Quartet Microphone Setup
A pair of the same microphones, such as two Sennheiser MKH40’s, should be mounted
to a single mic stand using a device called a "stereo bar." A stereo bar is a simple flat bar
that attaches at the center of a standard mic stand and has a slug at each end for attaching
a standard mic clip to the bar. Microphones attached in such a manner can then be aimed
by adjusting the clips to point the capsules in relationship to the performers.

Choosing a Mic Stand
If the stage is a permanent one, we recommend an Atlas Soundolier MS25 stand with a
boom attachment. This is a heavy-duty stand with a tripod-shaped heavyweight cast iron
base. It is capable of supporting the microphones on a boom without additional weights
to hold the stand in place. The boom attachment places the vertical portion of the stand
out of the way of hand gestures by the performers. Straw hats, canes, and other props
have a knack for finding their way against a mic stand.

If the stage is a temporary one, we recommend an Atlas Soundolier BS36 stand placed on
the solid floor in front of the stage, weighted if necessary, and extended to place the
microphones on a boom at stage height. You have seen this method used for the past
several years at Internationals. It keeps the stage noises caused by performer movement
from being picked up mechanically through the stand.

Aligning the Microphones
The microphones should be at mid-chest height for a "standard" six-foot barbershop
singer or higher. The microphones should be adjusted so the capsules are at the same
point in space, perfectly aligned vertically with one atop the other, and as close as
possible without the microphone bodies touching each other (Figure A). Since you can
actually see the capsules on most of the microphones we recommend, this should be
easily accomplished before placing the windscreens on the mics.

When viewed from the top, looking down at the mics (Figure B), the capsules should
create a pickup radius of about 180 degrees horizontally. So, if you begin with the
capsules 90 degrees to each other and increase that angle by moving the capsules another
15 degrees each, you should be close to correct. The capsules should appear to crossfire
and aim at quartet singing positions one and four. Only mic tests, which are described
later, will confirm the accuracy of the alignment.

FIGURE B

Marking the Toe-Line Radius
The next essential step – critical in competition but proper for shows as well – is to mark
a standard radius on the floor that the performers are not allowed to cross. This "toe-line"
radius should be approximately 36 inches from the center point of the microphone setup.
Mark the floor with white tape or some other highly visible method that the performers
will be able to see even with stage lights in their eyes.

Placing the Floor Monitor Speakers
Floor monitor speakers should be placed behind the microphones, between the lip of the
stage and the rear of the microphone array. Place the speakers as close to the vertical mic
stand as possible, angled out to face the performers. One speaker should serve
performers one and two, and the other should serve performers three and four.
The speakers should project sound toward the least sensitive area of the microphone
pattern. With cardioid microphones, the least sensitive area is the backside of the
capsule; therefore, you would aim the speakers at the tail of those microphones. Slight
adjustments may be necessary to find the best sound gain before feedback, but generally
this location will serve the needs of the performers. Adjustment of monitor EQ will be
necessary to maximize available gain before feedback.

Testing the Microphones
The off-axis pattern variations of the microphones are sufficiently different to require the
following steps, although the setup may appear to match the preceding instructions.
Perform the following steps to test the microphones:

1. A single person, a talker, should alternately stand at quartet singing positions one and
four, speaking directly on axis to each of the microphones, while the sound system
operator adjusts the signal levels to match when heard in the house speakers. An
appointed listener should be in the house to confirm this matching process.

2. The talker should stand exactly between the microphones and, while speaking, move
his head within a one-foot side-to-side distance to assure that no coloration of the
sound occurs between the pickup of the two microphones. This sound variation is
caused by "phasing," which is a time domain problem between the two capsules.
To fix a phasing problem, move one microphone along its own axis, in towards the
other microphone or out away from the other microphone, until no "seam" in the
coverage area can be discerned. It is important to retain the angle of the capsules to
each other and move only the relationship of the capsules in the horizontal plane. The
mechanical center between two microphones and the acoustical center between them
may not be the same due to the physical makeup and construction of the particular
microphone model. This is a result of construction techniques employed to tune the
pickup pattern to the manufacturer’s design criteria.

3. Confirm that this pair of microphones picks up all four voices with equal level. The
talker should speak into the mics while moving around the toe line through the four
singing positions. The listener should perceive no apparent level difference for those
four positions.

