Mic Choice and Techniques for Live Sound

Live sound venues and events can be a chaotic environment where things that seem to work just fine in one place don’t work at all the next night in another venue (or ten minutes after sound check in the same venue). Having a number of microphones and techniques for using them in your bag of tricks can prevent a whole lot of panic when you need immediate solutions.

The overall goals of miking techniques for live sound are easy enough to understand: get a good sound on the source that you’re miking, avoid picking up other sound sources in close proximity and prevent feedback. Sounds simple, doesn’t it? It turns out that choosing and using microphones is both an art and a science that can take years to fully master. Here are a few tips to get you started.

Choosing the Right Mics
Choosing microphones for live sound has different criteria than that you’d use for studio recording. Your first big choice is the main classes of microphone types: dynamic versus condenser. Dynamic mics are more rugged and more likely to handle the rigors of live use. They also handle higher SPL (sound pressure level, a.k.a. the loudness of the signal) better than condenser mics. However, condenser mics as a whole provide a much higher degree of sensitivity and fidelity to the original signal, along with extended high-frequency response.

The most classic live sound reinforcement microphones are the Shure SM58 and SM57. Used on everything from lead vocals to snare drums to guitar amplifier cabinets, nearly every venue, live band, and touring company has a good number of these relatively inexpensive, reliable tools for live sound.

Giving Direction
Each microphone has a specific sensitivity to sound coming from various directions, known as the mic’s polar pattern. In most mics, this is permanently built into its design, while in others, different types of directionality can be selected on the microphone itself.

The main types are omnidirectional (which pick up sound equally in a 360-degree radius) and unidirectional (which pick up sounds from certain directions while rejecting others). These mics have polar patterns like cardioid, super-cardioid and hyper-cardioid. This can be tremendously useful in a stage setting. Let’s say you’re miking a horn section, but the guitar amp is nearby. Simply using a mic with a cardioid polar pattern instead of an omni mic will help reject the guitar from bleeding into the horn signal.

This graphic, courtesy of Shure, shows a 3-D representation of omni, cardioid, and hypercardioid polar patterns. You can see the direction from where each pattern picks up and rejects signals.

Pad It Down, Roll It Off
Some mics have a built-in attenuator (“pad”) that allows you to instantly lower the signal by a preset amount, which is handy when dealing with loud sources like kick drum. Some mics may also have a low-frequency filter which helps to reduce the inevitable background noises—feet stomping on stages, wind, audience sounds and more. Pads and filters can really come in handy in a live setting.

Danger Zones
There are some common problems in live sound that are based on the way you use microphones. One is proximity effect, where a mic behaves differently when positioned very close to the source. When you do a sound check with lead singers, make sure they are using the mic just as they do during the performance.

Another caution area is using multiple mics. Unless you have a good understanding of mic placement, you may run into audible issues like phase cancellation and comb filtering. Problems generally occur when two or more mics are placed on the same source at different distances. Use only the mics you need. Learn the “3-to-1 rule,” which says that the distance between the mics should be three times the distance to the source.

General Good Ideas
First, never point a microphone in the direction of a PA or monitor speaker, which is the fastest way to cause feedback. Second, use directional microphones whenever possible, since you can orient them toward the source, helping to get a good signal, reject leakage from other sound sources and avoid feedback.

Perhaps the most important concept for live sound miking is that even a slight repositioning of a microphone can make a big difference. Don’t be afraid to experiment by moving the mics slightly to solve issues.

Quick Mic Choice and Technique Guide

Vocals: Dynamic mics are still the most popular choice here, and there are a wide variety of impressive handheld vocal mics from manufacturers like Sennheiser, Neumann, Electro-Voice, Beyerdynamic, Audix and Blue, in addition to the ubiquitous Shure SM58. Since every vocalist's voice and mic technique is different, it's good to keep a variety of mics available.

Some live sound vocal mics include the Beyerdynamic TG V96c, Sennheiser e965, Shure KSM8, Audix OM11, Blue enCORE 300, and Electro-Voice RE16.

Drums: While kits can be miked effectively with as few as three mics, you'll get better control over the overall sound with a pair of condenser mics as overheads, and closely placed dynamic mics for the rest of the kit. The kick drum needs a mic that can stand up to very high SPL. The snare mic is the one most likely to be inadvertently hit by the drummer, so make sure it's something especially sturdy, like a Shure SM57. Usually the snare mic picks up enough of the high hat, but you can supplement that with a small-diaphragm condenser for extra sizzle.

