There's an a cappella group (the Accidentals, a Northern Arizona University music student group) that I want to record. There are 13 members who sing up to 8-part harmony, but more typically 4- to 5-part. This year's group is really good, so I would like to get them recorded. My question is how to mic them.
 
If I go with more than 4 inputs, I'd need to tear down my PC rig at home and take my Tascam US-16x08 with me. I don't want to do that, so that leaves me with my old PreSonus AudioBox 44VSL, with, doh, 4 mic inputs.
 
When they perform, they usually stand in a bit of an arc, 2 deep, with the featured voice (singer) stepping forward, and then back into the group.
 
My current thoughts are to have 3 mics for the group (left, middle, right) plus a Lead Vox mic somewhere that could be stepped up to and away from.
 
Being a former engineer (we don't die; we don't even fade away; we just start sticking our noses into other peoples' business), I know I'm over-thinking it, but I'm confusing myself with regards to recreating the proper panning and dealing with the vocal bleed and getting that all sorted out in the mix.
 
Assume that I have a great acoustic space (NAU has several). What would you suggest, positioning and number (1-4) of mics?
 
Thanks in advance.

you are over thinking it<G>... and with naked human vocals you are also risking spoiling the effect. Fewer microphones ALWAYS works better with these sorts of things - I wish I knew why (I have suspicions<G>!)

I'd set up a stereo pair in a sweet spot in the room - actually I'd set up one stereo ribbon and then one stereo pair of condenser microphones - probably a large capsule cardiod, but depending on the room, and the group I might try large capsule omni, or even small capsule cardiod or omni.

I might add a spot microphone, but generally these groups are so good that it is not necessary, and adding it tends to take away that magic.

So one, maybe two stereo microphone pairs and you are good to go. Really, one of the simplest recording gigs on earth!

Thanks, Bill! I knew I was overthinking it. This forum is one of the few places I'd ask for help, because: a) I won't get called a maroon, and b) I can trust and make use of the answers I get. Thanks, again!

glad I could help - if you think of it I'd love to hear how the project turns out.

Agreed that a stereo paid about 15'-18' in front with 90 degree angle on the mics to eleminate phasing and then a room mic further back for more ambience. 

I have found that putting the mic up higher than normal can work well too. Put the stand on a table if you cannot get a high mic stand. Some of the vocal sound can go upward a little.
 
No need to get too far back either as you may just end up with all room and no detail.
 
M/S also works great because the M mic is facing directly forward and the S mic is getting the sides. M/S gives you nice coverage over the ensemble rather evenly and you have some control after.
 
Co-incident and near co-inceidnet can work well too if you are working with matched pairs.

wst3
glad I could help - if you think of it I'd love to hear how the project turns out.

I don't know how long it will be, but I bookmarked your post and will let you know.
 
And thanks, Rimshot and Jeff, for the additional info.
 
I think what I do will depend on the space. For a larger space, a spaced stereo pair with a room mic makes sense to me. For a small space, I'm thinking an M/S configuration would be better.
 
Question on mid/side mic placement. I only have cardiod-pattern mics, no figure-8. Am I SOL on that option without buying/renting/borrowing another mic?

you can create a very serviceable MS rig with three cardiod capsules - you'll probably want to record all three tracks and process later, but it works just fine. I've even tried to do Blumlien (two figure-8 patterns at right angles) with four capsules - it got a little crowded<G>!

A spaced or coincident pair fairly close to the ensemble think in terms of where the conductor would likely stand - just behind and above is a great starting point), and then an M/S or Blumlein pair a little further back and a little higher - depending on the space.

A LOT of placement will come from walking around the space while they warm up. I recorded a small choir in a church several years ago where the coincident pair ended up about 2 feet above the conductor's head (I told her she had to be very quiet!) but the Blumlein pair (in this case a stereo ribbon) ended up 16 feet in the air and about half way across the right hand side - I happen to have a couple of very tall boom stands, but let me tell you, getting the stand in between a row of pews is not something I ever want to do again. But that was the sweet spot - the sanctuary was shaped oddly!

And don't worry - most of the time it doesn't get all that tricky.

What 4 mics do you have?
 
I usually mic choral groups with a stereo pair at a reasonable distance (10-15 feet) back and space a couple to three wide cardoid or omni microphones closer up.  That way you can pick and choose your balance later on.  
 
If you are using cardioid mics, I would suggest the NOS pattern in a so-so room, or ORTF in a good room.  If there are soloists, make sure they stand center and closer to the main pair and you may be able to do without a spot.  If it is pop-like music, a spot may be necessary.   
 
For some miking examples:
 
This is a recent concert with just an ORTF pair on the ensemble and some instrument spots.  A little bit of bleed from the choir in the spots was a nice mix. (Choir on first two pieces only)
http://www.instantencore.com/music/details.aspx?PId=5123698
 
Here is a video of a professional choir with ORTF mains and some omni spots.
https://www.youtube.com/watch?v=-C2hkZpIiUM
 
Lastly here is a small baroque choir of 10 with 4 spots in conjunction with the main pair.
https://www.youtube.com/watch?v=cRFwfEMjQI4
 
 
 

Jeff Evans
I have found that putting the mic up higher than normal can work well too. Put the stand on a table if you cannot get a high mic stand. Some of the vocal sound can go upward a little.
 
No need to get too far back either as you may just end up with all room and no detail.
 
M/S also works great because the M mic is facing directly forward and the S mic is getting the sides. M/S gives you nice coverage over the ensemble rather evenly and you have some control after.
 
Co-incident and near co-inceidnet can work well too if you are working with matched pairs.

What Jeff say's here is correct, sound does indeed travel up for some strange reason.  If you can, just use a stereo AB pair in the middle and above the choir.
 
Ben