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Author Topic: Non Standard mic techniques  (Read 8630 times)

gordonmcgregor

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Re: Non Standard mic techniques
« Reply #20 on: June 03, 2015, 04:33:56 PM »

other things to abuse the good old SM57 with 1) taped under the head of a banjo pointing towards the bridge, 2) not forgetting jamming it under the bridge on a double bass.
 Ive used an RE20 for flutes with good results, and I've also resorted to sticking lav mics into and onto scenery, people and instruments in many and varied ways in a desperate attempt to make sound appear in the appropriate place.
Lately with a very controlled drummer in a dry accoustic I had a mid+side array as an overhead worked well along with a kick mic .G
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Thomas Harkin

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Re: Non Standard mic techniques
« Reply #21 on: June 03, 2015, 05:36:25 PM »

Hi everybody,

I'm doing an article on microphone techniques and I'm looking for some input. Anybody have some strange or non standard ways that give good results? 

For example, I'm fond of using a podium gooseneck microphone on ride cymbals. I can place the mic under the cymbal by clamping it to the cymbal stand, or use it on top of the cymbal clamped to a stand or clipped on a regular mic stand or boom stand. The gooseneck allows easy positioning  and the small size lets me get into tight spaces.
Probably not that unique;
  Countryman B6 omni clipped, under the strings, to the bridge of a violin. Even the violinist was impressed with how it sounded.
  Avlex headset mic worn on the left side pointed at the same violin. Sounded good, but not as good as the Countryman.
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duane massey

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Re: Non Standard mic techniques
« Reply #22 on: June 03, 2015, 09:01:06 PM »

In the 70's, did sound for a band with 5 horns. The engineer for the band asked for any mic with a windscreen (we had 565's) without a stand. He dropped in into a sock, and then dropped in into the bell of the bari sax. Yes, it sounded just like you think it would......
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Duane Massey
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Kevin Maxwell

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Re: Non Standard mic techniques
« Reply #23 on: June 04, 2015, 09:56:52 AM »

I don’t know how non-standard a mic technique this is but I have put a wireless lav on a person on their back at the collar to pick up a group of people behind them. They became a portable mic stand.

I know I have done other weird things over the years thinking this really shouldn’t work. But no specifics are coming to mind at the moment.
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Scott Trouwborst

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Re: Non Standard mic techniques
« Reply #24 on: June 04, 2015, 10:15:20 AM »

I have been using a single omni SDC placed in the sound hole that sounds the best, usually the 4th or 5th, on a grand piano. The single mic gives you a good natural full range sound with out the interference created by to two mics in the piano. With the lid closed or on a the short stick it gives you pretty good gain before feedback in monitors. A mic clip with a strong magnet attached also makes a great stand as it sticks to the harp of the piano well. An omni lav also works OK for this.

- ST
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Helge A Bentsen

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Re: Non Standard mic techniques
« Reply #25 on: June 05, 2015, 04:31:18 PM »

A DPA 4062 in the kickdrum and a second one on the drummers tie gives a really great jazz sound.
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Lee Brenkman

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Re: Non Standard mic techniques
« Reply #26 on: June 05, 2015, 06:45:42 PM »

When confronted by a percussionist with a small music store's worth of small instruments hung on racks and stands and a club sound system with only 16 total inputs I noticed that he wore a stretchy sweat band on each wrist.

After some consultation with him to check his willingness to "wear" mics and let me "tie" him to the PA with a couple of long XLRs I put a Countryman EM101 omni poking out of each wristband.   I put a single SM57 over the two congas but the Countrymans picked up everything else.  Wherever his hands went, so did the microphones.

Why not wireless?   This WAS a few years ago and if there was the budget for "extra" channels of wireless there would have been budget for a bigger mixer!
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Jesper Meng

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Re: Non Standard mic techniques
« Reply #27 on: July 05, 2015, 06:40:15 AM »

Grand piano micing for one off's
I find it hard to know how close you want to mic the piano, when you do not know the piano player and the band. (At least before show.  ;D)
A piano player with a heavy hand vs. a soft player and a loud drummer.
Best piano sound vs. bleed.

I use two Schoeps CCM4 on DPA goosenecks placed in 90 degrees close to second and fourth sound hole pointing at 45 degree at the keyboard, quite close mic'ed.
And a DPA 4061 on a magnetic clip in the bass end of the piano. (make sure that the cable does not fall down on the strings)

As a starting point the 4061 is low passed at 200 giving me warmth and low end.
Works without bleed problems even if you have a soft piano player and a relative loud drummer.

In the (annoying) case that the piano player plays a lot louder during concert than rehearsal and bleed is not an issue, i simply chance the setting on the DPA to a shelving filter, letting more hf pass, to get a more ambient and not so close mic'ed sound. The 'natural' reverb sounds a lot better than the one in the console, imho.
Works for solos as well.

This works well to change the mic placement 'electronically' from the console

 
« Last Edit: July 05, 2015, 07:18:39 AM by Rejsebio »
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Mac Kerr

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Re: Non Standard mic techniques
« Reply #28 on: July 05, 2015, 10:09:33 AM »

Grand piano micing for one off's

Please go to your profile and change your displayed name to your real first and last name as required by the posting rules of these forums.

Mac
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Alex Fernie

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Re: Non Standard mic techniques
« Reply #29 on: July 06, 2015, 07:14:04 AM »

It's worth trying a Beta91 taped to a short stick and laid along the belly of a baby grand piano that is on a short/closed stick. Works well in a pinch and especially if you're stuck for channels/appropriate posh mics.
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ProSoundWeb Community

Re: Non Standard mic techniques
« Reply #29 on: July 06, 2015, 07:14:04 AM »


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