A couple of exciting aspects of this years’ show included the fact that PSM1000′s were relied upon as the only system for ear monitors and Shure’s new Axient wireless system made 2 appearances on the show.  The first was with artist Chris Young and then later in the show with Shure Artist Sara Evans.  Both artists used the SM58 capsule and the system sounded incredibly clean.

One emotional point during the show was when Shure Artists Little Big Town sang a song with a children’s choir written by newcomer Hunter Hayes entitled “Here’s Hope.” The group started and ended with verses from John Lennon’s “Imagine.” Another magic moment came in the form of an actual wedding ceremony, performed during the song “Marry Me” sung by Shure Artist Martina McBride who was accompanied by Pat Monahan of Train.

Rascal Flatts debuted their new hit single “Banjo”, joined by Steve Martin whose banjo was captured using a KSM137.  Toby Keith brought out his “Red Solo Cup” for Vegas and sang while wandering through the crowd, joined by the one and only Wayne Newton and comedian Carrot Top. The Band Perry debuted their new single “Postcard from Paris” singing on a trio of KSM9′s.

Another big highlight for me was when KISS walked by backstage, a couple of times.  They were there to present the award for Vocal Group of the Year.  I grew up listening to these Rock Icons and to see them that close was pretty awesome.

The crew for the show worked extra hard this year as they were rehearsing 2 shows at once.  The next day after the awards show was a special concert – Lionel Richie and Friends – to be broadcast later this month.  It’s always a pleasure hanging with this crew as they are so professional and offer great advice/commentary on current and future products.

Click on this link to see some highlights of the show and all the Shure products in action.

Las Vegas – MGM Grand Garden Arena

This was the second ACA show for Fox Network.  Production Mix Engineer Klaus Landsberg invited me to come out on behalf of Shure for this years’ show as they were going to be using primarily Shure wireless.  Sound Company ATK Audiotek would be providing the 26 channels of UHF-R Wireless systems and the 8 channels of PSM1000 ear monitor systems with multiple beltpacks as well as a compliment of wired mics.

Before flying out for this show, I received a text Friday evening from Earl Neal, FOH engineer with recently signed Shure Artists The Band Perry that the group wanted to use stock Super 55 ‘s on this show.  Prior to this show, they used darker gold painted Super 55’s on both the CMA’s in October and the Grammy Nominations Concert just last week.   Earl said they wanted to use the stock model and did I know of any place in either LA or Vegas that would have those.  I suggested a dealer in LA but that was the only dealer I could think of that would have 3-4 of those.  On my way to the airport the next day, I called Earl to see if he had any luck. We talked about some other options but he then mentioned he might send his wife over to Soundcheck to grab the 4 that were stored in Patty Loveless’ locker (an artist he’s worked for).  He got Patty’s permission.  I told him I could swing by and pick them up on my way to the airport and carry them out with me.  The Band Perry has now requested this mic on 3 major TV broadcasts!  They love the Super 55!

I arrived after 10 pm in Vegas on Saturday. The next morning, I received credentials and headed towards the backstage area at the MGM Grand Garden Arena.  Stopping at monitor world, Mike Parker was deep into learning a new DigiCo console.  About the PSM1000’s, Mike commented “I never leave home without them.”

Right next to him, I saw a table lined with over 20 P10R’s waiting for fresh batteries… a thing of beauty!  Had to grab a shot of that! Behind me, I spotted another photo op. Two racks of UR, 26 channels and a rack of 8 PSM1000’s.    Of the 11 performances on the show, 8 of the used Shure on lead and backing vocals. They also used 2 UR2/KSM9 transmitters for hosts Trace Adkins and Kristin Chenoweth.  From Trace’s incredibly deep voice to Kristin’s whose voice is high pitched, the KSM9 worked very well. ATK also utilizes 2 UR1’s for their podium mic setup.

