mic placement-finding strategies

[Guest]

Archived from groups: rec.audio.pro (More info?)

I was wondering if there was a generally accepted, time efficient method of
working out mic placements. Working alone I typically set a mic somewhere,
walk back to control room, record sample, walk back to mic, move mic, back
to control room, record sample, etc. and then compare results at the end,
trying to remember where the mic was for each sample. This takes a while and
requires good memory (which I don't really have) so I was wondering how
pro's generally approach it. Is it usually done with someone in the live
room, moving the mic while someone sits in the control room listening
constantly and watching with a live video feed, or something to this effect?

Thanks,

Dave

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

Try Using Headphones that have a good reference starting point for you.
Then go out and move the mic until you get your desired position.
Don't forget to check it on your reference monitors
kevin

 

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David Grant <NO_SPAM_PLEASE_jmd_2003@msn.com> wrote:
>I was wondering if there was a generally accepted, time efficient method of
>working out mic placements. Working alone I typically set a mic somewhere,
>walk back to control room, record sample, walk back to mic, move mic, back
>to control room, record sample, etc. and then compare results at the end,
>trying to remember where the mic was for each sample. This takes a while and
>requires good memory (which I don't really have) so I was wondering how
>pro's generally approach it. Is it usually done with someone in the live
>room, moving the mic while someone sits in the control room listening
>constantly and watching with a live video feed, or something to this effect?

That helps. But the easiest first try is to stick a finger in one ear
and listen with only the other ear. Move your head around until it sounds
right, then put the mike there. You'll find things sound very different
with a single ear and that placement effects become a lot more like what
the microphone hears.

It does sure help to have an assistant for fine-tuning things, though.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

On Mon, 14 Feb 2005 13:00:16 -0500, David Grant wrote:

> I was wondering if there was a generally accepted, time efficient method of
> working out mic placements. Working alone I typically set a mic somewhere,
> walk back to control room, record sample, walk back to mic, move mic, back
> to control room, record sample, etc. and then compare results at the end,
> trying to remember where the mic was for each sample. This takes a while and
> requires good memory (which I don't really have) so I was wondering how
> pro's generally approach it. Is it usually done with someone in the live
> room, moving the mic while someone sits in the control room listening
> constantly and watching with a live video feed, or something to this effect?

If I'm recording on my own I like to monitor on headphones so I can
check what moving the mics around sounds like. It only gives me a rough
picture of the sound, but once it's sounding at least ok I can record
some, listen back on the monitors and tweak the positions a little.

Else, just leave it recording and say the position each time into the mics
when you move them. Anyway ,after a while you get a pretty good idea of
what it's going to sound like before you hear the playback, and where to
put the mics to get the sound you want in advance.

On stuff that does not move around, like the piano and hammond in my
little studio, I have a couple of standard methods of micing them. I've
recorded them so often in the same room that there are not many surprises
to be had.

In a proper studios, yes, it's easier get someone to do it while you
monitor, and communicate with them over the talkback. That's how
I started out (moving the mics, panels and stuff), when my exceptional
tea making skills were not required.

>
> Thanks,
>
> Dave

 

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Archived from groups: rec.audio.pro (More info?)

"Scott Dorsey" <kludge@panix.com> wrote in message
news:cuqpgh$r2b$1@panix2.panix.com...
> David Grant <NO_SPAM_PLEASE_jmd_2003@msn.com> wrote:
>>I was wondering if there was a generally accepted, time efficient method
>>of
>>working out mic placements. Working alone I typically set a mic somewhere,
>>walk back to control room, record sample, walk back to mic, move mic, back
>>to control room, record sample, etc. and then compare results at the end,
>>trying to remember where the mic was for each sample. This takes a while
>>and
>>requires good memory (which I don't really have) so I was wondering how
>>pro's generally approach it. Is it usually done with someone in the live
>>room, moving the mic while someone sits in the control room listening
>>constantly and watching with a live video feed, or something to this
>>effect?
>
> That helps. But the easiest first try is to stick a finger in one ear
> and listen with only the other ear. Move your head around until it sounds
> right, then put the mike there. You'll find things sound very different
> with a single ear and that placement effects become a lot more like what
> the microphone hears.
>
> It does sure help to have an assistant for fine-tuning things, though.
> --scott


Dave and others:
I was going to say that, but Scott beat me to it. He sounds atuned to doing
things wisely and properly.
A mic is usually a monophonic transducer, so get it set up to emulate the
zenith/high spot of your good ear's position and orientation.listening to
whatever - vocalist/choir/solo instrument/ensemble/effect, in the studio
while blocking the weak ear with one finger or a shower earplug!
Sometimes encourage the whole outfit (if acoustic) to play, sing, gig,
counterpoint, rave together so you can discriminate with the best balance.
You don't need to mic up every sound-making device. That ambience is
important if the acoustics are beneficial.
I worked that out for myself over 40 years ago with the luxury of a
six-channel mixer and when even dynamic mics cost a fortune! Mainly STC PGS
fig8 ribbons and omnis, and AKG cardioid moving coils, till we got to spend
a bit more on AKG Condenser/Capacitor units.
I understand some of the best Glen Miller Orch overnight, literally,
successes were made in a couple of takes with just 3 mics.
Was that RCA Victor?

