# micing setup for a jazz band?



## djsquizz (Sep 27, 2010)

the director for the jazz band at my high school asked me to do sound for the concerts they have during the year. the band consists of 4 flutes, 3 clarinets, 3 trumpets, 3 trombones, 2 tubas, 4 saxophones, 1 electric guitar, 1 electric bass, a digital piano, and a 5 piece drum kit. the problem i'm facing is that they always play in large acoustically terrible rooms (big high school gyms) so everything needs to be run through the pa some how. im using a 16 channel mackie mixer and my mic inventory is: 4 sm57's, 3 sm58's, 1 pg81, 2 mx202's, 1 apex 850, 1 apex 125, 3 apex 126's, and 2 behringer c-2's. we also have 2 d.i. boxes. any sugestions about what mics to use and where to put them?


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## TheGuruat12 (Sep 27, 2010)

I used to run sound for my MS jazz band, off of 2 DIs and a load of SM58s.

Here's how I would set it up:

Guitar: DI
Bass: DI
Piano: Either let him run his own amp, rent/buy another DI, or use a longer run of 1/4"

SM58s as solo mics, one for flute, one for clarinet.
SM57s as solo mics, one for trombone, one for trumpet, one for sax.

The drum kit can be miked or not; it depends on the venue. If they are playing in a gym, I personally wouldn't mic it, as the drummer can play loud enough. In a larger auditorium, go ahead and use the Apexes for the kick and toms.

I also used to record, so I would use the MX202s as recorders in the house, but you could also hang them as area pickups. (Same goes for the PG81 and C-2s)

Finally, use the Apex 850 or your third SM58 as the conductor's mic; they like to annouce the next piece, thank soloists, etc.


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## themuzicman (Sep 28, 2010)

Conductor - 1 SM58

Flute x 4 - You could throw the MX202's overhead in some way to capture the flutes, kind of messy though. 

Clarinet x 3 - Throw a 57 there for a stepaway solo

Trumpet x 3 - Throw a 57 there for a stepaway solo

Bones x 3 - Throw a 57 there for a stepaway solo

Tubas x 2

Sax x 4 - Throw a 57 there for a stepaway solo

Electric Guitar - Throw a behringer C-2 in the center of the driver of the guitar amp. Not the best solution, but it'll work for the guitar. 

Electric Bass - In Line Passive DI before the Bass Amp

Digital Piano - Passive DI out of the Mono (Left) port of the piano
5 Piece Drum Kit - 1 Beta 57 on the top of the Snare, 1 Apex 125 on Kick Drum, 1 Behringer C-2 on High Hat, 1 Apex 126 on the first Rack tom, 1 Apex 126 on the second Rack tom, 1 Apex 126 on the Floor tom. 1 PG 81 on your ride cymbal (placed in the best overhead configuration to get as much of your cymbals as possible)

---
I did not use 2 of the SM58's and the Apex something or other handheld one. You could throw them on tuba, but it's kind of whatever with that many tubas. The micing isn't the best situation, but I feel with the layout I have presented you, that you will get the best usage out of the mics you have.


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## themuzicman (Sep 28, 2010)

TheGuruat12 said:


> I used to run sound for my MS jazz band, off of 2 DIs and a load of SM58s.
> 
> Here's how I would set it up:
> 
> ...


 
You have a good start with your mic layout, but I want to propse a few thoughts! With the layout you have proposed, it would be wiser to put an SM58 on a sax (hopefully tenor). Remember that the SM58 is built to reproduce vocals, so if you try to pair it with an instrument you want to pair it with one that will be making frequencies as close to the human voice as possible. 

With saying that the piano should do a longer run of 1/4", you need to be careful that you are running a balanced line. If it isn't, you are running the risk of running a massive antenna!

Also, the purpose of micing a drum set in a smaller venue isn't as much for amplification as it is for control. You want to be able to balance the rest of the band with the drums, if you have some way of balancing it all out you can get a good mix. Because he has mics to properly mic a kit, he should do it. At the bare minimum at least the snare and kick. The kick will give everything a bit more presence and the snare will punctuate to keep everyone in tempo.


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## mixmaster (Sep 28, 2010)

djsquizz said:


> the problem i'm facing is that they always play in large acoustically terrible rooms (big high school gyms) so everything needs to be run through the pa some how.


 

Why do you feel that everything needs to be mic'd??? Large open rooms, like your gym, usually benefit from a little careful assistance, rather than bast the room wist the combined mishmash of 16 mics. 
DI the keys and the bass, those will probably have to be in the system
mic the guitar with a 57 if you need it. may or may not need it depending on the size of the amp and how well it's played
kick snare with a 57 and do an overhead on the kit with the 81, drum stuff is needed to set the time for the song, but don't get carried away.
1 58 can be placed somewhere as a solo mics.
Trumpets, Saxes, and tubas will probably carry the room on their own and won't need much reinforcement.
That leaves you with two 58s and your apex stuff (I'm not familiar with them) to use as area mics for flutes and clarinets. The MX202s could be hung (or taped to empty mic stands) in front of the band to get an "overall picture".
Give one of the Beringer mics to the conductor, keep the 2nd one as a spare for when the first one fails 
In live rooms where "less is usually more", I've actually had some success in the past turning the system down, and letting the band balance themselves. Start building you mix with the band playing and the DI stuff matched with the acoustic level of the group. Listen carefully. Odds are you will need to add a little of your flute and clarinet mics to bring them up to balance with the rest. Layer in a little of your drum stuff to help anchor the rhythm section paying special attention to the relationship between he kick and the bass. When I'm trying to mix really live rooms like a gym, and have something that I can't hear, I tend to ask myself what is covering it up and turn THAT instrument down rather than just always turning the quiet instrument up.
Matt


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## TheGuruat12 (Sep 29, 2010)

themuzicman said:


> You have a good start with your mic layout, but I want to propse a few thoughts! With the layout you have proposed, it would be wiser to put an SM58 on a sax (hopefully tenor). Remember that the SM58 is built to reproduce vocals, so if you try to pair it with an instrument you want to pair it with one that will be making frequencies as close to the human voice as possible.
> 
> With saying that the piano should do a longer run of 1/4", you need to be careful that you are running a balanced line. If it isn't, you are running the risk of running a massive antenna!
> 
> Also, the purpose of micing a drum set in a smaller venue isn't as much for amplification as it is for control. You want to be able to balance the rest of the band with the drums, if you have some way of balancing it all out you can get a good mix. Because he has mics to properly mic a kit, he should do it. At the bare minimum at least the snare and kick. The kick will give everything a bit more presence and the snare will punctuate to keep everyone in tempo.


 
This forum is awesome, all of these great minds. Thanks for the corrections! I totally spaced; I would agree with you on the miking of the guitar amp (I never did mic any amps, as there were only bass and keyboard in our jazz band).


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## howlingwolf487 (Sep 29, 2010)

Set up as you see fit, and only add the instruments that need reinforcement. Keep solo mics low, but never muted. Keep it simple, above all else.


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