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There are 8 entries in the FAQ.
Pages: 1 Questions:
 Brass Instruments
Windscreens
What Did He Say?
To Go Wireless or Not
Batteries
Placement - Part 1
Placement - Part 2
Mic Stands and Booms
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| Brass Instruments |  | If you are micing brass, you want to achieve the most natural sound possible. But first, think about how you listen to the instrument. Do you stick your ear in the bell of the horn? Of course not. You are usually several feet away. So should the mic. Place the mic 2 - 3 feet away. If you have more than on musician, they can stand 3 - 4 feet away. This will also give them the area needed to be able to step in for any needed solos. You should also use a mic rated for the high decibel sound associated with horns. |
| Windscreens | | There are several thought processes on using windscreens.
First is to use windscreens. This is primarily done to eliminate the pops and wind noise caused by someone breath as they speak or sing. It also keeps the built-in metal wind screen clean. Using wind screens of different colors also can be used to identify a particular mic channel on the mixing desk.
Second is to not use windscreens. If you have a compressor/limiter and equalizer for the specific mic you can adjust the settings to minimize the affects of the breath pops. It also gives a more professional appearance if you are video taping or using IMAG. Many times the foam wind screens don't sit on the mic properly. Colored wind screens tend to become the focus instead of the singer or speaker.
Cleaning the built-in wind screen is just the same as the foam screens. Most built-in metal wind screens either unscrew or have a small set screw to remove the metal screen. You can then remove the small foam liner to clean. But you may contact the manufacturer for cleaning instructions. |
| What Did He Say? | | Can't hear the speaker because they do not have the mic close enough to his or her mouth? Be sure that the Pastor, speaker, host, MC, etc., is trained on proper mic usage. This sounds daunting, but is quite simple and only takes a few minutes or even seconds. Explain to them that they will need to place the mic no more that an inch or so from their mouth when they speak in order for the congregation to hear them. Take the time to teach them how to use it. Do not assume that they know. Most people will be thankful for the information. This information is for hand helds and laveliers (lapels). The label should be place in the center. If the speaker is wearing a tie it should be no higher that the bottom of the knot on the tie. Generally 2-3 inches from the neck. If the speaker is a woman, there is only so much that you can do. If you place it too high on the lapel then generally the mic will be too far to one side causing the volume to drop as she turns her head from side to side. I like to take a test subject during off service time a do testing to see the best placement for when a live service happens, I already know where to place the mic for best performance. |
| To Go Wireless or Not | | Should you go wireless or not. One thought on this used to be if you did not need to move more that 20 or so feet, then you should go wireless. Today, with the drops in prices of the low end wireless mic systems the answer is yes. No more broken or shorted wires causing crackling in the system. People tripping on cables, etc. Now, that must be qualified. If it doens move, then it should be wired. Such as back up singers, drums, mics on amps, keyboard singer (unless he moves around later, possibly). One major caveat that I must deal with everytime someone asks me to recommend a wireless system to me or they ask me to give my opinion on a particular system. There are those that will disagree with me here but you get what you pay for. I always suggest that you save your money and wait until you can afford a higher end system. These new systems provide greater battery life, ease of use and setup and of far most importance, they sound sound better because they use superior components than their cheaper counterparts. |
| Batteries | | Back in the old days (the 90's) when a battery would die yo would hear it. The transmitter was not getting enough power and the sound would become distorted. Know when to change a battery. Make it a habit to check battery strength before each service or performance. Stick with a particular brand so that you get used to it's life span characteristics. Here are the brands of batteries that I recommend in order of preference. Duracell ProCell, Duracell Coppertop, Duracell Ultra and Ray-O-vac Blue. Each battery manufacturer has a characteristic. For the wireless environment you need steady current long periods of time. Other applications may be toys, etc that need large surges of current for short periods of time. Energizers just cannot produce the long term steady current needed in todays wireless systems. Now, Energizer has it's Titanium line, but the cost is very prohibitive. You will notice above that I listed the Duracell Ultra after the regula Coppertop, cost is the reason. Ultras are the finest aklyline batteries you can buy, but the cost is prohibitive for me to list any higher. ProCells can be had for about $1.25 each. The ultras and Energizer Titaniums are about $4 each and offer a slightly longer life than the ProCells. I recommend going to Radio Shack and purchasing an analog multitester that has the little 9v contact points (if you are using 9v's). Take a battery that you know is very low and a new battery. Put them on the tester and use a Sharpie to mark the location of the needle and do the same for the new battery. Then come up with a point in which you no longer trust the battery to have enough power to carry on for the whole service and mark that point. Now you have a reference for replacing batteries before they actually die. But this in only a base point. There will be times when you may get a bad battery. |
| Placement - Part 1 | | When setting up, make sure that the mic, stand and cable are not in the way of the performer. Be careful when micing drums that the mics are not in the path of the drummers sticks. Because he will hit the mic. Be sure to secure cables that no one can trip over them. Ask the band members if the placement is ok. If not, move it. |
| Placement - Part 2 | | Take pictures. If you regularly or even irregularly teardown and set up you might want to take some digital still photos of the setups. Take pictures from several different angles. You can them make the pics available to those assisting you setup. |
| Mic Stands and Booms | | Make it a habit to check your mic stands and booms. Over time the hieght adjustment clutch can get worm. Many times I have seen singers lean on and sometimes twist the stand pole loosening it from the base and then watch them attempt to screw it back in and strip the threads. First, start off with quality stands with jam nuts on the base. Use a pair of pliers to make sure that the jam nut is tight against the base. Also check the tension screw on the mic clamp. Make sure that it is tight enough to hold the mic but still loose enough to move. if the screw is stripped or the clamp is cracked, replace it. They are only about 3 bucks. The mic that drops to the floor may be several hundred. |
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