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You’re getting dangerous now with microphones for your vocals, guitars and more.  Another problem that needs to be addressed is getting drums and percussion instruments into the sound system. 

Now, for small venues, drums can definitely sound completely fine with no mics at all.  In these places, like clubs and bars, one would typically put the quieter things (vocals, keyboards, acoustic instruments) into the sound system and bring them up into the mix with the louder instruments (drums and guitars). 

However, in larger auditoriums, halls and outside gigs, you gotta get just about everything through the system in order to be properly heard.

For drums, I have found two different ways that work well.  The first is to place three mics on the drums: two overheads and a kick mic.  The second is to close-mic everything on the kit.  We will talk about close-micing everything (including the kick drum) in another post.  For now, let’s look at the three mic option - in particular, the two overhead mics.  It is cost conscious and can be very effective.

The two overhead mics will pick up all of the drums from the perspective of the drummer.  Placement is very critical in order to get a balanced sound, but it can be done.  It involves positioning the mics, listening, and then going back and adjusting some more.  Basically, you are mixing the drums entirely by adjusting their placement over the drums.

Let’s think for a minute about what these overhead mics will need to pick up: the high hat, crash, ride, and other cymbals generate sound in the higher frequencies while the snare and toms produce mid to low frequency sound.  So, these mics need to be capable of picking up all frequencies from very high to very low quite well. 

As you might expect, this capability comes a little more expensively than the other mics (Shure SM-58 and SM-57) up to this point.  I have found the Shure SM-81 to be very good for this task.  This is not a cheap mic, but there are certainly much more expensive mics that can do the job as well.

If you examine the frequency response for this microphone below, you will see that it will pick up all frequencies very uniformly from the low end to the high end.  So, your investment to get two of these kinds of microphones will not only allow you to mic the drums in this manner, but many other things as well.  The SM-81 has been a very popular microphone for recording and is very versatile in a variety of situations.  So, as your system grows and you are able to add more to your system, these mics will always have a place to be used.

Generally, the mics are placed about shoulder width (2-3 feet) apart about one foot in front of the drummer and shoulder height of the drummer or slightly higher.  Point the mic closest to the snare straight down over the snare.  Point the other mic straight down over the floor tom.  These are starting points for these mics that should do a good job of picking up the whole kit.  You will need to go out and listen for awhile to determine what adjustments are needed to the mics.

The arrangement I have described should make the snare and high hat come out a bit more in the mix while keeping the toms and cymbals at good levels as well.  If you are having difficulty hearing one of the toms, simply move the nearest mic a bit closer to it.

Some equalization will be necessary as certain frequencies will come out too well.  Since the mics are relatively close to the cymbals, you will likely need to reduce some of the high frequencies if they are too piercing or harsh sounding.  We will address EQ adjustment in future posts about mixers and other processing equipment.

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Alright so say you have your vocalists mic’d just fine, but you need to bring some of those instruments out in the mix.

Another workhorse mic, the SM-57, also comes from Shure. It is more geared for instruments. Also available for a decent price, you can use it on drums, guitar amps and more. I am not saying it is always the best mic choice, but it is cheap and decent. We still use them today on snare drums and guitar amps.

In a pinch, many people have also used them for vocal mics as well.

One feature of a microphone that plays into its selection is its frequency response. This is information measured and published by the manufacturer for you to use.

Above, you see the frequency response for the SM-57 while the one for the SM-58 is below. Across the bottom of each graph is sound frequency on a log scale. The left of the scale represents very low frequencies (the “boom” from subwoofers, bass guitars, etc.) while the right depicts high frequencies (cymbal crashes, sizzling bacon, high pitched ringing).

Notice that for both mics, that below 150-200Hz, the curves drop off. This means that they do not pick up those low frequencies very well. That is fine as vocals, snare drums and guitar amps don’t produce much in the way of low frequencies.

You should also see that both mics show a rise in the curve at higher frequencies. This means the microphone picks up these frequencies with a little more sensitivity.

Alright, so the curves look pretty much the same, right? Why use one over the other? Well, look closely at the SM-58 graph around 3000-4000Hz. See how it bumps up there? The SM-57 does not do that.

The frequencies right around 4000Hz have been found to be some of the most critical in making speech intelligible to the listener. This little bump on the SM-58 makes vocals pop out in the mix a little better and easier to understand!

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When using a sound system, for whatever purpose, you have to get something into the system to work with!  This is done in so many different ways, it can be overwhelming.  However, the most basic method is through the use of a microphone.

There are many different types of microphones made for different situations and conditions.  But the basic purpose of any microphone is to convert the sound energy of an instrument or voice into an electrical signal.