To verify the mic levels

· If the two outside singers appear to be louder than the two center singers, reduce
the angle of the mics from the 110-120 degree setup to a setup closer to 90
degrees.

· If the center singers are too loud, increase the angle of the mics beyond the 120-
degree point. This is a subtle adjustment. A couple of degrees will make a
difference. Be sure to re-check the center pickup point if you have to make this
change.

Proper setup and testing will result in a microphone array that will provide an accurate
and sonically awesome representation of the quartet’s barbershop sound that will both
interface with a mono sound reinforcement system and also provide an excellent stereo
pickup for recording.

Quartet Sound System Setup
We recommend that you bring a quartet or chorus recording with which you are very
familiar to the venue and play it back over the system. To adjust the sound system,
perform the following steps:

1. Walk throughout the seating areas and listen to how the system reproduces the music.
This procedure is also advisable for selecting a venue for a barbershop performance.

2. After comparing the sound of the disc as you know it to how the music sounds in the
hall, ask the sound system operator to make any necessary equalization adjustments –
bass and treble control changes – on the CD input modules of the mix console until
the recording sounds correct. Explain to the system operator that you want the live
show sound to have the same tonal qualities.

3. Find a willing and capable quartet to test the mics. Have them take the marked
positions and sing while you and the system operator fine tune the sound. Take your
time doing this. Make small adjustments until you are satisfied.

4. Make it clear to all concerned that the system is not to be further adjusted by anyone
before showtime. Final system tuning is best done when the hall is full, as described
next.

5. When the audience is in place, you may find that the overall sound level control will
have to be increased to compensate for the changes in acoustics that result from the
hall being full of people. Small changes in equalization may also be necessary.

6. While you have a quartet on stage to sing, you should arrange to have either the
Contest Administrator or his designated representative involved in the final system
tuning process. This cooperative effort should assure that the panel will accept the
competition mic tester performance with little or no request for further adjustment of
the sound system.

Chorus Microphone Setup and Sound System Tips
The microphones listed earlier in this document also can be used for reinforcement of a
chorus.

Placing the Chorus Microphones

Three to five microphones should be used, depending on the size of the chorus. These
mics should be hung six to eight feet in front of the front edge of the first riser step, and
in an arc matching that of the risers. Proper hanging height places the capsule slightly
above the heads of singers standing on the top row of the risers. The axis of the
microphone should be aimed down at the mouths of singers on the middle row of risers.
When choruses perform all or a portion of a selection off the risers, we recommend that
microphones designed to be placed on a flat horizontal surface, such as the Crown PCC
160, be used at the lip of the stage. For example, when choreography is part of the stage
presentation, these microphones will assist in retaining the full choral sound while the
group is away from their riser positions. Place three microphones at the lip of the stage,
one in the center and two others spaced eight feet on each side of center, all three placed
eighteen inches upstage from the lip.

Testing the Chorus Microphones
Follow the same guidelines as for the Quartet Microphone Setup.

1. Make sure that a talker walks the risers from end to end while a listener helps the
sound operator adjust the microphone levels until they are matched in the house.

2. Listen to a known CD source and adjust the sound in the house so the sound system
operator knows your goal for finished sound.

3. Proceed with a thorough sound check with a mic tester chorus. Take the time to make
the adjustments required.

4. Arrange for the Contest Administrator or his designee to be present and to assist in
the final settings.

MICROPHONES THAT ACOUSTIX RECOMMENDS

FOR THE TWO INSIDE ENSEMBLE MICS

A pair of AKG C 414B-ULS microphones

• One of the best large-diaphragm condenser microphones for over 25 years now.
• Perfect for almost any recording situation.
• Features like switchable polar patterns, pads or low frequency attenuation make it an ideal tool for difficult recording situations in the studio as well as on the road.

• Worldwide accepted standard in its class for every professional sound engineer.
  