Choices in drum mics include kick drum mics like the AKG D12VR and the Heil PR48. A longtime go-to mic for toms is the Sennheiser MD421.

Some snare and tom microphones can be easily mounted to the drum shell or other convenient attachment point, like the Sennheiser e604, CAD TSM411, Audix D2, snd Audio-Technica ATM230.

Guitars: For electric guitars, a unidirectional dynamic mic placed 1–4" from the grill is standard. Close to the center of the cone gives you more highs, and you can mellow a "spiky" amp by moving the mic towards the edge of the speaker or using a modern, sturdy ribbon mic. For acoustic guitars without built-in preamp/pickup systems, try a small-diaphragm condenser about 6" from the sound hole, slanted towards the top edge of the fretboard. Bass guitars are frequently covered with a D.I. (direct injection) box, but if miked, the same type of mic used for kick drum would be preferred.

There are many mics that can be used for miking guitar amplifier speaker cabinets, like the Royer R-122 MKIIL and the Sennheiser e906. Miking live acoustic guitars is a little more challenging; try out the Shure SM81, Neumann KM 184, or the Mojave Audio MA-101fet.

Piano: To cover the full range of a grand or upright piano, you need a pair of mics, usually small-diaphragm omnidirectional condensers. Best placement is inside the lid, about a foot from the strings and about the same distance away from the hammers, one covering the bass strings and the other handling the treble strings. Remember the "3-to-1 rule" when placing these mics.

The final tip is to use your ears and adjust mic positions to try and solve problems before resorting to EQs or plug-ins. The better you get it to sound without adding processing, the better the final sound will be.

Studio Profile: Vanquish Studios, Davie, Florida

Vanquish Studios’ state-of-the-art control room features an SSL Duality SE 48-input analog console; monitors by ADAM, Genelec and M-Audio; and a host of outboard gear.

-- A small private studio boasts professional-grade gear and world-class atmosphere, attracting top artists across a wide variety of genres --
Vanquish Studios sits comfortably near the top of a short list of south Florida’s most advanced private recording facilities. Known for its warm and inviting atmosphere (certainly not hurt by the sunny climate of the studio’s hometown of Davie, Florida, near Fort Lauderdale) and extensive and state-of-the-art gear setup, Vanquish has become a hotspot for recording local talent, and a destination for acts from elsewhere. “I can give you the numbers,” states the studio’s founder and CEO Joseph Salamida, who also serves as one of the primary producers and engineers at the facility. “Five years in business, well over 300 happy clients, more than 84,000 GB of data and over 12,500 hours recorded. We have been busy!” Shortly after opening in 2009, Vanquish was selected as one of the “Year’s Coolest New Studios” in MIX Magazine’s year-in-review. And in the years since, the studio has been lucky to work on GRAMMY-nominated projects by such artists as William McDowell and Israel Houghton.

After graduating as one of the top students in his class at SAE Miami, Salamida tried to find a studio to intern with in the area, but none felt right to him, as he didn’t feel they were going to offer him a balance with his work at church on Sundays – a lifelong priority. “I had a mentor at the time who saw my potential and that I had something special to offer. Through him, I became friendly with some industry heavy-hitters including Horacio Malvicino at the Malvicino Design Group. All of these people encouraged me to go all the way. For instance, it became clear to me that it makes less sense to invest in a great console and set it up in a cement garage than it does to go the extra mile and develop a world-class facility to house that console. So that became my goal. Somehow we made it work, and here we are today.” Joining Salamida in the studio’s day-to-day operations are several trusty associates: Franklin Rodriguez, Franklin Soccoro, Chris Hardy, Tony Morales, Paul Salveson, Danny Duncan, new addition Kevin “Gomie” Gomez, Mario Caroscio, and others.

Vanquish Studios’ extensive patch bay, along with Apogee AD16X 192K A/D converters, Apogee DA16X 192K D/A converters, Empirical Labs EL8X/S Stereo Pair Distressor, and more.

The studio was designed by the Blank Design Group with systems integration by the Malvicino Design Group and gear sourced through Guitar Center Pro. GC Pro has been a key advocate since day one. As Salamida notes, “I have worked with three different Account Managers at GC Pro, and each of them has been world-class. When I call frantically with an emergency, they help us solve it in a calm and professional way. They’ve got our back.”

