Proper mic stand set-up

Set-up mic stands like a pro.

Interns, assistants, students, engineers in the club, engineers in the studio … much to my dismay you’re all setting up mic stands improperly and its got me concerned. A nicely set-up mic rig is neither a booby-trap, nor an accident waiting to happen, nor a source of frustration for the performer … a proper mic rig sits firmly from first downbeat to final “goodnight”, without a wiggle, sag or slip. Before you even get near my prized mic collection, here’s how its done in painful detail …

The mic stand must be set-up and positioned for strength and balance. All three legs (if present) shall be fully extended. The center pole/shaft shall be set for maximum height and firmly tightened to avoid swivel or sag. The smaller diameter, upper height adjustment pole (not the main center pole) should be adjusted (along with the boom) to achieve a usable height. All adjustment nuts, knobs and clutches shall be firmly tightened … but never over-tightened to the point of thread stripping or requiring a tool for removal.

The cable shall approach the stand from a position opposite the performer. The cable must be wrapped around the center pole no more than two or three times, until it reaches the boom. The cable shall wrap around the boom two or three more times, until it reaches the mic. The cable shall not be wound too tightly, causing cable coiling or distortingThere can be no loose loops left in the cable, to avoid snagging by guitar necks, arms or protrusions. Any cable management clips available on the mic stand should be used.

 The mic shall be properly positioned in its clip or shockmount, never over-extended or loosely held, with any tension clips or nuts firmly tightened. The clip/shockmount shall be tightly attached to the boom, with any rotational adjustments made by the boom arm itself. If the mic employs a tube, the mic shall be hung from above by a large boom, allowing heat to dissipate upward, away from the diaphragm. Any counterweights available shall be utilized. The stand shall not be over-extended or even fully extended. If so, utilize a larger stand with counter-weights. If the stand is not counter-weighted and/or burdened by heavy weight, a sand bag must be used.

 A poorly set-up mic rig is a risk to the entire production …susceptible to failure by a stray bump, a passing hand or guitar neck, a performer’s adjustments or any excessive vibration. Yes, I’ve seen a Southern Gospel choir rock a U87 right out of the shockmount dangling by a wire, as the whole church swayed with the big beat. Conversely, a professional mic rig stoically absorbs vibration, stands firm, stands tall, holding steady, caressing those transducers like the precious tools they are.

 While we’re at it, it deserves mention that storing and transporting mic stands deserves our attention as well. Basically, the mic stand should be fully compacted, down to its minimal size. All nuts and clutches shall be fully tightened to avoid slippage and possible damage. Finally, stands shall be packed in a fashion preventing moving/sliding, which can damage t-bars and shear nuts clean off. Packing blankets or towels can be used to further prevent sliding, breakage and noisy clacking on bumpy roads.

 It has been said countless times before that new hires must show proficiency in cable wrapping in order to get the gig and they must exercise the “house rules” of all things cable to keep the gig. I submit that mic stand usage, positioning and storage should be added to that “must do” list.

 Perhaps I’ve missed something in my quest for ideal mic stand set-up … maybe you have some better ideas … we’re all here to get better … let’s talk!