Remote Comedy Club Recording

[musicguitar]

I am recording a comedy show later in this month.

I have a few questions. I am going to run (5) crowd mics [2 in the front behind the pa, and 2 in the back behind the crowd], I am also going to use the actual direct mic that the comedian is speaking into.

I am going to use the soundboard at the club and take the direct outs from it into my Lynx converters > cubase 6.

Any suggestions to avoid pitfalls?

What mics should I use for the room mics?

If the soundboard doesn't have direct outs, should I use the aux sends or is there a better alternative? (send the front pair through aux 2, back pair through aux 3 and direct mic through aux 1?)

Let me know, please!

Thanks,

[Fred Sanford]

Originally Posted by musicguitar

I am recording a comedy show later in this month.

I have a few questions. I am going to run (5) crowd mics [2 in the front behind the pa, and 2 in the back behind the crowd], I am also going to use the actual direct mic that the comedian is speaking into.

I am going to use the soundboard at the club and take the direct outs from it into my Lynx converters > cubase 6.

Any suggestions to avoid pitfalls?

What mics should I use for the room mics?

If the soundboard doesn't have direct outs, should I use the aux sends or is there a better alternative? (send the front pair through aux 2, back pair through aux 3 and direct mic through aux 1?)

Let me know, please!

Thanks,

One thing I can add from experience is that comedians often COUNT on using the mics as percussion instruments for effect (or purposely cupping the mic & making Chewbacca noises)- see if you can grab the main mic after a limiter (even if you're able to grab 2 outs for that mic, one with & one without limiter).

je

[pkautzsch]

Originally Posted by musicguitar

Any suggestions to avoid pitfalls?

Pitfall #1: board's direct out can be post fader. Check in advance. You don't want the audience mics on the PA, and you don't want do depend on the FOH person's moves.
Pitfall #2: make very sure your computer and gear are on the same circuit as the board. Else it's a hum recipe.

Both can be avoided by using a splitter and separate preamps.

What mics should I use for the room mics?

There are two schools of room mics: "get the overall sound in the room" (with omnis or cardioids pointed towards stage from behind or amidst the audience) vs. "get audience and some reverb only" (with mics pointing away from stage and PA speakers, typically shotguns or fig-8).

If the soundboard doesn't have direct outs, should I use the aux sends or is there a better alternative? (send the front pair through aux 2, back pair through aux 3 and direct mic through aux 1?)

You really do need to check with venue and FOH company beforehand.
I'm not too sure that Aux2 is stereo. Most boards have mono auxes. That would mean you need at least 5 pre-fader auxes.

A better alternative, there is. Splitter called, it is.

[musicguitar]

Thanks for all of the responses. I just bought (2) ART S8-3Ways. I will make the looms this weekend.

[J D'Uva]

Be careful with the mics at the rear of the room. Laughter is so quiet compared to applause that if the mics are pointed at the back of people's heads they will pickup more PA than chuckles. I usually set up mics in tiers. Shotguns in the front (like you were thinking) and then mid room mics on the sides at a 90 to 110 degree angle. (front mid pair and rear mid pair) At least the mics will be facing people's mouths. Flying mics from above facing straight down works great too.

People in the front of the room tend to laugh more than people in the back, so I tend to mic a slightly more front heavy.

Most important is taming the comic's mic in the PA. Not being too loud/boomy/hollow/distorted/shrill will make or break the mix. Very neutral and even is what you'll be going for.
Compression in the PA will help greatly as well.

Good Luck!

[Fuzzy Logic]

i would create zones. imo comedy recordings are all about the audience response. the more zones the better.

[DannyL]

I did (and still do) a fair bit of comedy for TV:

1) Get splits of all the stage mics and the house announce.
2) I prefer using a pair of short shotguns (Senn MKH 60's) from the stage into the audience for intimacy and a pair of LDC's (Gefell UMT 70S, M930, AKG 414, Neuman U87 or similar anout 2/3rds back in the house for size.
The balance works extremely well. I add a pair of SDC's (Josephson C42's) for surround mics, when necessary.

Regards;
Danny

[Remoteness]

Some great replies on this topic.

When it comes to comedy records/videos, I also like zone mic'ing the audience.
I want complete control of each and every section.

That said, it's not an easy task in some locations and you do need a decent budget to string/hang/place all those mikages.

[12ax7]

Originally Posted by pkautzsch

You really do need to check with venue and FOH company beforehand.
I'm not too sure that Aux2 is stereo. Most boards have mono auxes. That would mean you need at least 5 pre-fader auxes.

A better alternative, there is. Splitter called, it is.

Yes, good communication with the FOH folks is key here.

Sometimes they'll let YOU receive the raw mics, and then send line level along to THEM!

.

[Kenton]

I'd be careful about getting the crowd mics too close to the audience - I've got a few early recordings where I can hear individuals in the crowd TOO clearly... Although this would be useful if the comedian is interacting with the front row at any point.
Some of the best recordings that I've done have been with a stereo mic behind (or just poking out from behind) the backstage drape - for the comic's perspective. (Blended with the main handheld of course).

[huub]

In my humble opinion close mics are good.. Closer means less PA and more laughter.. You just need a LOT of close mics so you don't hear individual people.. And you need a pair of "Big ambience" mics for the applause..
Applause is ugly on close mics..


EDIT: Well.. Not too close obviously..

[Remoteness]

That's the ticket...

Zones baby; a lot of zones.
The more mics (in strategic places) the better.


IMO, for comedy, the more

Originally Posted by huub

In my humble opinion close mics are good.. Closer means less PA and more laughter.. You just need a LOT of close mics so you don't hear individual people.. And you need a pair of "Big ambience" mics for the applause..
Applause is ugly on close mics..


EDIT: Well.. Not too close obviously..