# Hanging Mics for Small Thrust Stage



## Schniapereli (Feb 11, 2008)

A junior high school near mine is looking to get some hanging mics for their small thrust stage. I, having not worked with hanging mics ever before, do not know how to best meet their needs.

The stage is maybe 15 feet diameter in the center. (3/4 modified thrust stage) The procenium is maybe 20'. The seating is raked downward with the stage being the lowest surface. The space seats about 730 (only 12 rows back) Their 3 speakers are in a center cluster in front of the proscenium teaser. There is an upper balcony going all the way around the audience, which is where the tech work. (so the ceiling is abou 25')

I have never really heard any of their productions, and it would seem to me that a space this small would not need hanging mics, but I have not heard the little 7th graders try to sing.

So, that being said, in your many professional opinions, how many (if any) hanging choir mics would you suggest, and what particular brand/models stand out to you?

I have brought up the idea of boundary microphones, but they have audience members' feet apparently in the way. (the stage being lowest point in the theatre)

Any suggestions? Thanks.


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## jamsession (Feb 12, 2008)

Shure Mx202 are popular overhead small condensors (require phantom power from mixer or phantom power supply) and fairly invisible, you have to rig up a way to keep them pointed the way you want. I've been trying to go away from that in favor of wireless body mics or boundary (floor) mics like Crown PZM. 

Do you know about the 3:1 rule - mics should be 3 times further from each other than they are from the singer to avoid comb filtering. so on one stage I have 3 in front and 2 in back to get enough seperation.

Hope that helps.


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## Schniapereli (Feb 12, 2008)

jamsession said:


> Do you know about the 3:1 rule - mics should be 3 times further from each other than they are from the singer to avoid comb filtering. so on one stage I have 3 in front and 2 in back to get enough seperation.
> Hope that helps.



I do, but I just hope whoever instals them does. I _might_ be involved in the process...

We were previously looking into the Audio Technica brand, but I can bring up that model.
Thanks.


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## BillESC (Feb 12, 2008)

We've enjoyed great success with the Audio Technica U853A




From the AT site.

Designed for suspension over choirs, instrumental groups and theater stages 

Superior off-axis rejection for maximum gain before feedback 

UniGuard® RFI-shielding technology offers outstanding rejection of radio frequency interference (RFI) 

UniSteep® filter provides a steep low-frequency attenuation to improve sound pickup without affecting voice quality 

Accepts interchangeable elements to permit angle of acceptance from 90° to 360° 

Low-profile design with low-reflectance finish for minimum visibility 

Available in two colors: black (U853A) and white (U853AW) 

Operates on battery or phantom power


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## sloop (Feb 13, 2008)

I have both the Audio Technica 853's and the Crown CM-30's. They both work well, but the Crowns are spectacular.. Wonderful rejection, terrific sound... A very nice choir mic.


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## mixmaster (Feb 15, 2008)

jamsession said:


> Shure Mx202 are popular overhead small condensors (require phantom power from mixer or phantom power supply) and fairly invisible, you have to rig up a way to keep them pointed the way you want. I've been trying to go away from that in favor of wireless body mics or boundary (floor) mics like Crown PZM.
> Do you know about the 3:1 rule - mics should be 3 times further from each other than they are from the singer to avoid comb filtering. so on one stage I have 3 in front and 2 in back to get enough seperation.
> Hope that helps.



+1 for the Shure mx202s I have half a dozen spread out between two theatres and my road cases. I hang them out of the light coves in the ceiling and use gaff tape to secure them. It takes a day or so to hang the all the twists and turns out of the cable but then they hang nicely.


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## jamsession (Mar 1, 2008)

as the MX202 have a 6" gooseneck, but no other support, they can rotate around. so to orient them the direction you want, you can tie clear fishing line to the mics and white thumbtacks on the ceiling. I'm doing this with a school theater to make sure they are pointed the right way. I took the foam windscreens off and they are nearly invisible. I get them as close as possible to the choir to maximize g b4 fb, but the kids who can reach them like to bat them ala cat and mouse game. Uggh!

Next I will be batting those kids ala cat and mouse game.


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## 1kfresnel (Dec 5, 2008)

I'd also suggest the AT U853's, if any mics are hung.

However...this would be the perfect age/space to teach projection! Far too many people these days never learn this fine art, and depend on microphone reinforcement to do the job for them. Having a venue of this size seems ideal, because microphones really aren't needed.

My venue is larger, so we begin productions with overhead choral (AT U583's) and boundary microphones (Crown PCC-160's) from the start of tech, but hold back on supplementing the reinforcement with body microphones as long as we can. Even those who inevitably need a mic have to learn to become louder to some degree -- as opening their channel wide enough to capture them on the mixer really can mud up a mix!

The other consideration in this venue is the speaker placement. Since this is a thrust stage, and you say the speakers are at the proscenium line, placing any microphones beyond the proscenium line is going to affect your gain before feedback, perhaps significantly.


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