Number of microphones: Overhead choir mics Use of overhead microphones has the advantage of either being suspended from the ceiling — or on a stand that can position the microphone well above the heads of the singers in the frontline, pointing towards the singers at the back. The task is — at the output of the mix — to make all singers sound equally loud. If the microphones are very close to a few singers and far away from others, the choir sounds like it has fewer members.
Only a few voices are heard so the homogenous sound is not present. By pointing to the back, it is possible to obtain equal coverage, front to back. This technique may apply to all choir setups no matter how many there are — two, three or four lines of singers: 1 Point at the singers in the back row.
Choir microphones horizontal placement The horizontal distribution of microphones depends on the distance to the back row.
Typically, the distance between the microphones should be determined with the rule or the 4. It depends of course on the directivity of the microphones.
Highly directive microphones can either be placed further away from the singers or closer to each other, compared to less directive microphones. Supercardioids or even shotguns have narrow pickup and thus a higher directivity. Cardioids and wide cardioids have wider pickup and thus less directivity The Rule This rule ensure that there is minimum coloration of the sound due to phasing comb filtering problems.
This is how to follow the rule: When we use several microphones simultaneously, the same sound source is often picked up by more than one microphone. In this case, the distance between the sound source and microphones comes in play.
The rule is that a neighboring microphone should be at least three times further away, given the sensitivity and the gain is the same on both microphones. And why three times? In a PA situation, a 10 dB reduction is sufficient, because some ofhe sound is masked by other sounds.
In recording, it might be an idea to move the microphones a little further apart. However, if more than two microphones are arranged in an equidistant lineup, the distance between the source and the neighboring microphones in theory should be 4.
In practice — and taking into account that cardioid or supercardioid microphones are applied — this means, that neighboring directional microphones should be at least three times further away and perhaps even a little more. Returning to the choir examples given above. If the distance to the back row is 1. You can find the distances in the curves below: Attenuation of signal from neighboring microphones NM , either one or two — as a function of the distance factor. Note: The distance factor has no dimension, so it works for cm, m, in, ft, etc.
Example 1: We place two omnidirectional microphones — one primary mic and one neighboring mic Distance factor: 3 the neighboring microphone is 3 times further away from the sound source compared to the primary microphone, for instance 30 cm and 90 cm 1 ft and 3 ft. Read the 1NM blue curve on the omnidirectional diagram; the distance factor 3 on the X-axis crosses the curve at approximately dB read on the Y-axis , meaning the signal of the neighboring microphone is attenuated by 10 dB compared to the signal from the primary microphone.
This is an OK distance, as we want the attenuation to be at least 10 dB. This is the rule Example 2: If we place multiple supercardioid microphones — two neighboring mics to the primary mic with a distance factor: 4 the two neighboring microphones are both four times further away from the sound source compared to the primary microphone, for instance 30 cm and cm 1 ft and 4 ft.
Read the 2NM red curve on the supercardioid diagram; the distance factor 4 on the X-axis crosses the curve at approximately dB read on the Y-axis , meaning the signals of the neighboring microphones is attenuated by dB compared to the signal from the primary supercardioid microphone.
The hanging condenser microphone features inline filters for higher clarity and improved sensitivity. The gooseneck shape enhances its capture ability, which ensures higher quality audio delivery.
It is very easy to position and use, and will ensure a complete capture of your choir. Like other hanging options, mic placement will affect the quality of sound delivery. The Samson C02PR Pencil Condenser Microphones will cut out all noise and distortion as a result of vibration thanks to its high quality build.
The pair of diaphragm microphones feature a protective design and foam windshields, which makes them ideally suited for high quality delivery in noisy environments. They are designed for reduced feedback, ensuring uncompromised sound quality even with standard mic placement. They are very sturdy ,and could sustain impact more than other listed options. Behringer C-2 Studio Condenser Microphones. The Behringer C-2 Studio Condenser Microphones offers versatile performance, which makes it one of the best mics for choir and vocal recording available.
The C-2 condenser microphone is designed to filter noise, and features higher sensitivity for enhanced vocal capture ability. The C2— is available in a pair of thin diaphragm mics, increasing the scope and clarity of sound.
It also includes an additional wind screen for maximum noise reduction, as well as a carrying case for added protection during storage. With the right placement, the mic will actively cut out all noise and enhance the sound delivery for quality output. The pair of microphones is easy to position, and will be similarly easy to store.
The additional insulation measures taken up by the brand ensure that this mic will not be impact prone makes it ideally durable. It features very strong off-axis performance, and with the right placement, could help capture the whole choir clearly. This pickup of two different signals causes specific frequencies to cancel — creating a frequency response that looks like an inverted comb.
And unless you're looking for that kind of filtered sound, it's something you'll want to avoid. MX The MX is designed to be virtually invisible to the camera and can pick up sounds within a foot radius, perfect for large choirs.
Its interchangeable cartridges allow you to easily tailor the microphone to suit a wide variety of applications. You can easily position this microphone above the choir to ensure the highest intelligibility of every word to your congregation.
This mic is discreet, blends in, and will not distract your congregation or choir. KSM For situations where the music director prefers to mic the choir with stand-mounted mics, the KSM provides studio-quality sound pickup. The KSM is a cardioid microphone that can withstand extremely high sound input volumes. Whether you're looking to mic the entire choir, the pastor, or the pianist, Shure can equip your House of Worship with all sound needs.
Contact us today to get started! Shure's Central Hub for Houses of Worship. How to Choose the Best Mic for the Pastor. How to Choose the Best Mic for the Pianist. Soren is a Product Specialist for wired microphones at Shure. Choir mics are built in three parts: mic head, cable, and power module. The mic head puts out an unbalanced, medium impedance signal which travels through the long cable.
At the far end of the cable is a power module with an XLR connector or a terminal block. Also, the module equalizes the mic signal and converts it to low-Z balanced.
In some choir mics, the power module takes the form of a flat plate that is mounted in the ceiling. In other mics, the module is a tube with an XLR-type connector. When placing mics to pick up the choir, a critical factor is gain before feedback.
To get enough gain, you must to mic the choir much closer than you would for recording. Place the mics about 18 inches in front of the first row of singers, and about 18 inches above the head height of the back row Figure 1.
The mics are raised to prevent overly loud pickup of the front row, relative to the back row. The rows are equidistant from the raised mics, giving a well-balanced sound. To achieve uniform coverage, use one microphone in the center of every foot span of singers.
A choir of 30 to 45 voices should need only two or three mics. You might want to mount the choir mics on tall boom stands to experiment with placement during choir rehearsals. Once this is done, hang the mics permanently.
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