ProSoundWeb Community
Sound Reinforcement - Forums for Live Sound Professionals - Your Displayed Name Must Be Your Real Full Name To Post In The Live Sound Forums => LAB Lounge => Topic started by: luis Markson on May 13, 2011, 07:41:10 AM
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Ok... so same gig as the other threads mention.
All I have is a stage plot - no input list. Gig is tomorrow.
A full mic kit is being supplied by the artist, which I have no details of, but have requested.
I have no input list, just channel numbers on a stage plot. The grand piano shows two channels, the mics they have I have no idea about.
So potentially I've got two condensers or an XY mic like an NT4.
The last time I miced a grand was back in college for a recording project 10 years ago. Then I used a stupid amount mics plus a MS config...
So if I've got two mics, what is a good quick placement strategy?
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Ok... so same gig as the other threads mention.
All I have is a stage plot - no input list. Gig is tomorrow.
A full mic kit is being supplied by the artist, which I have no details of, but have requested.
I have no input list, just channel numbers on a stage plot. The grand piano shows two channels, the mics they have I have no idea about.
So potentially I've got two condensers or an XY mic like an NT4.
The last time I miced a grand was back in college for a recording project 10 years ago. Then I used a stupid amount mics plus a MS config...
So if I've got two mics, what is a good quick placement strategy?
Did they request stands? Who is providing the piano? Closed top, half stick, full stick? There are a lot of unanswered variables that would affect that decision. It is good that you are trying to prepare, but a band like this probably has a standard setup that they want, even if it is not well explained in the materials they have sent you.
I would find out who the day of the show is the best to get technical answers from, and just have them double check you during setup.
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Did they request stands? Who is providing the piano? Closed top, half stick, full stick? There are a lot of unanswered variables that would affect that decision. It is good that you are trying to prepare, but a band like this probably has a standard setup that they want, even if it is not well explained in the materials they have sent you.
I would find out who the day of the show is the best to get technical answers from, and just have them double check you during setup.
I've been given the artist No for questions. Hopefully they have the answers I need
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Ok... so same gig as the other threads mention.
All I have is a stage plot - no input list. Gig is tomorrow.
A full mic kit is being supplied by the artist, which I have no details of, but have requested.
I have no input list, just channel numbers on a stage plot. The grand piano shows two channels, the mics they have I have no idea about.
So potentially I've got two condensers or an XY mic like an NT4.
The last time I miced a grand was back in college for a recording project 10 years ago. Then I used a stupid amount mics plus a MS config...
So if I've got two mics, what is a good quick placement strategy?
You might get really lucky and find out that they're supplying an Earthworks PianoMic. ;D
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I've been given the artist No for questions. Hopefully they have the answers I need
If they're traveling with a FOH engineer then your off the hook. When I read an input list that says all mics supplied by artist then 98% of the time there's a FOH engineer and your fine. It would be unusual for a band to bring a complete mic package and not an engineer. If their not and you got an crappy old rider then I'd put up whatever your comfortable working with since you can't put a pickup on a rented piano (usually.) I favor a pair of side address condensers like 414's, some dynamics with nice high end like Heil's or maybe a couple of beta 91's taped to the lid if it's a closed lid situation. That way you get the elements as close as you can for the best gain before feedback. There's much to read about placement but most put them between the bracings about 1/3 to half way away from the keyboard. Sometimes in a loud situation I'll crawl underneath and find a nice place on the soundboard to put a dynamic very close to the soundboard in a resonant spot for more low end. Sometimes it works, sometimes it doesn't. Most people eventually wind up with the pickup+mic situation. When the piano arrives, ring it out a little before soundcheck and that's about as good as it gets.
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I've been given the artist No for questions. Hopefully they have the answers I need
If they're traveling with a FOH engineer then your off the hook. When I read an input list that says all mics supplied by artist then 98% of the time there's a FOH engineer and your fine. It would be unusual for a band to bring a complete mic package and not an engineer. If their not and you got an crappy old rider then I'd put up whatever your comfortable working with since you can't put a pickup on a rented piano (usually.) I favor a pair of side address condensers like 414's, some dynamics with nice high end like Heil's or maybe a couple of beta 91's taped to the lid if it's a closed lid situation. That way you get the elements as close as you can for the best gain before feedback. There's much to read about placement but most put them between the bracings about 1/3 to half way away from the keyboard. Sometimes in a loud situation I'll crawl underneath and find a nice place on the soundboard to put a dynamic very close to the soundboard in a resonant spot for more low end. Sometimes it works, sometimes it doesn't. Most people eventually wind up with the pickup+mic situation. When the piano arrives, ring it out a little before soundcheck and that's about as good as it gets.
If they are bringing their own mic kit, I'd be betting they have their own FOH engineer. Placement would totally depend on type of music, and what kit they are supplying, though a lot of the advice above is all good. This is where there really is no substitute for experience! Good luck!
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I've seen someone use two wireless lavalier mics taped to hang right above the second and fifth sound holes in the piano, it created a great sound, with the piano at full lid.