Hanging or boundary mics

[hemismith]

So I need to mic a theatrical production, and headworn mics are out of the question. What is the lesser of two evils, hanging mics or boundary mics? It seems that hanging mics are generally considered better, but I've used Shure MX202 and had a hard time getting enough gain before feedback. Plus, hanging mics is sometimes really inconvenient, and other times not possible at all. I did one show and heard another that used Crown and AT boundary mics on the floor, and they actually worked very well (except of course when someone is standing right over them). A mix of hanging and boundary may be the best solution.

 

I am going to recommend they buy some, as they could use them a lot, and price is a big concern. Any recommendations? I recently saw the Audiopile hanging mics mentioned here, and they seemed like an interesting option.

 

Thanks.

[Shaster]

I've done a fair bit of amateur school productions in the last ten years. Lights, staging, backdrops, fairly involved for amateur.

 

I used to use hanging mics and boundary mics, and would go to great lengths to monkey around with all that stuff.

 

The last couple of years, I've taken to placing two or three black tripods in front of the stage, aimed up at the actors faces (but not obscurring them).

 

I've been using either AT4041's or AKG C1000's. With the Rode NT5 as a third (but less efficacious IMO) option.

 

For a table scene or whatever, I still like a boundary mic, obviously placed on the table...

 

This might not work at all for you, just throwing out an option that worked for me.

 

Your level of production might be much higher, in which case you'll probably need tto hang the mics and get into X/Y configurations and all that jazz.

 

Good luck, er I mean break a leg.

[agedhorse]

I have used both types with good results but the system design and configuration as well as tuning must take this into consideration. You must also respect the GBF limitations each input presents. Nothing you can do aout that.

[B. Adams]

I work with the community theatre here every summer, and I typically use 6 Crown PCC160's across the apron, spaced about 8' apart (50' wide proscenium). I've found that this gets me pretty good results. Occasionally I'll place one or two more hidden on the upstage scenery somewhere, to reinforce dialogue that takes place upstage, but I don't usually have that option.

 

I compress each one a fair amount to even out the levels a bit when large groups are singing, and limit each one in case one gets hit with something or kicked or stepped on.

 

The mics don't compensate too much for poor projection on the actors part, they still have to do their job, but it allows everyone in the audience to hear the show.

 

And as was noted by Andy, GBF is a big concern. Especially with the system installed in the theatre I use..

[hemismith]

Thanks everyone. I won't rule out any options then. The stuff I've done of late is pretty low-level; I just need to make sure they can be heard.

 

I hadn't thought about 'instrument' condensers; mic stands in front would actually be OK some of the time. The only condensers I have are a beta 87A and an ADK CE, neither of which is ideal for this. I was indeed still planning on boundary mics for table scenes.

 

It seems virtually impossible to enforce the 3:1 rule with this type of setup and still get enough GBF, but we'll see.

 

I invested in a system processor and signed up for a SMAART class so I could tune better, but couldn't attend the SMAART class due to day job crises. I had to notch quite a bit when I last used the choir mics. I haven't played with compression much but plan on working on that. I was planning on getting a new mixer, and have been leaning towards digital lately for several reasons, but I'm not thrilled with any of the options yet. I have a couple months before I need to do this so we'll see if I make the move by then.

 

At any rate, I agree, they need to learn to project regardless. Thanks for the great advice; maybe I can rent a couple of each type and experiment with them ahead of time.

[jkm]

The mics don't compensate too much for poor projection on the actors part, they still have to do their job,

 

i set up during dress working maybe a hanging or a table

placement mic here and there i run 3 1000s down stage on tri pods also

with 2 1000s up stage l and r for special movements

this is low budget school plays

the kids must project if they look down and mumble

aint nothing you can do but threaten to make them play on the highway