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7/29/2019 Miking Your Choir
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When you hear a beautiful recording of a
choir, you thrill to the sound and the
singing. And when your choir is clearly
eard in your house of worship, the
congregation fills with spirit. You can
capture that sweet choral sound. To do so,
ou need to know a little about
icrophones and where to place them. In
he suggestions that follow, well describe
ow to get the best sound when mikingour choir. Well provide tips both for
ecording and sound reinforcement.
MICROPHONE TYPES FOR
RECORDING
Three types of mics that work well
for recording a choir are the cardioid
condenser, omni condenser, and
stereo condenser mics. "Cardioid"
means that the mic rejects sound
from the rear. This reduces pickup
of audience noise and room
acoustics. An omni condenser mic
picks up sound from all around. Its
a good choice if you can record
ithout an audience, and if you want
the stereo effect to be blended rather
than pinpointed. A stereo condenser
mic combines two mic capsules in asingle housing for convenience.
Note that a condenser mic requires a power supply to operate its internal electronics. Some mics use a battery, while others rely on a phantom power supply. Most
large mixers have phantom power built in; all you need to do is switch it on. The mic sends audio to the mixer, and receives power from the mixer along the same
ic cable.
MICROPHONE TYPES FOR PA
The most popular type of choir mic for sound reinforcement is a small hanging type. It is a condenser mic with a cardioid or
supercardioid polar pattern. This tiny microphone hangs from the ceiling over the choir. It is almost invisible when viewed
from the congregation. Many houses of worship use mini mics both for sound reinforcement and recording.PLACEMENT FOR RECORDING/BROADCAST
Once youve chosen some suitable mics, you need to know where to place them for the best results. Lets start with a recording
application. In general, recording calls for distant miking; PA requires close miking. When you
record a choir, two mics are sufficient for stereo pickup. They should be the same model
number.If you have two cardioid condenser mics, place the mics about 12 feet from the choir. Raise the
mics a few feet above the heads of the back-row singers, and aim them down at the choir. The
set up shown in Figure 1 (page 31) provides excellent stereo. For convenience, you might want
to mount both mics on a stereo bar or stereo mic adapter. This device mounts two microphones
on a single stand.A convenient alternative to a pair of mics is a single stereo microphone. It contains two mic
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capsules in a single housing. One stereo mic generally costs more than two mics of comparable quality. A special type of
stereo mic is called "mid-side." It has one mic capsule aiming straight ahead toward the middle of the choir, and another
capsule aiming to the sides. In a mid-side stereo mic, you can adjust the stereo spread by remote control.If you have two hanging mics, try to place them about three to six feet apart and 12 feet back. Now its time to fine-tune the
miking distance. The farther the mics are from the choir, the more room acoustics youll hear in the recording.Listen to the microphones signals. You can either use headphones or loudspeakers in a separate room. If the choir sounds too
distant and muddy, move the mics about a foot closer and listen again. If the choir sounds too close, without much room sound,
move the mics farther away.Note: if your sanctuary is acoustically "dead" (lacking reverberation), you might prefer to add artificial reverb. Use a digital
reverb unit patched into the effects loop of your mixer. If the organ overpowers the choir, youll have to mike the choir closer,
adding digital reverb if necessary.Its easier to move the mics if you put them on stands rather than hanging them. Once youve found a good spot, you might
ant to hang the mics there. This improves the view during the concert or worship service. After you hang the mics, attach a
nylon fishing-line between the left and right side walls. The fishing-line should intersect the mics. Attach the fishing-line to the
mics to keep them from rotating.MIC PLACEMENT FOR SOUND REINFORCEMENT
In recording, you want to pick up the room acoustics, so you mike several feet away. But in
sound reinforcement, you want to reject the sound of the PA speakers, so you must mike in
close.Use one microphone in the center of every 20-30 foot span of singers. A choir of 30 to 45
voices should need only two or three mics. Place them about 1 1/2 feet in front of the first row
of singers, and about 1 1/2 feet above the head height of the back row (Figure 2). The mics are
raised so that the first row is not too loud relative to the back row.Suppose you are using several choir mics to cover a large choir. You might want to assign all
the choir mics to a single group or buss in your mixer. Then its easy to adjust the overall choir volume with that group fader.Monitor loudspeakers can easily feed back into the choir mics. To keep feedback under control, try not to use monitors near the
choir. Turn up the house loudspeakers instead. If the choir insists on monitor speakers, dont feed a monitor signal of the choir
back tothemit will cause feedback with the choir mics. Instead, just feed them some music for accompaniment.If the choir members complain they cant hear themselves, maybe the piano, organ, or tape tracks are too loud in the choir
monitor speakers. Have the choir sing a capella, with the air conditioning turned off. Can they hear themselves? Now turn on
the air conditioning. Can they still hear? Turn up the piano or organ in the choir monitors. Then turn up the tape tracks. At
hat point can the choir no longer hear their voices? Turn down the offending sound source.
Sometimes the choir mics pick up too much of the organ. In this case, use supercardioid mics and aim them toward the middle
row of the choir. Since the mics partly reject sound from the side, they will pick up less of the organ in this configuration.Some church services feature a small group of singers instead of a choir.
Give each person a mic with a foam pop filter. These mics can be handheld or stand mounted. Set up floor monitors for the
singers.SIMULTANEOUS PA AND RECORDING
Ideally, you use distant mics for recording and close mics for PA. But suppose youre limited to just the PA mics. If you use
the PA mics for recording, the sound may lack ambience, so it helps to add some reverb. You want to put the reverb in the
recording, but not in the PA. Heres how:
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1. Connect busses 1 & 2 to the PA power-amp inputs (or to the graphic EQ inputs). Connect busses 3 & 4 to the recorder line
inputs.2. Assign mics to busses 1, 2, 3 and 4.3. Connect the reverb returns to busses 3 & 4 in.4. Turn up the choirmics effects send (to the reverb unit). With this arrangement, the choirs reverb will go only to tape, not
to the PA system.There you have a few tips on miking your choir. Try them out and feel free to experiment with your own techniques too. In
time, youll reproduce a beautiful choir sound, on tape and on your sound system.