The live room sports a mix of wood, stone and acoustical treatments – customizable for each project to the clients’ needs. A luxurious lounge allows much-needed R&R. The control room’s centerpiece is an SSL Duality SE 48-input analog console from Solid State Logic. GC Pro-sourced gear includes Pro Tools and a full software complement; microphones from Audio-Technica, AKG, Neumann, Sennheiser, Sony and several other manufacturers; monitors from ADAM, Genelec, Yamaha and others; and outboard gear from such iconic brands as Focusrite, Lexicon, Universal Audio, Apogee and more.

The acoustically-engineered tracking room features a mix of hard wood, stone and acoustical treatment, customizable to suit the needs of each project.

Vanquish Studios worked closely with GC Pro affiliate Malvicino Design Group to help make Joseph Salamida’s dream a reality.

The studio has produced successful projects with artists on every genre, but Salamida’s heart lies with his Christian ministry: “It might sound old-fashioned to some, but I see this studio as an extension of my ministry, whether or not I’m working on Christian music at the moment. And for Christian artists, we are expanding what we offer – we now are unveiling our production company and record label to get these projects fully produced, all in-house, offering a turnkey solution to save these artists money on their tight budgets.”

Salamida is rightly proud of his crew and what they’ve accomplished: “We're a close team of musicians and engineers,” he notes “We are passionate about what we do, and we take pride in delivering only the best, and hopefully it shows on the faces of our clients when they hear the mixes or hold their album in their hand.”

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About Guitar Center Professional/Guitar Center
Founded in 2001, Guitar Center Professional is the outside sales division of Guitar Center that focuses on the needs of professional users. Its clientele includes recording studios, audio engineers, producers, recording and touring musicians, live sound venues, post production facilities and more. Emphasizing extraordinary individualized service via local account managers, GC Pro offers expert consultation and a comprehensive selection of the world’s finest equipment for music and audio professionals. More information on GC Pro can be found by visiting www.gcpro.com.

Best of AES 2014: Neumann U 47 fet

GC Pro has returned from a tremendously successful 2014 Audio Engineering Society (AES) show, held at the Los Angeles Convention Center not very far from our headquarters in Westlake Village, CA. We'll be taking a closer look at a number of products that we found especially interesting, useful, or just plain cool. The first is the new U 47 fet from one of the most respected and venerable names in audio technology: Neumann.

The History
The Neumann U 47 is perhaps the most respected professional studio microphone in history. Produced from 1949-1965, the original U 47 was a tube-based microphone, and its legendary status was cemented by the recordings of an entire generation of singers and bands. From 1972-1986, Neumann manufactured a new transistor-powered version of the U 47 which also was tremendously popular, and became the mic of choice for such varied artists as AC/DC, Kate Bush, Bruce Springsteen, R.E.M., the Pretenders, a-ha, Dire Straits, Metallica, and many others. More than a vocal microphone, the U 47 fet gained an excellent reputation for handling the low end on sources like kick drums, basses, and even guitar amp cabinets. Since that time frame in the mid-80s, there have been many mics that have tried to emulate the distinctive response of the U 47 fet, with varying degrees of success.

The Return
Launched at AES, the new U 47 fet Collectors Edition was created by Neumann's design team, who went back to the original production documents and schematics for this modern classic. As a mic designed for collectors, it includes a special wooden case, and a certificate of authenticity with each mic. As you'd suspect, the new U 47 is a condenser microphone with a set cardioid direction, and uses fet 80 circuitry like its predecessor. Neumann has once again turned to the classic K 47 large-diaphragm capsule that was used in both the original tube and fet-based version of the mic. This K 47 capsule offers well-known the pleasing bump in the range above 2kHz which seems to work sparkly magic on everything that runs through it.

The U 47 fet also includes a low-cut filter at 140Hz to get rid of unwanted rumble, and a -10db pad to work with high SPL sources. Finally, it has the integrated bracket that's made it so recognizable in studios around the world, as well as the classic nickel finish.

GC Pro: Your Classic (and New Classic) Microphone Resource
The new Neumann U 47 fet is already destined to continue the legendary status of its forerunners, and GC Pro will have a limited number of these top-tier studio mics available soon. To set up a demo, or to inquire about any of our wide range of world-class mics in the GC Pro mic locker, contact your GC Pro representative now.