Chances are that you have seen this microphone in use in lots of places.  It is the Shure SM-58 microphone that has been used literally for decades as an input device for vocals.  They are relatively inexpensive (less than $100 each) and take a beating.  They also do a very decent job of producing a good sound in the system and preventing feedback when properly placed and used.

Chances are that if you are in a small building or very reverberant space, a couple of these for your vocalists will be a good start for your system while letting the band just play in the space without being in the system.  The band can be heard well in the room while, due to the volume of the band, the vocalists cannot be heard.  Putting the vocalists into a small sound system by themselves so they can be heard will go a long way toward a better sound.  You can always add from there.

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I love the part of my job where I get to do some photography and Photoshop work. I also love getting to work with this guy. Here is the new 2008 promotional photo we did this week.

When a person first takes interest in setting up or running a sound system, it can be a very intimidating experience. The components appear very complicated and confusing. The slew of cables connecting the various items together does not make matters any more comforting, either.

Most people see only a small part of the system, usually the sound board itself, and are intimidated. They are amazed that anyone can know what all those knobs do. I am here to tell you that with a little patience and focused learning, you can know what every part of a sound system does and make it work for you in your productions.

When you break the sound system down to its most basic functions, you can really begin to understand it and gain confidence in working with the various pieces of equipment. The basic functions in a sound system are input, processing, amplification, and output.

Here’s a simple diagram:

As shown, a sound system can be as simple as one microphone, a small mixer, an amplifier, and a single speaker. In some cases, the system is simplified by using a mixer with a built-in amplifier or self-powered speaker.

At the other end of the spectrum, each of these functions can be performed by millions of dollars worth of equipment as is used in large concert or broadway musical productions. The components and interconnections in such a system can become very complex and requires a great deal of training, planning, and experience to put together and operate.

I will begin to address these functions of the sound system in greater depth especially as they apply to typical church production situations.

What questions do you have about sound systems that you would like me to cover?

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I can’t sleep on the right side of any bed.

I always have a plain white t-shirt on.

I hate going barefoot.

I have owned at least 15 vehicles in my life (I think I am forgetting a couple).

I helped develop a hugely successful robotic machine at my last job.

I know FORTRAN (perhaps unfortunately…look it up).

I never thought I would have a son…but am so glad I do!

I never kissed anyone I dated until Amy.

I would love to live on the road with my family in a touring bus…but I think that means I would have to be independently wealthy.

However, on some days, I would rather just live in a cabin in the mountains with no electricity or cars or phones or computers…maybe I just need a vacation.

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Last night I had the sweet opportunity to run REO’s sound system for my buddies Ellis and Andrew as they opened for the classic rock group at the Adler Theatre in Davenport.

I was blown away at how friendly and accommodating the band and crew were to us.  A bunch of great guys!  For the most part, they have all been together since the late 70’s, including the crew…pretty amazing for any band, let alone one that has seen some major success and a large following.

The board was a Digidesign VENUE D-Show Profile…the more compact alternative to the full sized D-Show.  However, I was impressed with its simplicity and power.  There were a number of things that seemed awkward about it, but I did not really have a lot of time to get totally into it.  Lots of power in the system, though.

Ellis and Andy were well received by the crowd with their songs.  There was talk with the promoter about being able to go back and open with the full band for another act coming soon.  Pretty exciting.  God has really swung open some huge doors with this ministry!

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Tony Morgan has been running this little Design My Blog Banner Contest and is displaying one I created for him on his site today.  Thanks for humoring me, Tony!  I am learning a lot from Tony, following his blog.  I encourage you to check it out.

He also takes a little jab at Iowa, saying Muscatine’s right down the road from Fruitland.  True of course, but obviously tongue in cheek.  I’ll take it.  Being from Nebraska (which could just as easily be made fun of, I’m sure), I used to say I was almost from Illinois, since we’re right on the border.  Wasn’t too proud to be an Iowan right away.

Now, I am just fine calling Muscatine home.  It’s taken 10 years.

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Amy and I were at the U2 concert in Chicago taped for the Vertigo Tour DVD.  It was an amazing evening.  The loudest music I had ever heard and the crowd was easily heard singing over the band!  Amazing.

U2 is my favorite band and I just can’t get enough.  Some of the best music ever made comes from these four Irish buddies.

Anyway, the 3D movie out now in some IMAX theaters is not to be missed by even the casual U2 fan.  Amy and I went to see it this week and it was so cool.  Lots of up close footage of the band during a concert in Buenos Aires in…well…3D!  Very cool.  Somehow sounds like it might be cheese, but it was not at all.

Of course, as a techie, I was watching all the mic techniques and video production values. It is a multiple take effort for sure.  It would have been impossible to get all the camera angles in one take.

Find the nearest theater, and go!

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