[Scott Dorsey]

In article , Paul wrote:
On 3/7/2014 6:54 AM, Scott Dorsey wrote:

Feedback is caused by leakage from the mains and monitors, through the room,
into the stage mikes.

For live recording, you want the stage mike feeds to be as clean as possible,
with as little leakage as possible. And you want that leakage to be as flat
and neutral as possible. So in fact what you want for recording spots and
for PA in most cases is very much the same.

The tighter the pattern the better for both applications, and the flatter
off-axis the better.

Do you sometimes use a sensitive condenser mic (to record) with
a dynamic mic (to PA), when double miking, or does that end up making
the mics too far apart? When you say "double miking", I'm thinking of
the two mics you see taped together on all those live concert films.

More often I'll tend to put up a good dynamic mike like a Sennheiser 441
if I want to pull the microphone back. Sometimes I'll use an RE-20 both
for the tight pattern and because it has a uniform sound for people who
can't stay consistently on-mike.

Forget about sensitivity, it is meaningless. You care about pattern and
leakage.

But they don't necessarily have to be that close to each other, right?

Depends on the instrument. In the case of a cello, where I'd want to
mike it is very different than where the PA guy wants to mike it. He
is doing everything to avoid stage leakage and I can pull back a little.
In the case of vocals, often they need to be that close because they
are comparatively quiet and the stage sound is very high.

Getting clean vocals is absolutely paramount for music that is built
around vocals.
--scott


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"C'est un Nagra. C'est suisse, et tres, tres precis."