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Author Topic: Mic placement Justin McLeod Film Handler Posts: 93 From: Oklahoma City, OK, USA Registered: Jun 2002 posted 02-25-2003 08:03 PM                     I take it that if one uses a broom stick handle for a mic stand, they can still use a multiplexer, or am I wrong?  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 02-25-2003 08:30 PM                     just need 4 mics and 4 broom handles and the later is a problem at some theatres:)  |  IP: Logged Daryl C. W. O'Shea Film God Posts: 3977 From: Midland Ontario Canada (where Panavision & IMAX lenses come from) Registered: Jun 2002 posted 02-25-2003 09:22 PM                        I use a broom handle once in awhile. It's just as sturdy as a mic stand if you stick the end down the side of a seat. Most of the time I do use three legged aluminum mic stands, but that is because I mainly eq systems for live performances where I have mic stands readily available. The advantage of using a broom handle is that you don't have to pay to transport a fairly bulky item (mic stand), albeit a light one, across the country.  |  IP: Logged Antonio Marcheselli Phenomenal Film Handler Posts: 1260 From: Florence, Italy Registered: Mar 2000 posted 02-26-2003 02:03 PM                        Coming Back to the original topic (mic placement), I had a theory. If the mic is designed to be straigt to the ceiling and I point it 45° with the screen instead, is it possibile that the "back surround" channel cannot be heard correctly by the mic? I'm asking this because in many installation (where I saw the tech aim the microphone 45°) back surround sound is low, IMHO. Perhaps it is a nonsense. Bye Antonio  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 02-26-2003 03:49 PM                     Lately I've been doing all measurements with the element pointing straight up, but I would usually do surrounds with the element pointing up anyway (even back when I was still doing L/C/R with the 45-degree angle). If you're using just one mic, you should move it to the centre of the aisle. In other words, not off-centre (like for stage channels).  |  IP: Logged Antonio Marcheselli Phenomenal Film Handler Posts: 1260 From: Florence, Italy Registered: Mar 2000 posted 02-26-2003 04:13 PM                        Manny Yes, I agree with you. I asked this because when few weeks ago I made my first equalization the theater (SR only) had no or very low surrounds. My PC said 77dB. I trim to 85dB and the result was correct, at my ears. Since many and many theater I've heard had very low surrounds, I thought that perhaps an incorrect mic placement and aiming can be the cause for the problem. Bye Antonio  |  IP: Logged Tom Wienholt Master Film Handler Posts: 371 From: Towson, MD, USA Registered: Dec 2002 posted 02-26-2003 06:01 PM                     If the mic placement was the problem then wouldn't the back surrounds be to loud? If the mic is pointing toward the screen then it would not pick up the full signal from the back surrounds so they would have to be trimmed to a higher volume so that the mic would register 85db. So the result would be back surrounds that are too loud, not too soft. Isn't this correct?  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 02-26-2003 06:33 PM                     I would have to agree with Tom. Assuming that there would be an audible difference, it would be a logical assumption that those surrounds would be too loud. However -- in terms of SPL -- my hunch is that there would not be an appreciable difference. (Does anybody here know for sure?) Still, it is wise to go into the theatre and double-check everything with your ears. If the SPL meter says 85dBC but it "sounds like less" then something isn't right.  |  IP: Logged Antonio Marcheselli Phenomenal Film Handler Posts: 1260 From: Florence, Italy Registered: Mar 2000 posted 02-27-2003 10:32 AM                        Tom, Manny I agree with you this time too!! I've never understood why in some theaters surround are too low and why our EX installation has back surround too low... I also agree with "ears" check before leave the theater. Bye Antonio  |  IP: Logged Antonio Marcheselli Phenomenal Film Handler Posts: 1260 From: Florence, Italy Registered: Mar 2000 posted 06-17-2003 04:10 PM                        Gordon Sorry if I resume this old topic but I had the chance to see R2 microphones and I would like to know what do you mean with "aim them at ceiling", I thought they were like "normal" microphones... Someone has some photos? Bye Antonio  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 06-18-2003 09:14 PM                     The countryman mics are basically small electrec condensor lapel mics that have calibrated SPL and response files made to correct the analyzers display to match the mic They have a flat entrance point and they point upwards there is a small windscreen over them  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 06-19-2003 07:19 AM                     Michael said... "Has anyone worked with the screen luminance testing system?" _________________________________________________________________ Yes, we have Serial nmber 001 USL Lightmeter at work and it is frequently used. Its used in all new installs , when installing a Phoenix kit, or general work if the lamphouse is far out of alignment. Mark @ CLACO  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 06-19-2003 10:07 AM                        Kodak also uses the USL PSA-200 in various lab applications. http://www.uslinc.com/products/psa.htm http://www.uslinc.com/products/features/psa200.htm  |  IP: Logged Larry Zuverink Film Handler Posts: 98 From: Caledonia, MI, USA Registered: Nov 2002 posted 06-19-2003 02:19 PM                     Antonio, If you don't think the mic placement makes a difference try EQing and then move you mic several times. No matter how well a theatre is designed it will have dead and hot spots. Also try this, point your mic at 90 degs from the speaker you are setting the spl on. Then move the the mic in every direction and watch the reading. You will most likely only see in increase and decrease when pointed straited on or straight away from the speaker. All mics will give a false spl reading if pointed to close to the speaker. You want the ROOM pressure not the energy hitting you. I use a swinging boom mic that we made ourselves. It swings the mic in a 8' arc. It's a cheap alt to a multiplexer and makes sure that we are not EQing in a dead spot. Also be very carful not to over EQ the room. You can get any room to flatline but it will sound bad if frequencies are fighting each other to do it. In general EQing is a art not a science. You need to learn how to interpet problems in the room and not fight them. Just my two cents worth  |  IP: Logged Philip Wittlief Film Handler Posts: 57 From: Chicago, IL Registered: May 2003 posted 06-19-2003 08:30 PM                        If the mic is an omnidirectional, like the behringer in the original question is, then 90 degrees or 45 or anything for that matter shouldn't make a difference. There are small changes in the responce to the mic at different points around it, as no mic is perfect. If you look at the spec sheet on the behringer website [URL=http://www.behringer-download.de/ECM8000/ECM8000_C_Specs.pdf ]here[/URL] you can see the response curve of the mic and notice that it is close to aproaching a circle (an ideal onni mic). Looks like I can't figure out the UBB hyperlink thing. sorry  |  IP: Logged

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