[Dave Stenz]

The subs work fine for this. Assign Mic 1 to Subs 1/2. Be sure to pan Mic 1 to the left or you’ll send the signal to both Subs 1 & 2.

Assign mic 2 to Subs 1/2 and pan to the right.
Assign mic 3 to Subs 3/4 and pan to the left.
Assign mic 4 to Subs 3/4 and pan to the right.

Dave

[Dave Stenz]

Good Morning,

Try using “PZM” (Pressure Zone Microphone) style mics. They can be placed on table tops, affixed to walls, ceilings and other surfaces with very good results.

There are a variety of PZMs on the market. Obviously, good quality mics help to produce good quality audio (along with other factors of placement, etc)…

Hope this helps.

Dave

[Dave Stenz]

Have you looked into BIAS “Deck” software?

Regards,
Dave

[Dave Stenz]

Another thought…. minimal mic’ing for these events can be done with the “Decca Tree” approach. An industry standard for years with excellent results. Just Google DECCA TREE and you should find lots of info…

Regards,
Dave

[Dave Stenz]

I also record quite a few high school concerts to include bands, choirs and string ensembles. I’m a bit of a purist in that less is more.

In order not to obstruct audience sight-lines, I’ve found a setup that works quite nicely in the school’s 500-seat auditorium using one stereo and two condenser mics.

Bands and string ensembles:
First, all mics are mounted on Atlas desk stands or low tri-leg boom stands, which in turn, sit on top of a couple layers of mouse pads (extra shock absorbsion). Hanging mics is not an option at this time. Since they usually dress up the front of the stage with flowers, etc., I can hide the mics.

Mic 1: Center stage is an A-T Stereo mic panned hard left and right. The mic is placed in a shock mount and angled up toward the conductor’s head.

Mic 2: Stage right is a condenser mic in a shock mount, placed approximately eight feet in from the side wall and aimed in and up at a 45 degree angle. This captures more reflection from the side wall than direct sound from ensemble. If I need more direct sound from the ensemble, I simple re-aim more in their direction. Panned hard left (audience perspective).

Mic 3: Stage left is the same as above except the mic is aimed toward the right side wall and panned hard right (audience perspective).

I usually capture the MC’s/soloist’s voice directly via a mic splitter.

Choirs will use a similar setup except I might add an additional mic or two if needed for balance.

Hope this is useful.

Regards,
Dave

[Dave Stenz]

Do you know anyone who reads music? If so, getting a hold of some of the musical scores is a great way to plan your shot list. You’ll know when a specific soloist and/or section of instruments will be “featured.”

HTH,
Dave

[Dave Stenz]

There is some good and useful information here.

HTH,
Dave

https://www.sounddevices.com/tech/pd150.htm

[Dave Stenz]

I’ve used the M-Audio 410 unit to transfer both analog and digital to FCP and Peak Audio Software (Bias). It works fine. I agree with Thax that using a good mic and preamp with FW or USB capabilities far out-weigh the convenience of an inexpensive USB mic. I don’t feel they have the quality you’re looking to achieve.

regards,
Dave

NOTE: Don’t forget that FCP needs audio at a sample rate of 48K.