I then went out to Front of House where Mikel Stewart of ATK was at the house production mix spot, the same role he takes at the Grammy’s and probably many more shows.  At the House music mix position was Ron Reeves, the spot he also enjoys at the Grammy’s (and many other shows).  One of Ron’s first comments was to pay compliments to the KSM 137’s they have been using on overheads at this show.  He likes to get most of his drum sound off of the overheads and loves these.

Klaus Landsberg was a wonderful host and said I could come into the production mix truck anytime I wanted to.  It was also great to see a lot of familiar crew people in site.  The rehearsals went very well, mostly ahead of schedule.

The Shure artists that performed on the show included Trace Adkins, The Band Perry, and Toby Keith.  Other artists that used Shure vocal mics included Thompson Square, Scotty McCreery, Chris Young, Eli Young Band, and Alabama!  Everyone used and enjoyed the use of the PSM1000 for their ear mixes.

Another show full of great Shure products with great artists!

Ryan

Indianapolis, IN

The Percussive Artist Society International Convention (PASIC) is one of those events I look forward to every year. Being a drummer myself, this event is close to my heart.  So are a lot of people that attend from many other great companies like Pearl, DW, Zildjian, Remo, Vic Firth, Vater, Istanbul and so many other individuals.  I have been fortunate enough to have not missed one of these events for the past 15+ years.  Everyone pitches in to help make each event happen and it’s such a great feeling to see all of the same people each year.

The convention has been in Indianapolis for the past 3 years so the drive up from Nashville is not too bad, when you’re rockin’ the iPod.  Like the trip 2 years ago, I was in Nashville handling duties at the Country Music Awards and directly after the show finished, I loaded up the gear and headed North for Indy.  I arrived at about 5 AM eastern time, grabbed about an hour of sleep and then brought all of the gear I had in the PT Cruiser into the convention center so it could be passed out for the various events starting around 9 am.  After passing that out, I passed out in the hotel room for another 4 hours.  After that, I went back to the Convention Center and caught a few clinics and chatted with some of the aforementioned manufacturers.

Later that evening, I was invited to 2 special events.  The first was a short party for Pearl artists and employees.  Shure Artist Horcio “El Negro” Hernandez was there as well as a drummer from Australia named Grant Collins.  It was great to catch up with Horacio as he is always gigging somewhere in the world.  He was happy to have a DVD from the Modern Drummer festival from earlier this year.  His performance there was pretty amazing.  Go pick up a copy and see for yourself!  A 12 piece band complete with a Flamenco tap dancer.  I’ve never seen a performance like this before where a drummer was trading 8′s with a dancer.  It was very cool!

The next day, Friday, I arrived early in the morning as Jim Riley’s Clinic was coming up at 1 pm.  I was able to catch drummer Rich Redmond’s clinic at 11 am, which was very informative.  Rich is not only a great studio drummer but also tours with country star Jason Aldean.  He had plenty of great advice to offer attendees about how to succeed in the music business and  a lot of it has to do with having a positive attitude.

The first time I saw Jim Riley’s clinic, I was taken a bit by surprise by his ability to play other genres besides the gig that pays his bills – Rascal Flatts.  He mentioned during his clinic that the last time he played at PASIC a few years ago served as his launchpad for doing drum clinics. He is very well spoken and a solid groove player.  He has been with Rascal Flatts from the beginning and it’s great to see his success, not only as their drummer but as their Musical Director. I put up some Beta 98AMP’s on his toms and used the Beta 181/C for overheads.

AT 5 pm, Grant Collins, a Pearl drum endorser had an enormous kit but chose to not have us close mic it.  Instead, we put up 6 condensers around the front of his kit about 3-4 feet off the ground to capture his toms and his cymbals, put a Beta 91A on each of his  front 2 kick drums and Beta 52′s on the rest and his gong drum.  It sounded pretty amazing!

Friday night after dinner with the Pearl guys, I stopped by the Army Jazz Blues Band concert up in the Sagamore Ballroom.  Special guest drummers Peter Erskine, Simon Phillips, Keith Carlock, John Riley, and Ed Soph all joined the band for a few numbers each.  It was great to see each drummers style shine through with this group.  At the end of the evening, Jim Riley was side stage and I introduced him to Peter Erskine for the first time. Peter had noticed an article in the most recent Modern Drummer magazine about Jim’s studio.

