10--Microphones For Live Sound
Most of the inputs for live sound systems are microphones with a few direct inputs from keyboards or guitars through a direct box. Open microphones in a live situation create a perfect path for feedback. So, it is important to choose microphones with excellent cardioid patterns and learn to aim the sensitive focus of the microphone away from the main system or floor monitor. Condenser microphones are highly sensitive and create feedback paths very easily. The new technology of large diameter dynamics solve that problem because the frequency response is good (or better) and the lower sensitivity solves the feedback problems.
Use As Few As Necessary
In setting a stage for a live group the thought has been to use as many microphones as possible. "The more the merrier". Nothing could be more dangerous! There are several good reasons. Number one is the phasing problems that occur when the same program source reaches two or three microphones at different times, due to their different distances from the source. This causes phase shift, phase distortion and phase cancellation. The same sound entering these microphones at the same time results in some very "weird" sounds: muffled lows, loss of mids and complete cancellation of highs can be heard. It is a monumental problem, but few engineers know about this horrible situation caused from using too many microphones.Another ghastly open mic problem is system gain before feedback. Every time you open another microphone you will have to drop the overall system level by 3 dB (3 decibels) to avoid feedback. 3 dB is double your power so each time you open another microphone you loose another 3 dB of output level. If you think you need 40 microphones, you will have practically no output level! The answer is to use as few microphones as possible. Drum kits are usually the number one culprit of overly extended uses of microphones. Sound engineers like to use a microphone on every individual drum and cymbal. It is not uncommon to see upward of 12 to 15 microphones on a drum kit, especially if the overheads are highly sensitive condensers. Does this create a better sound than one with fewer microphones? No way. Experiment with Dynamic microphones that exhibit good cardioid patterns and you will discover a much cleaner, clearer, articulate reproduction.
Overheads Condensers Are The Culprits
Overhead condensers present the largest problem on every stage. It has simply become "the thing" to do, but nothing could be worse than "hanging" several overly sensitive condenser microphones 3 feet above a drum kit. One reason for this happening is there has never been a dynamic microphone that had the wide response of the condenser---until the wizards at Heil Sound broke the barrier with their large diaphragm dynamic microphones, specifically the PR 30. Condensers mounted high in the air hear everything---from the 5th row of the audience to the back stage door. But, of course, they do pick up the sizzle of the cymbals very well. Replacing these overly sensitive microphones with the new Heil dynamics will immediately clean up the sound and all you will have left in those mixing channels of the PR 30 microphones will be the sound of the cymbals---and cymbals only. A revolution has begun!
SnareDrum Mics
Choose your microphone carefully. An SM 57 or SM 58 is not a good direction. They have no mid range personality and no articulation. You have to "try" and equalize to get a decent sound and EQ is not the answer to "squeezing" mid range that isn't there to start.
Leading producers such as Joe Baressi, Russ Long, John Paterno and Kurt Ballou have all discovered the new weapon in their arsenal of microphones for snare drums--- the Heil PR 20. Use two of them. One on top and one underneath near the actual snares. But make
certain you reverse the phase on the mixing console of the lower PR 20 since that bottom snare is out of phase from the top. If you do not have a phase reversal switch, get the
soldering iron out and physically reverse pins 2 and 3. This will give you the best snare
drum sound you have ever heard. Guaranteed!
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