Orchestral mic up round two

Lisa Lane-Collins

Lisa Lane-Collins

Sophomore
Dec 9, 2012
270
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16
Adelaide, Australia
Last year I was involved in a production involving a mix of orchestra, big band ensembles, dance groups and choirs. I ended up having about 10 or so condensor mics 'spotting' the various sections and it sounded great but added a lot to the changeover times as every mic stand had to be struck each time the orchestra left the stage.

I'm wondering what people might do if they're just doing a simple orchestral mic up. One where you're very unlikely to put it through the PA but want something there just in case? Same question for the big bands as well.

The show is happening in the townhall, it's a space intended for performances so good acoustics (or at least sound carries).
 
I agree hanging mics are ideal. If you do not have the luxury of time to hang the mics and run the cables I have found the Crown PCC160 to be a very useful. They are a very versatile mic to have in your kit as you can pop one on a podium, use at panel discussions, floor mic for dance etc. They have a 180deg pickup pattern so you can cover a pretty decent area with a pair.
If you are on a budget people are always selling ones that appear to be pulled from installs on e bay. Just remember you need the mxlr to xlr adapter that is usually not included.
 
If your micing for recording in a good acoustic space without concern for gain before feedback a spaced pair ( think 24" or so ) of cardiod pencil condensers about ten feet high at the conductor position is a good choice. If you're in a less than ideal acoustic space, reenforcing or competing with amplified instruments of any kind stick with the section micing.
 
Lisa Lane-Collins said:
The show is happening in the townhall, it's a space intended for performances so good acoustics (or at least sound carries).
Click to expand...

As a performing musician in a professional orchestra who also does sound production the above quote speaks volumes (no pun intended). If the room has good acoustics just put two condensor mics (splayed, directly behind the conductor) and call it a day.
The conductor balances the orchestra so his/her interpretation of the music sounds good to his/her ears. Why not mic the orchestra from where the conductor is standing....especially if it's indoors??

Area mic'ing will alter the conductor's vision IMO. If you make a recording from an area-mic'd situation, and the conductor hears it, you won't get the gig next year. I have mic'd/mixed local orchestras at outdoor events. On those I mic'd every stand and section and mix using a copy of the conductor's score (so I know when to "punch in" an oboe solo, etc.). A conductor will trust my judgement as outdoor gigs at the local level are a "give us the best mix possible" situation.

I have been to outdoor performances where a non-musician mixed; a marsh of brass and percussion with little (if any woodwinds, strings).

On more-pro outdoor orchestra pops gigs usually the assistant conductor is at the console controlling the balance.
 
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