat effective they end up overly wiggly and droopy. Sure, in the quiet parts you can thump on the stand might will hear that, but the goal is to keep the stand from being thumped upon anyway, and if some intruder really knocks it you'll hear that regardless. I'd add them later only if you find "solid-born noise" to be a problem.
Cables need to be long enough to reach to your recording bag containing the recorder, along with a comfortable bit of excess at the bottom. Generally the recording bag is placed at the base of the stand. If so 15' long microphone cables are usually fine. Moving forward it will help to run the pair through a woven sleeve, forming a single cable that's much easier to manage without turning into a rat's nest. Alternately you can tie or tape the pair of cables together every foot or so, but that just doesn't handle and behave nearly as well. Use velcro wire-ties to secure the cable snuggly and neatly against the stand, particularly the top and bottom, preventing snag hazards, noise transmission, and making for a cleaner, less invasive visual profile. Can sort of spiral-hug the cable around the stand anchoring it mid-way using the protruding knobs of each stand section.
A simple mic bar will get you recording, but one that allows for adjusting the spacing between microphones will be helpful moving forward. Unfortunately, finding an inexpensive one able to go wide enough to ideally accommodate taper situations (as described in the post on the perception of audience noise above) can be difficult. A segmented folding bar is attractive in that it need not be extended the full width when a narrow spacing is appropriate. A lot of tapers end up making their own, either from other hardware, or using modular support systems designed for cameras and lighting gear. I'd consider one able to space the mics up to 24" (60cm) apart appropriately flexible.
Topic: Rank Newbie Needs Help (Read 1,207 times)