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motions to check the deck's VU are not usually noticeable. Quiet clothing (cotton is best) and wearing no loose, noisy jewelry is highly
recommended. Keeping people directly adjacent from audibly talking, rustling paper programs, making squeaky chair noises, and
jingling jewelry items is a matter of luck and timing, or planning on having a buffer of people 'in the know' around the mic position to
keep the peace.
Getting some buffer distance from close-up audience noise is your best friend in most these situations.
Obviously, using a HRTF baffle on a tripod stand up 8-15 feet in the air makes the most sense in the long run. This where mic position
for best ambient mix while not being in the way of anything important are the only considerations for getting a good ambient sound.
Regards in Sound & Music Recording, Leonard Lombardo
Subject: Re: Concert Recording "Martian Wxx" writes: Date: Sun, 14 Jan 2001 13:50:13 GMT
He he he ............ I tell ya what if i have to tape another concert with his darn Tree mic stand in the middle of the screen sticking
out like a sore thumb, i am gonna SCREAM!!!
GuySonic Reply: Views of any microphone has always been a logistical problem when dealing with live audience, Video/live TV
broadcast, and Film productions where the line of site is best kept unobstructed. The live line-of-site audience situation may allow a
little more flexibility in that ambient microphone position well above most seated views is usually not difficult to implement and
moderate distances from even a head-sized all pitch-black colored HRTF mic baffle make this blend well from spectator views that
might partially include it.
A little known fact is the HRTF baffled mic need NOT be directly positioned stage center to get excellent results because of the way it
works with the entire ambient and not just a portion. Acceptable mic positions that work well are those within one-third (total span of
hall width distance) from the side walls. Best to keep the stage front-to-hall-back (or balcony) distance within the 50% to one-third
from the actual edge of the sound stage. Closer to the stage is also OK, but you start to need to bring the mic position much closer to
being centered with being close-in to the stage; best position is often a mix of hall acoustics and PA speaker (if any are used) dependent
and what (if any) views-of-the-mic are deemed acceptable to the audience and certain video angles that may include it.
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truly there are two types of concerts and two types of recordings
that which is a concert (101 piece instrument) and that which is a noisy rock band so that wasn't to well defined in this thread, as
somebody's mics would crumble in the latter situation somehow i don't think you have to worry about somones jewlery being audible
at a stones concert or for that matter even someone yelling for a medic :-)
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GuySonic Reply: The 'sensitivity' rating (sound pressure to electrical output factor) of a suitable microphone and maximum SPL
(sound pressure handling ability before the Mic's electrical signal distorts) are two definite considerations when choosing a suitable
microphone. Sensitivity rating is an especially important factor when using most battery powered DAT/MD portables and Camcorder
mic inputs as these are the first to overload; usually well before the mic itself reaches its maximum SPL.
This is one of the main reasons there's DSM mic models spanning 8 sensitivity ranges. This is important for having optimum mic-deck
SYSTEM performance that's guaranteed for particular 'ranges' of recording requirements. Having the most versatile 'single' DSM or
any microphone model is often a choice of knowing the likely loudest requirement and choosing this model appropriate to work with a
particular recording SYSTEM.