The Mic Placement Masterclass

Two one-day seminars in the art of where to stick your mic!

BBC Maida Vale Studios, London. 29th & 30th November 2008
The Institute of Broadcast Sound enables sound practitioners from all
fields of broadcast and related media to exchange views and assist each
other in their continuing professional development. It works to promote the
best practices throughout the industry and further afield (for example in
representations to the Government and regulators). The microphone
placement seminars are a regular feature of the Institute's development
programme which provides unparalleled access to members, and others,
who are experts in their field.

John Sullivan – Chairman

Institute of Broadcast Sound

These two masterclasses will be led by experienced

industry experts including:
Chris Woolf MIBS Editor of www.microphone-data.com, a member of the AES
panel for microphone specification, and freelance Technical Consultant.

Hugh Robjohns MIBS Technical Editor of Sound On Sound, Editor of Line Up

and former BBC Technical Trainer.

Pete Freshney MIBS As The Crow Flies mobile recording, with 40 years’
experience of recording live concert performances for radio and TV broadcast, as
well as for numerous commercial CDs.

Richard Merrick MIBS 30 years’ experience as a sound supervisor and

location recordist specialising in complex location work, covert filming, live music,
and broadcast communications.
0930
Convene / Coffee – BBC Maida Vale Studios, London

1000-1115
Basic Theory – Chris Woolf MIBS

Discovering how to use microphones - which ones are best in a particular

situation, where to place them, what to listen for when things sound wrong -
requires a thorough blending of theory with practicality. During the seminar Chris
will provide much of the foundation material. He will explain the different
microphone types, their operating principles and their limitations. He will also
provide much of the vocabulary that is needed so that you can distinguish
between hyper and hypo-cardioids, feel comfortable with pressure-gradient
rather than pressure operation, and know when and where to expect proximity
effects.

Chris combines both an engineering and an operational background so theory

never drifts too far from sharp-end practical usage. His presentations are
frequently amusing as well as instructive, and he will be on hand at all times to
offer additional help and technical explanations on an individual basis to anyone
who needs it.

1115-1130
Tea & Coffee Break

1130-1245
Instrument polar diagrams (where the sound comes out...) -
Hugh Robjohns MIBS
Hugh presents a short lecture explaining the nature of sound generation in a
variety of musical instruments with a view to optimising the placement of
microphones.
1245-1345
Lunch

1400-1530 – Delegates will be split into two groups.

Group 1

Musical Instruments inc Piano, - Pete Freshney MIBS

Following on from Hugh Robjohns' analysis of the sound radiation patterns of
various musical instruments, we get the rare chance to put theory into practice.
Various instrumentalists will play live in front of the delegates, and then retire to
an adjacent studio and continue playing while we try out the effects of different
microphones and mic positions on the recorded sound. We anticipate being able
to assess acoustic guitar, saxophone, flute, violin...

Additionally, there'll be the even rarer chance to listen to a Steinway concert

grand piano, and then similarly assess different mic techniques. The piano is of
course the most versatile of instruments - it can be solo in a concert hall,
accompaniment to a singer or another instrument in almost any genre of music,
part of a chamber music ensemble, used in a jazz group or a rock band - and
each scenario requires a different approach. There will be a multiplicity of mic
rigs, ranging from purist to quick 'n' nasty, very expensive to astonishingly cheap.

Participants will be encouraged to experiment - put a mic where your ears tell
you it sounds nice! There are no right answers when it comes to mic placement,
though there are probably some wrong ones.
 Group 2

Booms, personals, covert and radio mics... – Richard Merrick MIBS

The seamier side of placement, where we do everything EXCEPT put a mic on a
stand.

This is the pantomime part of the seminar, where we learn how to fly through the
air, hide in dark corners and use sticky substances next to warm flesh!

Prepare to be amazed as we take an express trip through the basics of swinging

a pole and gasp with delight when we show you how to be in and out of a lady’s
blouse with a radio mic in 20 seconds. We’ll also explore the “dark side of the
force” and dabble with some of the myths and legends of radio transmitters.

Finish the session in clandestine style by becoming “Agent Johnson of the IBS”
when we sneak a peek behind the curtains of the covert camera show and
discover just how many places you never realised could be bugged.

“Oh yes we will – oh no we won’t - look behind you!!!”

1530-1600
Tea & Coffee Break

1600-1730
The Groups will then be reversed and the above repeated.

1730-1800
Q&A
Everyone comes back together and can interrogate Chris, Hugh, Pete and Richard.
 Maida Vale Studios

The BBC's Maida Vale building was acquired in response to the rapidly
increasing requirements of broadcasting in the early 1930s.

Accommodation suitable for a large orchestra was needed and in 1934 a skating
rink in Maida Vale was converted into studio facilities. Like Broadcasting House,
the site had to be repaired after taking a direct hit during the London Blitz. On
22nd February 1953, it was visited by the newly-crowned Queen and the Duke of
Edinburgh.

Maida Vale is now the home of the BBC Symphony Orchestra and is used for
both performances and recordings of classical music and can hold more than
150 musicians, a choir of over 100 and an audience of 220.

BBC Maida Vale Studios

Delaware Road, London. W9 2LG
Underground: Warwick Avenue or Maida Vale (Bakerloo line)
 Maida Vale 4

Maida Vale Studio 4 is a creative haven within the main studio complex. It can be
configured to requirements and is an ideal environment to record, mix and
broadcast contemporary music styles.

A large studio, with additional mezzanine floor, capable of accommodating up to

25 musicians with large amounts of technical equipment. A separate vocal booth
adjoins the studio and excellent direct line of sight is complemented by a CCTV
system.

Maida Vale 4 is mainly used to record rock bands for Radio 1's Zane Lowe and
Steve Lamacq shows. Maida Vale 4 is also famous for the late great Peel
sessions.
 Places are limited to 40 people per day.
For the practical sessions you will be divided into two groups in order to
maximise your hands on participation.

The cost of this running this course is £250 per head, however
with the help of Skillset we have been able to subsidise the cost.

IBS Member Rate £175

AMPS Member Rate £200
Non IBS or AMPS Member Rate £225
Non IBS members may join the IBS and attend the course at a total cost of £250

Any delegates who require financial assistance with the provision of a facilitator
or carer, or are returning back to work please enquire at the time of booking.

Call us on 0300 400 8427 (Option 1) to book your place.

Please see the membership section of the website for further
information regarding becoming a member of the IBS.