Jim

 

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"David Grant" <NO_SPAM_PLEASE_jmd_2003@msn.com> wrote in message
news:hI5Qd.22928$m22.2599@read1.cgocable.net...
> I was wondering if there was a generally accepted, time efficient method
of
> working out mic placements. Working alone I typically set a mic somewhere,
> walk back to control room, record sample, walk back to mic, move mic, back
> to control room, record sample, etc. and then compare results at the end,
> trying to remember where the mic was for each sample. This takes a while
and
> requires good memory (which I don't really have) so I was wondering how
> pro's generally approach it. Is it usually done with someone in the live
> room, moving the mic while someone sits in the control room listening
> constantly and watching with a live video feed, or something to this
effect?
>

I just walk back and forth, listen, but don't record anything. If I know the
instrument, I'll usually have an adequate place to start based on what I
want to hear, and just set up the mic and go back and listen, then I may
have to make minor adjustments. It gets tricky if I don't really understand
the instrument (digeridoo and sitar come to mind) where I have to wing it or
if I am in the same room as the musicians - in which case I do only what I
am sure will get decent results.

jb

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

I've been using Scott's advise (I know Scott, you've told me that it's
not your invention, but I've learnt it from you and that's what counts)
for the past 4 years and I find it absolutely amazing!
Works like a charm every time...

Thanks a million, again, Scott.

Evangelos


%
Evangelos Himonides
IoE, University of London
tel: +44 2076126599
fax: +44 2076126741


"Allas to those who never sing but die with all their music in them..."



Oliver Wendell Holmes
%

 

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Archived from groups: rec.audio.pro (More info?)

"Scott Dorsey" <kludge@panix.com> wrote in message
news:cuqpgh$r2b$1@panix2.panix.com

> But the easiest first try is to stick a finger in one ear
> and listen with only the other ear. Move your head around until it
> sounds right, then put the mike there. You'll find things sound very
> different with a single ear and that placement effects become a lot
> more like what the microphone hears.

One blocked ear seems like a fair approximation of a cardioid or
hypercardiod mic. Thas suggests that using both ears would be more
approprate if the mic being placed were an omni or figure-8.

I find that simply placing my head in possible locations for mics while the
musos are doing their thing is the biggest help.

> It does sure help to have an assistant for fine-tuning things, though.

Indeed. Preferably one with educated ears.

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

On Mon, 14 Feb 2005 13:09:21 -0500, Scott Dorsey wrote
(in article <cuqpgh$r2b$1@panix2.panix.com>):

> David Grant <NO_SPAM_PLEASE_jmd_2003@msn.com> wrote:
>> I was wondering if there was a generally accepted, time efficient method of
>> working out mic placements. Working alone I typically set a mic somewhere,
>> walk back to control room, record sample, walk back to mic, move mic, back
>> to control room, record sample, etc. and then compare results at the end,
>> trying to remember where the mic was for each sample. This takes a while and
>> requires good memory (which I don't really have) so I was wondering how
>> pro's generally approach it. Is it usually done with someone in the live
>> room, moving the mic while someone sits in the control room listening
>> constantly and watching with a live video feed, or something to this effect?
>
> That helps. But the easiest first try is to stick a finger in one ear
> and listen with only the other ear. Move your head around until it sounds
> right, then put the mike there. You'll find things sound very different
> with a single ear and that placement effects become a lot more like what
> the microphone hears.
>
> It does sure help to have an assistant for fine-tuning things, though.
> --scott

Yah, Finger-ear.

Ty Ford




-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

 

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Archived from groups: rec.audio.pro (More info?)

"Arny Krueger" <arnyk@hotpop.com> wrote in
news:rtCdne0tCbVVdYzfRVn-3A@comcast.com:

> One blocked ear seems like a fair approximation of a cardioid or
> hypercardiod mic. Thas suggests that using both ears would be more
> approprate if the mic being placed were an omni or figure-8.
>
> I find that simply placing my head in possible locations for mics
> while the musos are doing their thing is the biggest help.

The problem with using both ears is not that it engages the second ear, but
that it engages the brain. I suspect it's from lack of practice, but with
input from only one ear, my brain doesn't do nearly as much processing; I
hear more of what a mic hears. With two ears I hear the world.

Another modification is to cup your hand behind the single ear to more
nearly match the response of directional mics.

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

In article <Xns9601604FC3516gulfjoehotmailcom@207.69.189.191> gulfjoe@hotmail.com writes:

> The problem with using both ears is not that it engages the second ear, but
> that it engages the brain.

Say, maybe more people who post here should take the finger out of one
ear first. It might even speed up their typing.


--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo