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Re: Micing help

Author: Terry Stibal
Date: 2004-06-11 17:54

We tried a multiple microphone setup recommended by a local clarinet pro, but in the end returned to the classic standard (SM57 on a mike stand, mesh pointed down at a 45° angle at the mid point of the clarinet's body.

It's not the perfect setup acoustically, but it has many, many other advantages over the multiple mike, perfect setup.

One is that Shure dynamic mikes of the 57 and 58 are far, far more robust than the more expensive condenser mikes often used in recording. It is relatively easy to scotch a condenser mike; I've had SM 57 and SM 58s get dropped over ten feet without any harm.

The second is that your "setup" is minimal. Plop the mike stand down, balance things out at the mixer, and there you go.

The third is that you can use the microphone to instrument distance to vary dynamics. The soloist can move closer for the solo portions, then drop back in the background by moving back or to one side (the directional aspect of a cardiod mike), all while playing at a comfortable level on the horn throughout. This takes some practice on the part of the performer, but it is a nice tool when you have it mastered. With the" fixed to the horn" mikes, it just isn't possible.

The fourth is that the same setup can easily be used for other instruments, and even vocals (with the instrument friendly SM 57). Multiple usage is good when you have limited mixer capability.

As for adjusting the sound with EQ and other effects, I used to worry about twitching the mids and lows when my lead alto switched from clarinet to flute, but in the end I've found that the "1 o'clock, 11 o'clock, 1 o'clock" settings on the high, mid and low EQ knobs worked well enough for all. (The feed from this is always sent to the cabs without any effects (i.e., "dry)). With live performance, simple is always good.

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