Closing out the clinic events on Saturday for PASIC was Simon Phillips.  His Tama kit was placed on stage and he had already brought his mic set which consisted of KSM137′s in shock mounts on all of this toms, 2 SM27′s for overheads, SM57′s in his Octobons and 2 Beta 52′s permanently mounted in his kick drums.  Simon was interested in hearing how the new Beta 181/C might sound on a few of his toms.  We listened to his stock mics then switch out 4 of the 137′s for 4 of the Beta 181′s.  He liked them just enough to want to go with them for the clinic.  Simon did a long drum solo and then took questions at the end of the clinic while also mentioning all his supporting companies and their gear.

Once Simon was done, I packed up a few more things and headed to go see  a great new band Shure just started working with called Mona.  I will talk about them in a separate blog.

Thus ends another successful PASIC and planning will begin soon for next years’ event in Austin, Texas.  Looking forward to that trip – come join us, wont you?

Ryan

I play drums and my drum kit of choice is Pearl.  I have a Reference series kit with a 22 inch kick drum and 4 toms – 10, 12, 14, 16 inches.  I switch between an all brass reference series snare and the Steve Ferrone signature snare.  For my mics selection, I would put both the Beta 52A and the Beta 91A in my kick drum.  This is a standard technique used both live and in the studio to capture the low end and the attack of a kick drum and to blend between the two sounds as appropriate.  For toms, I would use the new Beta 98AMP on my 10 and 12 toms because I like the clarity of tone they provide. The Beta 27 on the floor toms provides a nice, full low end and the super cardioid pattern give them great separation.  The SM57 on the snare is a must as it always naturally reproduces the acoustic sound of the snare drum. I use Remo drum heads – Clear Emperors on the top and Clear Ambassadors on the  bottom. The Reference snare has a coated Ambassador head on top.  I like to tune the toms so there is no tonal drop-off and the pitch is nice and long, not muted.  No gates please!

For cymbals, I choose Zildjian.  I would use a KSM137 on the Hi-hat as it is not to bright in the high end.  On Overheads, I would use the Beta 181/C.  My first experience with these was last Fall 2010 at the Percussive Artist Society International Convention in Indianapolis.  I was very pleased with the clarity and the tonality that came through these mics.  I heard various tones from the cymbals that I was only used to hearing when I listened to cymbals up close acoustically.  Like the SM57 on the snare, these seemed to truly represent what was in  front of me.

I am very comfortable with this set-up both live and in the studio.  Many drummers have used both similar and different set-up to track their drums.  You can find a some  examples from the Pro’s in our Microphone Techniques for Drums publication.

So there you have it!

Now it’s YOUR turn.  Please comment and tell everyone about your kit and what  Shure mics help you achieve YOUR sound.

Thanks !

Ryan

Chevelle playing Metro 10/29/10

Part of my job that makes me giddy?  Testing microphones before they go out.  Every different model has its own individual tweak.  I got a call from veteran studio engineer, Jef Moll, the week prior.  Jef is someone I met here in Chicago years ago and he’s been moving ever onward and upward, finding himself in increasing demand as time marches forward.  He’s also had an association with one of Chicago’s more successful bands of the past decade, Chevelle.  They were working together again, this time to produce a live album and DVD: a ten-year retrospective show at Chicago’s legendary Metro.

Jef was working with Chevelle again on their new project.  He was looking for solutions for ambient and crowd mics all over the place.  After discussing his wish list with him, I set about testing the loaner gear: a stereo pair each of our KSM137, SM89, and (my favorite) SM57. There were a few of our A27Ms in there too.  It’s a stereo mounting solution that is a great little miracle worker, versatile and easy to use.

