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During mic plotting, I discovered that during ensemble and company parts of the show, I may need vocal reinforcement across the whole cast rather than picking out a few with radio mics. I could achieve this with rigged condenser mics, whether that be cardioid pencil condensers or omnidirectional hanging mics. I wanted to get other opinions from those who have more experience using mics in this way so I created a post on the tech forum Blue Room.
After some research I came across the Behringer C2, a pair of budget pencil condenser microphones with an cost of roughly £35 for both. I wondered how these may perform being rigged above head height either side of the stage.
User sandall suggests that using these mics can be tricky. They suggest the option of hiding spot mics in the set however this tends to pick out specific people rather than a company.
User Robin D says that hanging mics can help a little bit in providing a lift. They say that the Behringer C2 mics have good performance compared to more standard pencil condensers and are a great value.
User TomHoward added to this, backing up the great performance of the Behringer C2 mics. If I do choose the pencil condenser route, these mics will be a great help.
User paulears explains how adding mics will not bring up the quieter performers, it lifts everything the mic picks up, making the loud people louder and quiet people quieter, and this is out of my control. He adds that adding more and more mics doesn't necessarily increase the level but with more coverage.
He says that hanging mics are difficult to angle corrently, shotgun mics on the front can be OK but have a tight pickup pattern and can vary greatly in level. But overall, on a show with music most of the job is on the performers to project.
I also had a chat with Tom Hatch, venue tech, about this and he suggested that if I were to add pencil condensers above head height, I may as well use hanging mics.
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