Specifications:
FREQUENCY RANGE
20Hz to 20kHz

POLAR PATTERNS
Cardioid, Hypercardioid, Omnidirectional and Figure-8

PREATTENUATION
-10dB, -20dB switchable

BASSCUT FILTER
12dB/octave roll-off at 75Hz or 150Hz

SENSITIVITY
12.5mV/Pa (-38dBV) (all patterns)

IMPEDANCE
180 Ohm

EQUIVALENT NOISE LEVEL
14dB-A

MAXIMUM SPL FOR 0.5% THD
140dB (160dB@-20dB) at 1kHz
134dB (154dB@-20dB) 30Hz-20kHz

POWER REQUIREMENT
9-52V phantom power to DIN 45596

CURRENT CONSUMPTION
approx. 2mA

SIZE
141x45x35mm (5.6x1.8x1.4 in.)

NET/SHIPPING WEIGHT
320/920g (11.3 oz. /2.1 lbs.)

MICROPHONES THAT ACOUSTIX RECOMMENDS

FOR THE TWO INSIDE ENSEMBLE MICS

A pair of Audio Technica AT857QML Cardioid Condenser Quick-mount Gooseneck Microphones

• Designed for high-quality sound reinforcement, professional recording and broadcasting Accepts interchangeable elements to permit angle of acceptance from 100° to 360° Small-diameter, alternating gooseneck design permits highly flexible positioning. Plugs into any standard XLRF-type surface or cable connector 19" (482.6 mm)-long version.

Specifications

Note: In addition to the two-microphone ensemble configuration described above, ACOUSTIX uses solo microphones  (hand-held or on mic stands) on certain selections.  For example, this typically includes any of the songs with instrumental accompaniment or the Simon & Garfunkel Montage, to name a few.

MICROPHONES THAT ACOUSTIX RECOMMENDS

FOR SOLO USE ON OUTSIDE MIC STANDS

Four Shure SM58 Cardioid Dynamic Microphones

Consistently the first choice of professional performers around the globe, the SM58 is a genuine world standard and a true audio legend. Although the "58" is often imitated in appearance, its lively, yet intelligible, powerful sound and rugged reliability have never been duplicated. Makes rock, r&b, pop, and country vocals sound their best. Cardioid (uni-directional) dynamic.

Frequency response: 50 to 15,000 Hz.

MICROPHONES THAT ACOUSTIX RECOMMENDS

FOR SOLO USE ON OUTSIDE MIC STANDS

Four Shure BETA 58A Supercardioid Dynamic  Microphones with High Output Neodymium Element

In the tradition of the SM58, the Shure BETA 58A has become the top choice among vocalists and touring sound professionals world-wide. The BETA 58A improves on this tradition in dynamic microphone technology by providing a smoother sound and an extended high frequency response. The BETA 58A's consistent supercardioid pattern gives the best gain-before-feedback among dynamic microphones. The BETA 58A shock mount has also been improved to keep stage and handling noise to an absolute minimum, and its durability continues to make it one of the most rugged microphones in the live sound business. Supercardioid dynamic.

Frequency response: 50 to 16,000 Hz.

MICROPHONES THAT ACOUSTIX RECOMMENDS

FOR SOLO USE ON OUTSIDE MIC STANDS

Four Shure 55SH SERIES II
Cardioid Dynamic microphones

Low Impedance, On-Off Switch

A classic microphone with a nostalgic appearance, the 55SH Series II is perfect for performers who want the look and feel of the '50s and '60s. The same appearance as Shure's famous original 55 Series UNIDYNE® II microphones, but with updated performance characteristics. Cardioid dynamic.

Frequency response: 50 to 15,000 Hz.

STAGE LAYOUT OF SOUND EQUIPMENT

This is how the stage should look when we arrive for our sound check.

For questions call TODD WILSON

LOCAL: 214/265-STIX (7849)
OUTSIDE DFW: 888/449-STIX (7849)

EMAIL: acoustix@airmail.net

)

OTHER IMPORTANT NOTES:

• We will need a CD player for playback of one or more instrumental tracks through the house system and the monitors. We also prefer a "split cue" allowing for independent control of the vocals and instrumental track to achieve a proper balance coming through the monitors and the house. We will raise the outside mic stands as needed.

• Please use matching solo and ensemble microphones. It is wise to have spare mics or cables available, should any of these components prove to be defective during the sound check.

• We will need access to the stage for a technical rehearsal on the sound system for at least 30 minutes. For extended sets requiring a 40-60 minutes of performance time, we will need 4 matching solo plus 2 matching ensemble microphones. (6 total)
  
• Please have the sound system fully operational with the sound engineer present at the time of the sound check to avoid any unnecessary delays.