Friday night I worked my way over to the Metro to see the first of their two sold-out shows.  It’s a fitting place to do this type of show.  Many bands know the part that Metro owner Joe Shanahan plays in their career, and many of those bands are happy to come back and give the place its proper tribute.  It is absolutely the place to catch acts that could fill much larger rooms doing their “intimate” shows…if you can get the ticket.

When I arrived I went upstairs to the Metro’s smaller, secondary theater space, where Jef had set up his recording rig. We chatted briefly, but he was working so it was downstairs to the main space for me.  I set myself in the FOH booth where long-time Metro engineer and long-time Chevelle engineer Mike McGee was ready to go work.  We caught up briefly before the band made their way up to the stage.

The setlist was full of hits and fan favorites.  They opened with “The Clincher” and tore through sixteen songs in their set, with a two song encore.  One of the things that got me to listen to the band in the first place is the huge guitar tone Pete Loeffler gets out of his rig.  It’s a pretty simple set-up, too, as is my understanding.  I also like how they describe themselves in terms of genre: heavy rock.  It’s very appropriate; it doesn’t sound quite like metal, it doesn’t sound quite like radio rock (though it fits well on the airwaves).

After the show I went back to congratulate the guys on a job well done.  I spoke with Sam Loeffler and Dean Bernardini briefly.  They mentioned wanting to come by Shure HQ to see the operation, so hopefully that will happen soon.  It’s always encouraging when a band expresses interest in getting to know their gear.

Richard

Here’s a rudimentary primer for miking the rhythm section: guitars, bass, piano, and drums.

This quick overview should help minimize the deer-in-the-headlights feeling you may experience when faced with a daunting live-sound situation – like when you put up an open mic on a stage peppered with monitors, only to elicit the screeching howl of the dreaded feedback monster.

Start with the Right Mics

The best way to figure out where to place a mic is to listen to the source – in this case, the instrument or amplifier. Try using only one ear to simulate the mono pickup of a mic, and listen up close and also from a few feet away. How does the instrument radiate sound? Put the mic where the instrument sounds best to your ear. Sometimes two mics are necessary to capture the full range of a particular instrument.

You’ll always need to use unidirectional microphones in live situations, for isolation of sound sources and to avoid feedback problems with the monitors.

If you have problems with the monitors, mics with a tighter pickup pattern (hypercardioid or supercardioid) are best. For area miking (that is, drum overheads), you can use a transducer with a wider pickup pattern. In most circumstances, you will want to put the mic as close to the instrument as possible without interfering with the player’s range of motion. This will ensure a more focused sound with less ambient reverberation and bleed from the other instruments onstage.

The Match Game

Mics have different frequency response characteristics that make them more or less appropriate for specific applications. Analyze the quality of an instrument’s sound to decide which mic best suits the job.

If the instrument is soft, a tight-pattern condenser might be just the thing for getting a hotter output.

If the instrument is loud, choose a mic that can handle high SPLs.

Is it bright? Try a mic that will impart a little warmth.

Does it have lots of midrange? Perhaps a Shure SM57 would be a good match.

Does it sound bassy? Try a large-diaphragm dynamic to capture the lows fully.

Guitars

Electric guitars

The electric guitar is perhaps the simplest instrument to mic, given that an instrument mic aimed at the amp’s speaker always does the job well.

There are two primary schools of thought for miking a guitar cabinet. Either point the microphone straight into the cabinet and directly at the speaker’s voice coil (the advantage being consistency of sound), or put the mic on the edge of the speaker and angle it into the voice coil (for less spiky mids). In both cases, you should place the mic right up against the grille.

Consider this type: Unidirectional dynamic microphone

Shure mic: PG57, SM57

Acoustic guitars

Any condenser microphone works well for miking an acoustic guitar, as long as the stage sound isn’t too cluttered or loud. If the volume is cranked up and the guitar needs to go through the monitors, you may prefer a dynamic mic with good high-end response to get sufficient gain before feedback.

If the guitarist has a pickup, try taking it direct. If the sound is too dry and the guitarist is using a lot of effects or EQ at the amp, you may need to mic the amp, using the same approach as for miking an electric guitar amp, and combine that sound with the direct signal. You could also mic the guitar itself and blend that with the direct signal for a fuller sound.

