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The Basement
Choir miking
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<blockquote data-quote="brian maddox" data-source="post: 81010" data-attributes="member: 158"><p>Re: Choir miking</p><p></p><p></p><p></p><p>I did a lot of close miced outdoor Symphony work back in the day. The reasons for the close miking was pretty simple. Gain before feedback. At the venue I was working in, the PA was very close to the bandshell and the audience size that i had to cover was substantial. Think 10 to 15,000 people. Without the ability to put up delays, close miking is the only solution. It's still an inherently compromised technique, but it can work if you put the time and resources into it. And yeah, that usually means at least one large frame console if not two. And a lot of really good microphones.</p><p></p><p>As to whether the pay was sizable. Well, I don't do symphony work anymore. In fact I don't do PA work at all anymore. So you can judge from that as to how sizable the pay was. <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /></p></blockquote><p></p>
[QUOTE="brian maddox, post: 81010, member: 158"] Re: Choir miking I did a lot of close miced outdoor Symphony work back in the day. The reasons for the close miking was pretty simple. Gain before feedback. At the venue I was working in, the PA was very close to the bandshell and the audience size that i had to cover was substantial. Think 10 to 15,000 people. Without the ability to put up delays, close miking is the only solution. It's still an inherently compromised technique, but it can work if you put the time and resources into it. And yeah, that usually means at least one large frame console if not two. And a lot of really good microphones. As to whether the pay was sizable. Well, I don't do symphony work anymore. In fact I don't do PA work at all anymore. So you can judge from that as to how sizable the pay was. :-) [/QUOTE]
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