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Miking Handbells - Part 2
Two Microphone Setup
On Site Bell Amplification
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Miking Handbells - Part 1 Miking Handbells - Part 2 Two Microphone Setup On Site Bell Amplification |
> BE WARNED! The PZM will pick up EVERYTHING. The
> first time we used one I kept hearing this thud,
> thud, thud...
yeah, Campanile had this problem too. That's why we don't use PZMs any more.
We just tried out a new system. We rented it to see how it worked, now we know it works, so we'll buy it (when we can scrape together the cash....)
We got a pair of shotgun mikes [by Senhiser], crossed 'em at the edge of the stage [about 8 to 10 feet in front of the group], and we got the BEST mix we've EVER had, and believe me, we've tried EVERYTHING.
We have, up to this point, been using vocal mikes, one for each ringer, but we can't crank the bass enough without getting feedback.
With the shotguns, we put 'em slightly off center toward (what is loosely) the bass and got a PERFECT mix. PERFECT.
Hope this helps. Oh, and BTW, the rental on the mikes was CHEAP. We have our own board and stuff, so we just got the mikes - it was $40 for two $1500 microphones for 3 days. Can't beat the price for finding out what works.
And once you figure out what you need, maybe some wonderful member of your congregation works at an audio shop and can help you out....
[PZM: Pressure-zone microphone, a mike attached to a plate that funnels the sound into the mike. They are moderately priced, yield a fairly wide frequency response, and do a fair job of reflecting echoes. They are excellent for picking up a poker party (simply place the mike in the center of the table) or for picking up the kid's Christmas play (set the microphone at the edge of the stage). Beware of extra noises, paper rustling, pencils rolling, fingers drumming, knees knocking against the table, or toes tapping the beat. The PZM mike will pick all these up and amplify them. -- Ed.]
Written by:
Rima
rima@campanilemusic.com
Campanile
1 Apr 1997
Archived original can be found at: RE: Miking Handbells
Archived original can be found at: Re: RE: Miking Handbells
Rima forgot to point out for those who haven't seen Campanile that there ensemble plays in a tight U shape. And to tell you the truth, I kinda expected them to get a good recording this way. Unfortunately, most of us are in straight lines or close to it. So 2 mikes won't work as nice. But, maybe multiple pairs of mikes.
Rima, could you ask Roger how far back the mikes were from the tables. It seems like they were about 3-4 feet in front of the U.
For the basic diagram, the mikes weren't pointing at any one bell ringer. Everybody was kinda at an angle to the mikes. Both mikes were on the same stand.
The mikes have an extreme cutoff of sound behind them. Where most directional mikes still pick up some sound behind them, these were designed to pickup almost none behind them. Also these shotgun mikes are full range type, some have frequency limits.
Written by:
Ken Brown
KBROWN@gi.com
AGAPE Ringers, Chula Vista, CA.
2 Apr 1997
Archived original can be found at: RE: Miking Handbells
Lois Jean Castle inquired about overhead microphones for the new sanctuary that her church is building.
Studies have shown (and more importantly my own professional recording experience has shown) that a nearly fool proof (no snickering please) method is to use just two microphones positioned in the ORTF configuration. The mic capsules are positioned 6 1/2 inches apart and are angled 110%. The mikes need to be mounted on a T bar. Use good quality microphones such as Shure SM81s ($300.00 per mic) or AKG 414s (Close to $1,000.00 per mic), or most other condenser, phantom powered studio mikes. MICROPHONE POSITIONING CAN MAKE OR BREAK A GOOD RECORDING (or sound reinforcement). What you are aiming for is a proper balance from the bells (or whatever you are recording), AND you need a proper balance of direct sound vs. reflected (room) sound. This usually takes some experimenting. The overhead mikes should be flown-suspended by their cables. Using this method serves a couple of purposes. You have great flexibility in mic positioning. It's easy to adjust height as well as fore and aft placement. The cables also reduce the possibility of vibrations from the building reaching the mikes. I use mic shock mounts in addition to flying the mikes. Mic shock mounts for my SM81s cost about $50.00 apiece.
For starters try positioning the mikes 8 to 12 feet above the floor and about 10 to 20 feet in front of the bell tables. Listen to the sound through a good quality headphone. Sony MDR-7506 works well (about $130.00). Set the mikes flat. No bass rolloff or attenuation. Move the mikes around the general area for the 'best' sound.
Please DO NOT USE ANY EQUALIZATION on the mixing board! This is not needed. EQ has its place, but not here. It's artificial. It changes the tonal balance. If you feel you need a 'better" or different sound, try changing the mic location relative to the bells. Remember, the mikes hear what your ears do, and then some. The ONLY exception to no EQ is to reduce or eliminate rumble from the room usually caused by the ventilation system and/or traffic outside.
____________________________________________ l l l Bell table l l____________________________________________l
\ / Microphones
This is not 'all you wanted to know about mikes but were afraid to ask', but merely a starting point. There is much more concerning this subject out there. I hope this helps you in your wonderful endeavor!
Written by:
Matthew Wrensch
mw440@juno.com
Concert Recording Service
824 N. 64th St.
Wauwatosa, WI. 53213-4004
1-414-476-TUNE
4 Jun 1998
Archived original can be found at: Re: overhead mics
Hello,
I am Terry, the sound Tech for Campanile. What we have done to amplify our bell group is to use two shotgun mikes by Senhiser placed about 8 to 10 feet in front of the group. With the mikes set in a "V" formation they amplify our group with success. The mikes concentrate the majority their pick up pattern so everything in front of the mikes (about 20 ft) will be picked up while everything to the sides and behind the mikes will be rejected. They are also very sensitive. You will need to use a mixer with an equalizer on to drop out or roll off some of the frequencies around 10khz to minimize feed back. Check in your area to see if anyone will rent you the equipment you need. It will cost you a lot less to rent than buy.
If you have anymore questions please e-mail directly at Terrywiz@aol.com
[Shotgun Mike: A very unidirectional microphone that rejects with extreme prejudice all sounds except those coming from where it is pointed, a shotgun works well in noisy environments, in rooms with lots of echoes, and in situations where you have to record sound from some distance away (like a video). Shotguns are susceptible to wind and motion noise; use a windscreen and shock mount whenever necessary. -- Ed.]
Written by:
Terry
Sound Tech for Campanile
Terrywiz@aol.com
10 Jun 1998
Archived original can be found at: Re: bell amplification