Consider this type: Condenser or unidirectional dynamic microphone
Shure mic: PG81, SM57, KSM32

Electric or Acoustic Bass

Electric Bass

Although it’s standard practice to send the bass direct through the P.A., in some circumstances an engineer will also mic the bass cabinet. The mic you choose should capture lots of low end. Large-diaphragm dynamics are good choices.

If the bass cabinet has a mix of 10-inch and 15-inch speakers, you have a couple of options. For more low-end oomph, put a mic on the 15-inch speaker. If you’re a funky slap-and-pop bass player, try putting a mic on one of the 10-inchers or on the horn for more high-end definition and better transient response. Keep in mind that the direct injection (DI) box will give you plenty of low-end fundamentals and that extra twang, so a little lower midrange support from a miked cabinet can fill out the sound.

Consider this type: Unidirectional dynamic microphone
Shure mic: PG52, SM57, Beta 52®A

Acoustic upright bass

It is desirable to take a direct signal from an acoustic bass pickup, though most double-bass players (especially jazz cats) wrinkle their noses at DIs because they never sound the way players like them to sound. In such a case, you should also mic the bass. It’s prudent to retain the option to use the direct sound, however, because in a loud situation where you may not get enough gain or definition from the mic, you can still boost the level to give the bass presence in the mix.

The output of an acoustic bass is relatively low, so you have to put the mic in as close as possible. Unidirectional mics are prone to proximity effect (a boost in the low frequencies) when placed very close to a sound source, so you may need to roll off some of the lows. You can fasten low-profile microphones to the tailpiece, to an f hole, or to the ridge that’s just above the waist of the instrument. Don’t clip them on the bridge – that can inhibit vibrations.

Consider this type: Condenser microphones – cardioid instrument and gooseneck types
Shure mic: KSM32, KSM44, KSM137, KSM141, Beta 98H/C

Keyboards

Electronic Keyboards

Most engineers prefer to get a direct feed on electronic keyboards. If the keyboardist has an amp and prefers that sound, you can mic the cabinet (as you would a guitar amp with a Shure SM57) and combine that sound with the direct signal.

Going direct or using a direct box is generally better, because you tend to get a cleaner sound. In the case of a Fender Rhodes suitcase piano, try going direct and miking the speakers on the piano to represent the Fender Rhodes sound fully.

Consider this type: Dynamic instrument microphone
Shure mic: SM57

Grand Piano

For miking grand pianos, engineers often favor condenser mics. Ideally, you should use a pair of mics to capture the low and high strings Place one mic several inches over the bass strings and the other over the high strings, and angle them apart for greater separation. The closer you get to the hammers, the more attack you’ll get; the farther away from the hammers, the mellower the tone will be.

If the environment is loud, try securing the mics inside the piano and closing the lid for greater isolation. You could also clamp the mics to the soundboard (using a piece of foam to protect the wood) with LP Claws or similar mic clamps. A single SM58 pointing into one of the soundboard holes will also do the trick if you have only one input and the piano is going through the monitors.

Consider this type: Condenser instrument microphone
Shure mic: PG81, SM81, KSM44

Upright Piano

Open the top and place a split pair of microphones inside, aiming slightly toward the hammers to capture both the low and the high keys. Condensers are preferable, but SM57s work quite well, too. You could also mic the piano from the back, taking time to find the sweet spot. Remember to listen – and to think from the mic’s perspective. Another option is to take the front off by the player’s feet and to mic the strings from that angle (if the player isn’t stomping the pedals or the floor too vigorously, that is!).

Consider this type: Condenser instrument microphone, dynamic instrument microphone
Shure mic: PG81 , SM57, KSM44

Drums

Drum sets vary in size, number of components, tonal quality, and head configurations. But most standard kits have a snare drum, a bass drum, a floor tom, one or more rack toms, a hi-hat, a ride cymbal, and a crash or two.

