I use Timecode Systems Ultrasync Ones and a Wave master clock for this since they are capable of providing cameras with both timecode and genlock. If you aren’t familiar with genlock in a modern video production workflow you can read more. Genlock prevents the cameras from drifting apart from one another by clocking the sensors to match the timecode perfectly. Since each take is typically an hour or more and there are multiple cameras as well as independent audio recording, the use of genlock alongside timecode is needed. With comedy specials typically having high camera counts, making sure they all stay in sync is of the utmost priority. I love the DPA 4061 for this application. I suggest getting the lav as close as possible since they will be in a high noise environment. It also gives me peace of mind having a backup source on the performer.
This ensures you don’t miss any off the cuff interactions with audience members or before they pick up the mic on stage. My ultimate goal again is to reject the PA bleed as much as possible, so that will determine whether I use a spaced pair or XY and how their null points sit in each configuration.Įven though this likely won’t be used as the primary source for the performance, it’s still very relevant for any time the comedian might be off mic, such as their entrance and exit. For this pair my pickup pattern choice changes depending on the venue size & shape, but will generally lean towards a cardioid or hyper/supercardioid. As a result there is more of a reverb tail from the PA, but the direct sound is much quieter. My secondary stereo pair is typically placed a bit further into the audience. I’ve found putting the speakers in the null of a bi-directional mic yields a great signal to noise ratio between the audience and PA bleed.
I love the versatility of the AKG C414 EBs for their incredibly transparent sound, and multipattern flexibility.
This keeps the PA bleed very dry, while still allowing for great audience capture. I typically use a zoned audience micing approach and do a minimum of 2 stereo pairs, with different goals in mind for their sound.įor my primary stereo pair I am after a placement as close to the venue’s main speakers with the mics null rejecting as much as possible from the PA. Audiences tend to be very dynamic in their volume levels, so riding their levels helps considerably. The challenge is recording clean audience sounds while rejecting as much PA bleed to prevent the dialog quality from being destroyed. There is a surprising lack of information on recording audiences, but this is what’s worked well for me. One of the most important parts of any comedy performance is the reactions from the audience, but also one of the most challenging parts of recording comedy. This also makes them far less prone to potential feedback issues from the PA system in the venue then you’d get from their condenser mic counterparts. If it’s hardwired, a transformer isolated splitter is best practice, and if it’s wireless you’ll want a separate receiver giving you an independent feed.ĭynamic microphones tend to perform especially well in this instance, for their ability to reject unwanted bleed from the audience. Either way, you’ll want an isolated feed of that microphone prior to ever touching the venues sound system. Whether hardwired or wireless will depend on the production, but wireless tends to be preferred for its visual form factor and the comedians comfort. The primary source of sound for all of the comedian’s dialog is going to be a handheld mic the same microphone that is feeding the venue PA system. Arnold’s ‘Fat Ballerina’.Ĭomedian’s Mic – Handheld Dynamic for Dialog Here is my approach to recording the sound for a comedy special!Īlso check out an in depth Netflix Comedy Special Case Study breaking down the challenges and costs for the audio on David A. I’ve now done several comedy specials & albums, and learned a few tricks along the way to help improve the quality of recorded sound sound. This becomes much more difficult when the venue’s PA system is exciting the room the audience is in. Not only do you need to capture the comedian’s dialog cleanly but the audience in the room as well. Recording the production sound for a comedy special can pose a number of challenges not seen on typical video shoots.