Related Manuals for Shure MUSIC EDUCATORS
Summary of Contents for Shure MUSIC EDUCATORS
- Page 1 A Shure Educational Publication AUDIO SYSTEMS GUIDE MUSIC EDUCATORS By Gino Sigismondi...
- Page 2 Music Educators Guid...
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Page 3: Table Of Contents
index Introduction ......Recording ......The Parts of a Recording System . -
Page 4: Introduction
For simplicity sake, we will make recommendations of the Shure microphones you might consider for each application. For those interested in the more technical aspects of audio equipment, Shure publishes several booklets on a variety of audio topics, including specific microphone techniques and wireless microphone operation. -
Page 5: Recording
Music Recording Educators Guide What do I need? The parts of a recording system. To make a decent recording there are two or three components to consider: 1. The first, and most important, is the microphone. Choosing the right micro- phone ensures accurate pickup of the desired sounds. - Page 6 Figure 1: Choir microphone positions - stereo top view Large ensembles (band, orchestra, choir) Use a stereo microphone setup to most accurately 0.6 - 1m capture the sound of a large ensemble. Stereo (2 - 3 ft) recording is not as complicated as it sounds. For simplicity sake, we’ll use the most basic type of stereo microphone techniques, the X-Y pattern.
- Page 7 • 2 cardioid-pattern condenser microphones (SM81, PG81, KSM109) • Microphone stand(s) • Shure A27M – an accessory that allows you to mount two microphones on one stand. • Microphone cables with XLR connectors • Stereo microphone mixer with at least...
- Page 8 Vocals – Try using a handheld style (although mounted on a stand to reduce handling noise) dynamic microphone, such as the SM58 or Beta 58A. Place the microphone roughly 3-4 inches away, and pointed somewhere between the nose and mouth. If possible, try to isolate the vocalist from any unwanted sounds –...
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Page 9: Recording Devices
Music Educators Guide Piano – For a grand or baby grand, place a PG81 or KSM27 roughly 12 inches above the middle strings, and 8 inches Hammers from the hammers. The lid should be at full 6”-12” stick to allow enough clearance for the 8”... - Page 10 Unfortunately, a full discussion of multitrack recording techniques is beyond the scope of this booklet. (For more information on multitrack recording, see the Shure/Tascam publication "Microphones and Multitracks". This booklet also introduces stand-alone multitrack recorders.) Interfacing a microphone with a computer can be a tricky proposition. Most computer sound cards have microphone inputs that are designed for low-cost "stick"...
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Page 11: Mixers
Music Mixers Educators Guide Most likely, the recording device you choose will not allow you to directly connect a microphone to it. This is where the mixer comes into play. Mixers come in many varieties, a basic mixer will suffice for this application. Be sure that the mixer you choose has enough inputs to handle the number of microphones you are using. -
Page 12: Microphones
Signal processors are devices, usually connected between the mixer and power amplifier, used to enhance the signal or fix problems with the sound. The most common types of processors are equalizers, effects processors, and compressors. An equalizer is basically an extremely selective set of tone controls that allow you to boost or cut specific frequencies. - Page 13 Music Large ensembles (band, orchestra, choir) Educators Guide Large ensembles generally do not need much sound reinforcement, unless the performance area is unusually spacious. For choirs, use a technique known as area miking (see figure 2, page 6). To determine the right number of microphones, use one for every 10-15 voices.
- Page 14 Lead vocal - Use a handheld, directional microphone (PG58, SM58 or Beta 58A). The microphone should be touching the lips or just a few inches away. The same technique applies to background vocalists or vocal ensembles (see figure 3). Electric Guitar Amplifier – Use an SM57 (or PG57) microphone roughly 1-4 inches from the loudspeaker, pointed toward the center of the speaker cone (see figure 4).
- Page 15 Music Tom-toms – Use one microphone (SM57 or PG56) for every two toms. Position them Educators Guide close to the heads, in a similar method as used for the snare drum. If enough microphones are available put one on every tom-tom. Cymbals –...
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Page 16: Mixers, Amplifiers And Loudspeakers
Saxophone (see figure 11) – Again, a miniature condenser microphone (Beta 98H/C) clipped to the instrument and aimed into the bell yields good, up-front sound quality with great isolation. Alternatively, a dynamic microphone on a stand (SM57) provides similar results, but is slightly more cumbersome. Brass (Trumpets, trombone, tuba) –... - Page 17 Music Auxiliary sends are additional outputs from the mixer that can be used to route Educators Guide the microphone signal to other devices without affecting the main output of the mixer. Common applications for auxiliary sends include stage monitors or effects processors.
