Hello, Michael - &c. This information is still applicable in the situation you describe. Will you have time for sound-check at each of the venues?
Consider posting an inquiry at the ProSoundWeb lab as well: http://srforums.prosoundweb.com/index.php/f/2/0/ Best wishes, Lara message ---------------------- From: "Reaping Crone" <[EMAIL PROTECTED]> > > Thank you Lara, > > These will be large hall ("loud rock") situations in various venues around > Europe. Please confirm the the suggested mic and mic placement will be > suitable for such events. My concern is FEEDBACK from what will no doubt be > huge state monitors and house PA systems (BIG). Thanks again! > > Best wishes, > > Michael Laird > > >From: [EMAIL PROTECTED] > >Reply-To: [email protected] > >To: [email protected] > >CC: "Reaping Crone" <[EMAIL PROTECTED]> > >Subject: Re: [HG] Microphone recommendations (large hall situations) > >Date: Thu, 29 Jun 2006 04:46:12 +0000 > >Received: from www4.bigbiz.com ([208.184.28.14]) by > >bay0-mc7-f7.bay0.hotmail.com with Microsoft SMTPSVC(6.0.3790.2444); Wed, 28 > >Jun 2006 21:48:44 -0700 > >Received: (from [EMAIL PROTECTED])by www4.bigbiz.com (8.8.7/8.8.7) id > >VAA25719for hg-list; Wed, 28 Jun 2006 21:46:11 -0700 > >Received: from post4.bigbiz.net (post4.bigbiz.com [208.184.28.7])by > >www4.bigbiz.com (8.8.7/8.8.7) with ESMTP id VAA25707for > ><[email protected]>; Wed, 28 Jun 2006 21:46:10 -0700 > >Received: from rwcrmhc15.comcast.net (rwcrmhc15.comcast.net > >[204.127.192.85])by post4.bigbiz.net (Postfix) with ESMTP id 1832924485for > ><[email protected]>; Wed, 28 Jun 2006 21:46:34 -0700 (PDT) > >Received: from rmailcenter15.comcast.net ([204.127.197.125]) by > >comcast.net (rwcrmhc15) with SMTP id <20060629044613m1500df8eje>; > >Thu, 29 Jun 2006 04:46:13 +0000 > >Received: from [24.19.234.32] by rmailcenter15.comcast.net;Thu, 29 Jun 2006 > >04:46:12 +0000 > >X-Message-Info: LsUYwwHHNt0VqgUOvS6+XpjMVkXTaOtHlFptMnM/WLs= > >X-Mailer: AT&T Message Center Version 1 (Apr 11 2006) > >X-Authenticated-Sender: bGFkcmlhbkBjb21jYXN0Lm5ldA== > >Precedence: bulk > >Return-Path: [EMAIL PROTECTED] > >X-OriginalArrivalTime: 29 Jun 2006 04:48:44.0610 (UTC) > >FILETIME=[4D203220:01C69B37] > > > >Hello, > > > >To find an answer to Michael's inquiry from June 17th, I forwarded his > >specifications to a sound engineer (and mic enthusiast) friend of mine, > >asking for any suggestions he might have. > > > >He in turn did some inquiring as well among peers in the field... As it > >turns out, the hurgy-gurdy is not a particularly familiar instrument in the > >live music and studio recording spehere! But I post here what he ultimately > >offers with regard to a live mic on the HG in a large hall (thank you > >Brandon!): > > > >"....Some people suggested B&K Bug mic or some sort of contact mic. > >I personally would first try a condensor mic, hypercardiod pattern, > >(AT4053a, or > >oktava mk-012's with the hypercardioid capsule), even any cardioid pattern > >condenser mic would work I'm sure, pointing in the direction to where the > >source > >of sound is- I'm guessing the wheel and strings. Give it some room to > >breath > >but close enough to take advantage of a hypercardiod's pattern to reject > >other > >instruments on stage. So any where from 6" to 12" i'm guessing. Best > >would be > >to experiment, use your ears and make a decision from there. It's mostly > >going > >to be about mic placement and the placement of the other musicians on stage > >to > >minimalize undesired bleed. I'm not sure if this is loud rock style stuff > >or a > >more acoustic based style with a lower stage volume, because all of that > >depends > >as well. Monitors have to compete with loud amps on stage and that can > >lead to > >some feedback issues, unless they are playing nice places with talented > >sound > >people. A decent dynamic [mic] may work as well. " > > > > > > > >Best wishes, > >Lara > > > > -------------- Original message ---------------------- > >From: "Reaping Crone" <[EMAIL PROTECTED]> > > > > > > Hello all. > > > > > > I have just acquired an astonishingly beautiful Balazs Nagy Symphony HG > > > (with movable capos) and I am thinking about taking it on a 3-week > >European > > > tour with the goth band that I am involved with. > > > > > > The performances are going to be happening in some fairly large halls > >(1000+ > > > capacity), and I am wondering if anyone on the list has any > >recommendations > > > for microphones - either attachable to the instrument itself, or > >directional > > > (i.e. positioned on a stand, pointing at the HG). I will be seated while > > > playing this instrument. > > > > > > If a directional mic are recommended, please suggest specific microphone > >and > > > its DISTANCE from the instrument; also please specify ANGLE. > > > > > > The tour is in October, but I am already beginning to have concerns > >about > > > potential FEEDBACK from the instrument into the onstage monitors. As > >stated, > > > these will be BIG halls, with a large array of speaker cabinets around > >the > > > stage area. > > > > > > Any suggestions / advice would be most appreciated. > > > > > > Sincerely, > > > > > > Michael Laird > > > > > > > > > > > >