Snare Drums

A fat but crisp sound is desirable for snare drum, and a Shure SM57 is the workhorse for capturing this essence. A Beta 58A® can also sound very good on snare.

Place the mic at about 11 o’clock from the player’s perspective, between the hi-hat and the rack tom, about two inches from the head and angled toward it.

For more lows, angle the capsule closer in toward the head; for a crisper attack, move the mic slightly farther from the head and point it more toward the center of the drum.

If you want to get some extra sizzle from the snare wires for a funky sound, put an additional mic on the bottom head, pointing up at the wires. Use a dynamic that has a lot of high end and flip the phase of the mic on the bottom head to avoid phase cancellation.

Consider this type: Dynamic microphone
Shure mic: PG57, SM57, Beta 58A®

Kick Drums

A punchy kick-drum sound with a lot of low-end oomph makes the rest of the band really pump. Quite a few mics are designed specifically for kick-drum miking, including the Shure Beta 52®A.

Usually a kick drum will have a hole in the front head. Put the mic just inside the drum to start. For more attack, move the mic closer inside and aim it at the beater. For a fuller, rounder sound with less attack, draw the mic back farther and angle it slightly away from the beater. If there is no hole in the front head, start with the mic about two to four inches in from the rim and point it at the head, adjusting the angle to get the desired sound. Listen up close to the drum with one ear as someone plays, find the spot where it sounds the way you like, and put the mic there. Refrain from placing the mic at the very center of the drum – that’s a dead spot.

Consider this type: Kick drum microphone – dynamic or condenser
Shure mic: PG52, Beta 52®A, Beta 91

Toms

Miking toms can pose a challenge if a drummer has a lot of cymbal stands. Fortunately, you have the option of clip-on tom mics well as mic- that come in handy for fastening tom mics in place and neatly out of the way. Place the mic near the rim of the drum, pointing down at the head, and adjust the angle and distance for more low end or more attack. If you want greater separation, angle the mics apart.

Consider this type: Dynamic or condenser microphone
Shure mic: PG56, SM57, Beta 98AD/C

Hi-Hat and Cymbals

The use of overhead mics is standard for capturing the cymbals and the overall kit sound, and a split pair will pick up both sides of the kit. Condenser mics are ideal for overheads because of their excellent high end and natural transient response.

If you have only one overhead, place the mic centrally over the kit, and move it around to compensate for the playing style and the kit’s characteristics (that is, quiet ride cymbal, loud snare, and so on). Just keep the overheads out of the monitors to avoid feedback. If the hi-hat needs more bite, place a small-diaphragm condenser mic a few inches above the hi-hats, angled at the area just below the cup.

Consider this type: Condenser microphone
Shure mic: PG81, SM81

Finally…

Miking stage instruments is a subjective art, and there are nearly as many opinions as there are engineers. By now, though, you’ve picked up enough pointers to start miking the most ubiquitous instruments in standard venues.

If you have some time and the luxury of access to a variety of live-sound mics, the next step is to experiment a little with selection and placement before you have a show.

Keep in mind the constants – namely, the proper etiquette for avoiding feedback, and close miking with unidirectional mics for maximum pickup and isolation. Use this article as a guide, but remember: ultimately you should rely on your ears to determine the best mic placement for optimum sound.

About Karen Stackpole

Karen Stackpole got started in live sound reinforcement in 1988 and expanded into studio work in 1991. In 1997 she launched Stray Dog Recording Services, a mobile recording business, in addition to working on projects as a freelance live sound and studio engineer and drum tech.

Karen is an active member of Syn-Aud-Con and the Audio Engineering Society and is also a performing and recording drummer/percussionist. As a freelance writer she regularly contributes to Electronic Musician and DRUM! Magazines. In 1999 she joined the Sound Arts faculty at Expression College for Digital Arts and directs the Studio Maintenance course.

Visit Karen and Stray Dog Recording Services on MySpace .

SN thanks Karen and Electronic Musician magazine for allowing us to adapt the content that appears in this article.