Tehnology Corner Mike Sekelsky, Tehnology Chair


Your Front Ensemble: Mic’ing, Mixing, and Modern Sounds By guest author, Marcus Neudigate


Creating a well-produced live sound is a delicate balance between microphones, mixing, speakers, and a variety of other factors in-between. We’ll work through the process all the way from choosing the right microphones to mixing your full sound. Your Front Ensemble is about to get dialed-in.


Microphones: For our purposes, we’ll consider the two types of microphones you might use for mic’ing your front ensemble: Dynamic microphones and Condenser microphones. In a nutshell: • Dynamic Microphones: Close range (6-8” from source), sturdy, relatively inexpensive, no power needed


• Condenser Microphones: wider frequency response, more range, requires phantom power, more delicate than dynamic mics


• Condenser microphones are ideal for the keyboard instruments, picking up clarity in both attack and resonance – this is especially noticeable when varying mallet selections throughout your show. Dynamic microphones can be used for acoustic keyboards, but lack the clarity achieved with condenser mics. Marimbas often need 2 microphones to pickup the entire range of the instrument, while vibraphones only require 1. Microphones are not often used for xylophone or glockenspiel - but rare cases where they are needed, 1 microphone should do the trick.


Microphone Recommendations: • Highest Recommendation - Audio Technica AT2035


• Budget – Shure SM57 • Extreme Budget – Shure PGA57 • Runner ups – Shure PGA98H, Audio Technica PRO37


• The Audio Technica AT2035 is a large diaphragm condenser microphone that includes a shock mount with purchase. The quality and price of


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the AT2035 makes it a top choice for many top ensembles in the activity, from high school to DCI and WGI.


Mounting: Properly attaching microphones to keyboard instruments will give you the best pickup pattern, while simultaneously reducing unwanted noises (frame noise, pedal noise, etc.). Mounting microphones under the keyboard is the best option for balancing attack and resonance, while maintaining a clean cabling system.


Mounting options: • Highest Recommendation – Keyboard’s manufacturer clamp + desk stand


• Runner up – Manufacturer clamp + gooseneck • Budget – Bungee ball tie + Velcro cable ties • ***For Clip-on Mics – Metal L-bracket The manufacturer clamps for your keyboards (Adams clamps for Adams keyboards, Yamaha clamps for Yamaha keyboards, etc.) are designed to attach to the keyboard frame to mount accessories. The company OnStage sells a telescoping microphone desk stand that is perfect to use for attaching AT2035’S and supplied shock mount to your keyboard. The desk stand is stable and not likely to move during keyboard. **Yamaha vibraphones require the OnStage Posi-Lock Side Mount Boom to attach below keyboard.


The keyboard’s manufacturer clamp can be combined with a gooseneck mic attachment and a microphone-specific clip to attach the Shure SM57, Shure PGA57, and Audio Technica PRO37. For clip-on microphones, you can tape or zip-tie a small metal L-bracket on the underside of your frame. For the most budget friendly option, loop Velcro cable ties around your microphone while attaching bungee ball ties. Use a series of bungee ball ties to hang the microphone from keyboard rails, which will allow the microphone to dangle freely under the keyboard.


MISSOURI SCHOOL MUSIC | Volume 71, Number 3


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