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Page 18: Signal Processors
Signal Processors A signal processor enhances the audio signal, or can assist in correcting imperfections in the sound system. While not usually essential to the operation of a sound system, they offer some significant advantages. Signal processing equipment includes equalizers, special effects processors, and dynamic processors. Equalizers come in two basic varieties: graphic and parametric. - Page 19 Music steps until the desired level is reached, but do not over equalize. Keep in mind the Educators Guide equalizers can only provide a maximum level increase of 3 to 9 dB. Parametric equalizers, though more confusing to the novice user, allow for more precise control of feedback frequencies.
- Page 20 What can I do about feedback? The single easiest way to reduce feedback is to move the microphone closer to the desired sound source. Additionally, using a directional microphone (cardioid, supercardioid, etc.) will typically increase the amount of gain before feedback. Reducing the number of open microphones with an automatic mixer will also improve the situation.
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Page 21: Hooking It Up
Music Hooking it up Educators Guide Step 1: Position the microphones as per the previous instructions. Step 2: Using the XLR microphone cables, connect the microphones to the mixer inputs (see figure 15). Step 3: If you are using condenser microphones, be sure phantom power is turned on at the mixer. -
Page 22: Sound Reinforcement For Theater
Sound Reinforcement for Theater The Realities of Theater Sound Microphones for everybody! Most theaters that operate on a limited budget try to use as few microphones as possible. Common techniques include hanging a few microphones overhead, and maybe a few boundary (or surface mount) microphones at the front of the stage. Many inherent problems exist with these techniques, including, but not limited to: •... - Page 23 Music loudspeakers, the less you can turn them up before feedback occurs. Multiple open Educators Guide microphones will further increase the chances for feedback. In addition, distant microphones will pick up more ambient sound, making the actors sound farther away, when compared to close-miked actors. If you choose to use overhead micro- phones, pay close attention to where the actors are standing when they speak.
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Page 24: Lavalier Microphone Techniques For Theater
Know your performers! Lastly, remember to keep in mind the skill level of the performers involved. Professional actors and singers know how to project their voice, which creates more signal level at the microphone. Children, especially shy ones, do not make much sound, which further necessitates close-miking techniques. - Page 25 Music Use an omni-directional mic if you have to position it above the ear or in the hair line. Educators Guide A side-effect of directional mics (cardioid, supercardioid, etc.) is off-axis coloration, an uneven pickup of the sound that results when addressing a directional microphone from the side or rear (off-axis).
- Page 26 Don’t be afraid to use equalization. Judicial use of high frequency boost can help brighten a mic covered by clothing or positioned in the hair line. Low frequency cut reduces cable noise, breath pops, and wind noise. Keep spare mics on hand at all times. Many professional theater companies consider lavalier microphones a disposable item.
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Page 27: Summary
4. Overhead and boundary microphones will never sound like a lavalier. 5. If it sounds good, it is good! For more information visit the Shure Web site, www.shure.com or read the following publications available from Shure: Microphone Techniques for Music: Sound Reinforcement, Rick Waller, John Boudreau, and Tim Vear. -
Page 28: Appendix
Appendix: Selected Reading Live Sound for Musicians, Rudy Trubitt, ISBN: 0-7935-6852-8 A math-free, step-by-step guide to getting a basic sound system up and running. This book contains a plethora of troubleshooting tips and set-up hints. Everything is explained in plain English with as little technical mumbo-jumbo as possible. Especially recommended for do-it-yourself musicians and volunteer sound people at churches. -
Page 29: Glossary
Music Glossary Educators Guide 3-to-1 Rule – When using multiple microphones, the distance between microphones should be at least 3 times the distance from each microphone to its intended sound source. Dynamic Microphone – A microphone that generates an electrical signal when Automatic Mixer –... - Page 30 Glossary Reverberation – The reflection of a Hertz (Hz) – A unit of measurement sound a sufficient number of times that it that represents cycles-per-second. becomes non-directional and persists for The musical note "A" above middle some time after the source has stopped. "C"...
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Page 31: About The Author
He is the author of the "Shure Guide to Personal Monitors", several Shure applications bulletins, and has written for the Shure Web site. Gino continues to remain active as a sound engineer, expanding his horizons beyond live music to include sound design for modern dance and church sound. - Page 32 • Audio Systems Guide for Meeting Facilities Our Dedication to Quality Products Shure offers a complete line of personal monitor systems for everyone from first-time users to the biggest names in the industry. For over eight decades, the Shure name has been synonymous with quality audio.