To read the full detailed article see: Audience Mic Techniques to Enhance Recordings
What makes a live recording sound live? The audience, of course. A live recording is all about the energy of the event, and that energy comes from the crowd, so some real thought has to be given as to how it’s captured.
Just setting up some microphones haphazardly usually produces less-than-desired results. To avoid that scenario, let’s have a look at some proven mic techniques for live recording.
First, it can be tempting to use approaches that engineers recording classical music deploy, such as spaced pairs, X/Y, ORTF and Blumlien. What they’re trying to do is capture the ambience of the environment and a “perfect” stereo image, but our primary concern is capturing the audience. Note that these are two different beasts and have to be handled that way.
Figure 1: Center hall position.
Sure, capturing some of the ambience is essential to a great sounding live recording, but it will come as a byproduct of a well-mic’ed audience, so it’s not important to worry about it until the primary mission is accomplished.
Audience mic’ing is a situation for omnidirectional mics if you have any, but never underestimate the value of a couple of short-scale shotgun mics.
Figure 2: Mono center hall position.
These are especially useful because they help to attenuate the intimate conversations from the crowd that happen around where the mic is placed.
In you don’t have the option of either an omni or short shotgun, make sure that the mics that you do utilize are identical models. Also, don’t forget to engage the low-frequency rolloff switch if the mic has one.
Let’s take a look at some other mic positions…
The Great Outdoors
Figure 8: Mics at multiple positions.
Mic’ing a crowd outdoors poses a different set of circumstances in comparison to the indoor experience. For one thing, placement is usually a lot more difficult, with fewer options for hanging mics. In addition, the ambience of the venue is lessened, so you usually need to resort to using more mics as a result. And don’t forget the windscreens, because nothing makes a track unusable like wind blasting across the mic capsules.