Not long ago I was delivering a lecture introducing a group of 1st year students to a variety of microphones. I produced a Shure MX393C from my bag and placed it on the table, at which point a voice from the back of the room declared, ‘That’s like the ones they have down the police station!’ Not only was this a great ice-breaker for my new students, creating a good deal of merriment, but it also gave me an excellent intro into talking about boundary microphone techniques. Apart from imparting excellent clarity to the proceedings down the cop shop, these versatile and unobtrusive microphones have many other uses.
Stereo pair of Shure MX393Cs on the floor of a theatre stage, set at 90 degrees
There are occasions when the huge, reverberant acoustic of a medieval cathedral can greatly enhance a performance. Choral music often sounds particularly impressive, floating in the vast empty space. However, there are also occasions when the blurring effect of multiple reflections can ruin the fine detail of a recording:-
CLICK HERE to listen to 2 very different versions of the same harp recording.
The first version, (though very grand), is considerably blurred by out of phase reflected sound arriving at the microphones. The mics used in version 1 are an M-S pair of AKG C414BTLs mounted on a stand 2-3m in front of the performer. On the floor at the base of the mic stand I also placed a pair of Shure MX393C (cardioid) boundary mics set at 90 degrees. Playing back this 2nd version of the same performance, recorded on the MX393s, it is hard to believe that this is the same concert! The reverberation of this enormous echoing space has all but vanished and the resulting recording is clean and sharp, and gives the impression of being much closer to the performer.
Sometimes known as Pressure Zone Microphones (PZMs), boundary layer microphones exploit a number of acoustic phenomena which occur at the point where sound hits a large, flat, reflective surface such as a floor, wall, or ceiling. Smaller surfaces such as tables can also be used, but may limit low end frequency response. If you are interested in understanding the theory behind these microphones and techniques for using them, this article from Crown Audio is a must read.
Apart from concert recordings in difficult acoustics I have also used my Shure MX393s fixed to the inside of the lid of a grand piano. This works well, without the boominess often associated with close micing. Even works with the lid shut, giving excellent separation. Close to the front edge of a theatre stage facing the audience they are great for recording audience reaction. Facing up stage I have often used them, with excellent results, to reinforce tap dancing, drama, and singing.
If you are looking for a great bass drum mic the Shure Beta 91 is another boundary model worth checking out. Either inside the drum or on the floor immediately in front it really delivers some punch. Particularly good for rock or metal.
On a number of occasions I have arrived at a venue to record a concert only to be told by the promoter that I am not allowed to have microphones in view of the audience! A representative from English Heritage once told me that microphones were not in keeping with the building! Mmm……….. The options for a sound engineer at this point are somewhat limited! Once you have abandoned the idea of punching the promoter it may be that, well placed, and unobtrusive boundary mics could save the day!
Martin Mitchell's Microphones 