Polar Pattern From SoundOnSoundįor concert sound you almost never use an omnidirectional mic. I have seen sound designers successfully mic a play without headworn microphones, but it’s tricky (see How To Mic An 800 Seat Theatre With Floor Mics). For theatre this means adjusting headworn capsule placement. Plus, if you’re working mostly with Shure SM58 and SM57 microphones, that’s how they are designed to be used anyway.įor corporate audio this usually means teaching your presenter how to handle the mic. Remember, with each doubling of distance, sound level is cut in half. It might not always be the best for sound, but for the maximum gain before feedback, you have to kiss the mic. If you want it to be somewhere else, I’m totally fine with that, but it might not be able to get as loud, so we’ll have to work around that.” Method #1 – Microphone Placement Close Mikingįor loud stages and busy rooms, close miking is generally the way to go.
Or for vocalists: “We’ve found that the ideal position for the monitor is with this microphone in this position. Instead, while you’re giving them a hand loading in, mention that “What we normally do here is put the guitar amp on this stand so that you can hear it well and I can get a better mix out front.”
You don’t want to wait until the stage is all set up and you are halfway through the sound check before you approach the guitarist about potentially moving his amp for a less face-melting experience. Probably the biggest tip I can give in this area is to be proactive and be a pack leader. This will give the performer a little shock and start the sound check off by asking their mix level to be turned down, instead of what normally happens. Nothing else we did made more of an impact than getting that first step right.Įxample 2: When Brian Adler works as a monitor engineer in situations where he expects the GBF to be an issue, he will purposely start with vocal mikes way too loud in the mix.
After we went through everything in the signal chain and made improvements where we could, the most important change we made was simply explaining to the council members the importance of proper microphone positioning. He was having lots of feedback problems and asked for my help. When it comes to improving your GBF (gain before feedback), start with the beginning of your signal chain and work forwards.Įxample 1: Jason works as an AV tech on city council meetings. I had to include this step 0 because the more I thought about it and the more I talked to other sound engineers, the more this came up. Method #3 – Instrument/Source Placement.
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