Miking a 15-Foot Square Stage: A Comprehensive Guide

Introduction

Effectively miking a stage of any size is crucial for ensuring clear and balanced audio during performances. For a 15-foot square stage, the choice of microphones, their placement, and overall technique play a vital role in capturing the nuances of each instrument and voice. This comprehensive guide will provide you with all the necessary information to help you achieve optimal sound quality on your stage.

Microphone Selection

Dynamic vs. Condenser Microphones

Dynamic Microphones are known for their durability and resistance to feedback, making them a popular choice for loud instruments such as drums and electric guitars. They produce a warm, natural sound and can handle high sound pressure levels.

Condenser Microphones are more sensitive and capture a wider frequency range, making them ideal for capturing the subtleties of acoustic instruments and vocals. However, they are more prone to feedback and require phantom power.

Cardioid, Omnidirectional, or Bi-Directional Microphones

Cardioid Microphones are unidirectional, meaning they pick up sound from the front while rejecting sound from the sides and rear, minimizing feedback. This makes them suitable for miking instruments and vocals that are not too loud.

Omnidirectional Microphones pick up sound from all directions equally, making them useful for capturing the ambiance of a room or recording multiple instruments simultaneously. However, they are more susceptible to feedback.

Bi-directional Microphones have two cardioid elements, one facing forward and one facing backward, resulting in a figure-of-eight pickup pattern. This allows them to capture sound from both sides while rejecting sound from the rear, making them suitable for miking a performer who is moving around.

Microphone Placement

Drums

For drums, a kick drum microphone is placed inside the kick drum, a snare microphone is placed slightly above and in front of the snare drum, and tom microphones are placed near the center of each tom. Overheads are placed above the drum kit to capture the overall sound.

Electric Guitars

Electric guitars are typically miked with a single dynamic microphone positioned about 1-2 inches from the front of the speaker cone, pointing slightly off-axis to avoid harshness.

Acoustic Guitars

Acoustic guitars can be miked with a soundhole microphone or a condenser microphone placed 6-12 inches away from the guitar's body and pointing towards the soundhole.

Vocals

Vocals are usually miked with a hand-held dynamic or condenser microphone, held about 2-4 inches from the singer's mouth and pointed towards the center of the mouth.

Microphone Techniques

Polarity

Microphones have a polarity, which determines the phase of the signal they produce. It is important to ensure that all microphones are in phase to avoid phase cancellation.

Gain Structure

Properly setting the gain structure is essential for achieving a balanced mix. Adjust the gain of each microphone so that the signal peaks at around -12 dB to -6 dB.

Feedback Control

Feedback is a high-pitched squealing sound that occurs when a microphone picks up sound from its own speaker. To minimize feedback, use cardioid microphones, position them carefully, and use a feedback suppressor.

Tips and Tricks

• Use a different microphone for each instrument or vocal to capture the unique characteristics of each sound source.
• Experiment with different microphone placements to find the optimal position for each instrument.
• Use a combination of dynamic and condenser microphones to achieve a balanced mix.
• Pay attention to the polarity of your microphones to avoid phase cancellation.
• Set the gain structure properly to prevent distortion and feedback.
• Use a feedback suppressor to eliminate any remaining feedback.

Pros and Cons

Dynamic Microphones

Pros:

• Durable
• Resistant to feedback
• Warm, natural sound

Cons:

• Less sensitive than condenser microphones
• Narrower frequency range

Condenser Microphones

Pros:

• More sensitive
• Wider frequency range
• Capture more detail

Cons:

• More prone to feedback
• Require phantom power

Comparison Table

Humorous Stories and Lessons Learned

The Case of the Missing Condenser

One time, a sound engineer was setting up for a performance and noticed that one of the condenser microphones was missing. After searching high and low, he finally found it in the guitar case, having been accidentally packed away with the guitars. The lesson learned here is to always double-check your equipment before a performance to avoid any unexpected surprises.

The Feedback Fiend

Another time, a singer was performing on a stage that was prone to feedback. The sound engineer tried everything he could to eliminate the feedback, but nothing seemed to work. Finally, he realized that the singer was holding the microphone too close to her mouth. After adjusting the microphone's position, the feedback disappeared. The lesson learned here is that proper microphone technique can make a significant difference in controlling feedback.

The Microphone Mix-Up

In one memorable incident, a sound engineer was setting up for a band's performance when he accidentally plugged a dynamic microphone into a condenser input. The result was a distorted, muffled sound that made it impossible for the singer to be heard. The lesson learned here is to always make sure that the correct microphones are connected to the correct inputs on the mixer.

Conclusion

Properly miking a stage is an essential skill for any sound engineer. By carefully considering the type of microphones used, their placement, and the overall technique, you can achieve optimal sound quality and ensure a successful performance. Remember to experiment with different microphone techniques and always strive to learn from your experiences.