Which mic to use?

[klh121560]

I am asking advice on which type and/or specific mics are best for capturing audio inside an auditorium/hall for a musical or play or dance recital? There is a small non-profit doing a concert in a concert hall/auditorium (I think it is more modern music), and I am not sure what to buy for this. I have a canon vixia hf r21 camcorder, a AT899 lav mic, but that is for individuals, not an open surround sound of a indoor play/musical performance. Any help is appreciated. Thanks.

[gldnears]

Yer screwed. There is no single mic which would do well in an auditorium full  of loud music. Your best bet would be to get a feed off the house PA . . . with the usual disclaimers.

Rick Crampton

[harlockr]

Any digital audio recorder, like those from Zoom, Tascam, Sony (in the $200-300 range) would do a way better job, than getting anything into the cam itself. And sync in post.

[EarlC]

I setup four Zoom H2 (the model I have is discontinued but there are new models to pick from and all are great) on light stands and up high at the sides of the stage area. Two are set for 120 degrees, two at 90 degrees.

I DO NOT use direct feed from house boards to my cameras as having to replace blown circuits resulting from people who don’t know their boards put an end to thta (and MOST of them don’t, or don’t care, or think they’re doing you enough of a favor by allowing you to hookup, so when they’re lost in their REAL responsibilities they might overload, mess with the levels or cut you out altogether). But I do use an H2 with necessary adapters, connected there to gain THAT option in post editing.

Between the on-camera mics, the stage access H2’s and the board (sometimes) sourced H2, I have the audio I need to make the adjustments I want in post editing. A LOT of trouble, I’ll tell you, but usually worth it in the overall improvement in audio quality.

[videosilva]

Always plug in to the sound board when possible. You are recording / pickup what the speakers , sound system is providing. You are pickup sound from a system that works through vibration. those vibration are what you are picking up. direct line is ALWAYS the BEST option.

[Shaun]

I hear great things about the DR-40… i’m saving for the DR-100mkii myself.

[EarlC]

Sorry, by serious personal experience, I HAVE to say that “always” is simply NOT the definitive term for decisions regarding plugging into the sound board. Use your judgement. Inexperienced audio people can and will disappoint more often than you’d think. Again, even when dealing with supposedly and/or self-professed professionals you’re going to sometimes get somebody who couldn’t care less what happens to your connection, the levels (even when you’ve done a check prior to showtime) and will be focused on what they’ve been paid to do, not make sure everything is GO for your audio plugin.

[gldnears]

 ” Always . . . “, well maybe ” never ” is also a rather broad generalisation? How about, ” It depends “? I would be highly skeptical of depending on an ” AUX ” mix from the PA guy who does indeed have better things to do than to make the video guy happy . . . . . but if the PA console has a duplicate main mix out jack ( an output which is identical to the jack driving the speakers, and does NOT have a separate level control ) then  that’s the safest route.

In one instance, I took a PA console feed directly into my Sennheiser wireless transmitter ( with the modulation gain set to minimum ) and plugged the receiver into CH 1 of the camcorder and I had a short shotgun mounted on the camcorderwhich was plugged into CH 2. That worked out very well.

 

Rick Crampton

[EarlC]

Good points, Rick. In my case “NEVER” is an actuality since … well, you know, twice or thrice burned and all that 😉

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