Best mic for concert type shooting
- Thread starter Lor
- Start date
yeah im looking for one too. But to be honest i dont think there is one, obviously as you get further o closer to the speaker or stage the sound level will vary when recording and you run into bunch of problems like clipping\distortion or if your levels or too low to avoid clipping most of the time you get a really muddy sound. Right now im using a zoom h4n and i hook up directly to the mixer. I also record using a 4053 and watch my levels and use that to layer it on top of the zoom track and it gives it a more live feel.
so best choice would be
1: use an external recorder to connecty directly to the mixer then sync the audio track to video in post.
2: go straight from mixer directly into the cam. but this will limit your movabilty.
3: go wireles and plug the transmitter directly into the mixer and the reciever into the cam. this will give you both good sound and you'll be able to move around. the downside to this is that you'll spend a lot of money because you need two wireless systems to plug into cam one for the left channel and one for the right because wireless is mono only. and second is intereference, wireless is prone to it from equipment or stations using the same band in your area. i know there is a site that tells you what frequency you can use and that is not being used by anything, but i dont remember the site name. do a search for the sen g2 wireless in this forum and youll run into it.
so best choice would be
1: use an external recorder to connecty directly to the mixer then sync the audio track to video in post.
2: go straight from mixer directly into the cam. but this will limit your movabilty.
3: go wireles and plug the transmitter directly into the mixer and the reciever into the cam. this will give you both good sound and you'll be able to move around. the downside to this is that you'll spend a lot of money because you need two wireless systems to plug into cam one for the left channel and one for the right because wireless is mono only. and second is intereference, wireless is prone to it from equipment or stations using the same band in your area. i know there is a site that tells you what frequency you can use and that is not being used by anything, but i dont remember the site name. do a search for the sen g2 wireless in this forum and youll run into it.
The best solution, in an ideal world, is a dedicated mix from the house console. But that may or may not be possible (more often, not possible). The second best is a board feed that simply records straight from the house mix... not as pristine, but can be usable.
in either situation, you will want at least one room mic to capture the crowd. If you have a dedicated aux mix, you can use room mics just for the people and some of the natural room reverb. If you can only record the house mix, you'll want the room mic(s) to fill in everything that's missing from the house mix (a blend of the two will help compensate for the lackluster house mix, which will be heavy on vocals and short on most everything else).
Your room mics should be stationary. If the camera is moving, you won't record usable audio with it as the dynamics of the audio will shift every time the camera pans, tilts, roams, etc. Set your room mic(s) on a stand (or stands) and either run cable to your camera (not always practical) or to an external recorder (in which case you'd record camera audio merely for reference in post).
in either situation, you will want at least one room mic to capture the crowd. If you have a dedicated aux mix, you can use room mics just for the people and some of the natural room reverb. If you can only record the house mix, you'll want the room mic(s) to fill in everything that's missing from the house mix (a blend of the two will help compensate for the lackluster house mix, which will be heavy on vocals and short on most everything else).
Your room mics should be stationary. If the camera is moving, you won't record usable audio with it as the dynamics of the audio will shift every time the camera pans, tilts, roams, etc. Set your room mic(s) on a stand (or stands) and either run cable to your camera (not always practical) or to an external recorder (in which case you'd record camera audio merely for reference in post).
Richard Crowley
Veteran
Rather a generic question. May not be easy to answer with much specificity.
First, why would the mic get very close to the speakers? Are you trying to record by putting microphones in front of the FOH (Front of House, i.e. the audience) speakers? That usually doesn't get a very good balance to record the event.
The preferred method usually involves getting a direct feed from the FOH mixer. Also recording one or more mics out in the audience area to get the "ambiance" including the audience reaction, etc.
Specifically, if you want a microphone that will operate at high sound levels (like right in front of the FOH speakers), then you would want mics with lower sensitivity and perhaps dynamic mics rather than condenser.
Steve House
Veteran
With such questions I keep wondering what the circumstances are of the recording. Is this a concert that is being put on specifically for DVD or broadcast and you're charged with the audio? Are you making a recording "officially" for the band or the venue? Or are you just shooting from the audience as a personal project?
If it's the first, you would mic the concert just as if you were micing a recording session. Look at a concert on HDNet or PBS for example and pay attention to the mics. If it's the second, you at least have the ability to work directly with the FOH sound team to work out a solution that meets both their needs and yours. If it's the last, then you've got to get creative but it's going to be difficult, if not impossible, to get a first-rate recording.
The problem with taking a board feed is that the mix for FOH PA is usually very different from a mix intended for recording. If you get permission to take a feed you're still only halfway there.
If it's the first, you would mic the concert just as if you were micing a recording session. Look at a concert on HDNet or PBS for example and pay attention to the mics. If it's the second, you at least have the ability to work directly with the FOH sound team to work out a solution that meets both their needs and yours. If it's the last, then you've got to get creative but it's going to be difficult, if not impossible, to get a first-rate recording.
The problem with taking a board feed is that the mix for FOH PA is usually very different from a mix intended for recording. If you get permission to take a feed you're still only halfway there.
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Many thanks for the input. An yes I agree that some of the best ways is to get a direct feed but as I pointed out that is not always a possibility. A couple of the shootings I did with live concert is for DVD memorabilia for the people who hire the band or the band members themselves.
If you are hired by the band, then you should be able to work out a board feed of some sort. If you're hired by the people who hired the band, then you have to be more creative (you do have the band's permission to record them, right?).
What types of venues are we talking about? Receptions? Private parties? Smaller club rooms? Hotel conference rooms? Big concert halls?
Alpha Flying Monkey
Well-known member
You might consider taking a look at this forum for concert tapers:
Taperssection - http://www.taperssection.com
Check out their "Ask The Tapers" & "Microphones & Setup" sections... They're very helpful!
Taperssection - http://www.taperssection.com
Check out their "Ask The Tapers" & "Microphones & Setup" sections... They're very helpful!