Stage mounting of PCC-160

4 posts in this topic


I work with a few different college and community theater groups, and there is a difference of opinion about the proper way to mount PCC-160s on a stage, so I figured I would ask here.

I remember that PZMs are resistant to noise coming up from the floor as vibrations from people walking near the mics, so the only footsteps one hears through them are from the noise of footsteps coming through the air, is the same thing true of PCC mics?

A number of theater audio people I know mount their PCC-160s on top of foam pads to isolate them from the floor vibrations of actors walking near them.

But as for myself and some other theater audio people I know, we've always believed the PCC-160s should be mounted directly against the hard boundary surface of the stage in order to work properly.

Which is the proper way to mount PCC-160s? Don't they need the hard contact with the stage floor as part of their boundary surface like a PZM does? Or is the actual plate on the microphone the only hard boundary required? Is the foam cushion a bad idea?



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Let's start with the answer to the last question first, then explain. Yes, using foam under the PCC-160 is generally a bad idea!! The mic is designed to be used on a "boundary" which in this case is the stage floor. The mic will still work, but you are cutting down its pickup by moving it up on the foam. Unless the mic is being used on a unstable portable floor that moves, the mic will not pick up mechanical transfer noise from the solid stage floor, so no isolation is needed. If you can hear "footsteps" with your own ears, then the microphone is working just fine. It does not have the ability to be selective in what it picks up. Now, I have found that you can reduce the foot noise by placing the mic on a 2 ft square piece of plywood or plexiglass and raising the front of the wood to aim at the actors shins or knees. It still will not totally eliminate the ambient foot noise. The best solution is to use only the mic needed to cover the acting area on the stage, and turn down any mics not needed for what is immediately happening. In other words, follow the action with the faders on the mixer. This will keep the ambient noise down, and actually add gain before feedback to the entire sound system.

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Sorry for the delay, but yes, something like that would work great. You will have to experiment with different elevations to get it to work for your exact application.

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