Introduction

The purpose of this guide is to provide all you need as a music director to get you started with amplifying and recording your musical pit orchestra. For the purpose of this guide, a Pit Orchestra refers to the ensemble used to provide music for musical stage productions.

Because pit orchestras require some form of amplification to compete with the cast, all tiers of amplification will double as the recording tiers. 

Amplification and Recording 

Pit Orchestras are different from your average ensemble in that they most often require some form of amplification in order to compete with cast microphones. Not only this, they are also subject to the needs of the music and may often call for non-traditional ensembles. Regardless of what musical you may be doing, my hope is to get you started off right with this guide. Each step serves its own purpose and is important in its own way. The tier system will be slightly different as it will progress from essential to least essential.

Placement

XY

An XY is a great way of amplifying a small to medium sized pit orchestra. With this array, you are able to get an accurate stereo image of the ensemble with a minimal microphone footprint. For this you will need:

• Two cardioid microphones placed on a stereo bar or on two separate microphone stands.

• Depending on the depth of your pit whether it is closed or open, you will want to suspend the array over the head of the conductor or main keyboard. 

• Aim the array at the center of the ensemble.

ORTF

Similar to an XY, an ORTF is great for medium to larger pit orchestras or if you have a pretty spread out ensemble. An ORTF will allow you to capture the ensemble the most similar to the human ear so playing with the position is key. For this you will need:

• Two cardioid microphones spaced 11.8 inches apart and angled 110 degrees from each other. 

• Suspend the microphone array directly above the conductor’s head or slightly in front. Try to get the highest position possible.

• Aim the array at the center of the microphone.

AB Spaced Pair 

A spaced pair is a great way of capturing any sized orchestra due to using two omnidirectional microphones. This is also great if you have an oddly shaped orchestra pit as well. For this array you will need:

• Two Omni microphones suspended as high as possible above the orchestra pit with their capsules pointing down.

• Space the two microphones between 6-10 feet with the goal of curing the ensemble into thirds with the microphones. 

• Make sure that both microphones are suspended at the same height.

Techniques and Placements

Keyboards:

If you are running keyboards whether directly out or through a program such as mainstage, you will want a DI box before going into the mixer.

• You can run one mono channel if mixer space is an issue but opt to run stereo if you have the space for it.

Guitars:

If running the guitars with no effects (such is the case for acoustic-electric guitars) you can run the output out of the guitar, into a DI and into the mixer. Some things to consider:

• Unless you are running ears (more in Tier 3) you will want some form of amp for each device so that the musicians can hear themselves. 

  • Place a dynamic microphone (such as an SM57) in front of the amp cab in order to catch both the amp coloration or any effects the guitarist may be using.

Bass:

Similar to guitar, you can run the bass through a DI and into the mixer, if using a bass amp, most amps have a “recording out” output which allows you to use both the amp as well as send signal to the main mixer

• If you have an acoustic bass try the following:

  • If it has a pickup, follow the same recommendations as the electric bass. 

  • If no pickup, place a large diaphragm microphone aimed slightly above the bridge of the bass,

    • Note: this might be hard to do if you have limited space or if the pit is loud.

Reeds:

Reed books are interesting as they can have only one instrument or they can call for multiple (believe me, I’ve been there). The most common are” Flute, piccolo,  clarinet(s), saxophone(s), oboe and bassoon. Some things to keep in mind:

• Off axis rejection is your friend in a musical pit, using a cardioid microphone will help minimize bleed from the surroundings.

  • Use a cardioid SDC, LDC or dynamic microphone

• If amplifying saxes primarily, use a dynamic microphone or LDC  aimed at the keys, just above the bell. 

• If recording mainly flute and piccolo, use a small diaphragm condenser microphone aimed at the lip plate of the flutes.

• If using a variety of instruments, going with a large diaphragm microphone can serve you best. Placing it above the stand or directly to the left of the stand will help capture most instruments. The musician might need to adjust the microphone a little if going from say bass clarinet to piccolo. 

Strings:

Strings are different from reeds or rhythm section instruments in that you will want to place them in the pit in such a way that there is minimal sound bleed from the other instruments. Some things to keep in mind as you mic your strings:

• Because of the nature of the sound of strings, you will want to use a microphone that can capture the full spectrum of sound. In this case a condenser microphone. 

• Both an SDC and a LDC can work here, some SDC microphones allow you to change capsules for a hyper cardioid, this comes in handy if there is a lot of bleed. 

• For Violins - Aim the condenser microphone slightly above the bridge, make sure it is about 6-8 inches away from the instrument in order to allow the bow to move.

• For Cellos and Bass - Aim the microphone slightly above the bridge. Place the microphone about a foot away.

• In both cases, adjusting the microphone to be on or off axis will influence how dark or bright the sound is. 

Techniques and placement

Reeds:

Select the microphones based on the instruments included in the book. 

For Saxes:

• Place the microphone (dynamic or condenser) on the right side of the performer with the microphone 6-8 inches away pointing midway between the bell and the keys. 

  • If amplifying a Bari Sax, having one microphone pointing at the upper hand and one at the lower hand will provide an even coverage of the sound. 

Clarinets/Oboe:

• Place the microphone (condenser) 6-8 inches away and pointed at the center joining of the instrument. 

Flute:

• Place a SDC 6-8 inches away from the flutists pointed at the lip plate. 

  • Make sure it is not directly in front of the musician as you will get the full stream of air hitting the microphone. Instead, aim to have the microphone off axis pointing down at the lip plate. 

If the reed book calls for a combination of them you may need to use multiple microphones, my suggestion is to have one “high mic” to get flute and piccolo and one “low mic" to capture the reeds. 

Brass:

Due to the nature of brass instruments, you will want to use a high SPL microphone, this can be either dynamic or condenser.

• Place the microphone in front of the bell and off axis in order to avoid a harsh tone, 

  • One easy way is to set the mic and aim it at the bottom of the bell.

  • Brass is one of the last things to mic due to them being naturally loud.

• For Horns, you will want to place the microphone behind the performer.

Strings:

You will want to mic these instruments similar to how you would spot mic on a professional recording.

• For Violins - Aim the condenser microphone slightly above the bridge, make sure it is about 6-8 inches away from the instrument in order to allow the bow to move.

• For Cellos and Bass- Aim the microphone slightly above the bridge. Place the microphone about a foot away.

• In both cases, adjusting the microphone to be on or off axis will influence how dark or bright the sound is. 

Drum set:

Depending on the amount of control and amount of empty channels, you can opt for various microphone configurations. I would recommend starting with the essential drums (snare, kick and overheads) then adding extra mics if needed (toms, stereo overheads, ride, hi hat)