Mic Archive

Mixed choir (SATB)

Soprano · Alto · Tenor · Bass voice

Peaks up close
up to 117.2 dB SPL
Sources
1610 independent: not from a mic maker

What it is

Adult men and women singing soprano, alto, tenor and bass parts; the most common choir.24

Also called mixed choir, SATB choir.

Where the sound comes from

  • voices: Many incoherent voices whose intensities add; a few loud voices dominate fortissimo.19
  • Each voice is close to omnidirectional below about 1 kHz.23
  • Above about 1 kHz each voice is more directional, towards the front.23

Layout

  • Classical: the four sections stand apart, spread left to right (one session had tenor, bass, soprano, alto), or mixed for blend.
  • Two lines, sopranos and altos in front, tenors and basses behind; or by gender, men on the left and women on the right.
  • A slight semicircle with the rows 'honeycombed' (singing between the shoulders in front) tightens the stereo image.12,13,11

How loud

Sound pressure level measurements as published. Different kinds of figure (a playing level, a peak, a dose at the player's ear) can't be compared with each other, and neither can figures at different distances.

Playing level
82.1–83.9 dB(A)mic on a stand 1.22 m in front of the conductor's podium, 2.36 m high, 3.84 m from the risers (conductor position); 43-voice mixed collegiate a cappella choir, five 50-min rehearsals in a 205 m2 cinder-block room; Leq per rehearsal including talking17
86 dB'Choir', HSE Sound Advice table; peak no data secondary18
50–90 dBat 20 m; model: 64 singers heard at 20 m; about 90 dB maximum at high pitches, about 50 dB minimum at low pitches estimate19
Peaks
101.2–104.6 dB(A)conductor position (as above); same choir: Lmax per rehearsal; the loudest moments were usually in the warm-up17
111.1–117.2 dBconductor position (as above); same choir: Lpeak per rehearsal17
Dynamic range
20 dBadult choir, pp to ff secondary19
28 dBat 20 m; model: choir built from 10 measured voice range profiles, 16 or 128 singers per section, heard at 20 m estimate19
Player's exposure (dosimeter)
88.8–96.9 dB(A)singer's shoulder (dosimeter); university choir with orchestra, mean Leq per voice part, tenor lowest, soprano highest; highest single reading 105.2 dB(A)20
92–94 dB(A)chorister (dosimeter); Finnish National Opera choristers: sopranos 94, other parts 92; 100 dB(A) in choir-only rehearsals secondary20
84.9 dB(A)dosimeter on the choir master; St Paul's Cathedral choir master, 37-min rehearsal with 24 boys and 12 men in the rehearsal room; LCpeak 114 dB(C)21
83.1–85.5 dB(A)not stated (dosimeters or meters on performers); St John Passion at St Paul's: 26 choristers, 80-voice amateur choir, 18 professional singers, 10-piece orchestra; warm-up 85.5, Part I 84.1, Part II 83.1 dB(A); LCpeak up to 125 dB(C)21
88.84–96.87 dB(A)singer's collarbone (dosimeter); university choir with orchestra, mean Leq per voice part, tenor lowest, soprano highest; highest single reading 105.2 dB(A)20,22
92–94 dB(A)chorister (dosimeter); Finnish National Opera choristers: sopranos 94, other parts 92; 100 dB(A) in choir-only rehearsals secondary20,22

Recording it

  • Main pair above and behind the conductor, high enough that the rows are equidistant; 3-4 m high in one engineer's practice, raised before it is moved back if the sound is too dry.
  • Pairs: X-Y (mono compatible, good for overdubs), ORTF (wider, 'more pleasing with unaccompanied choir'), spaced omnis from about 0.9 m apart, three mics left-centre-right for a deep block, or M/S.
  • Err towards too close: reverb can be added later, not removed. The higher and further back the pair, the more room.
  • Spot mics per section 0.9-1.2 m away and about 0.3 m above head height; delay the spots to match the main pair.
  • Flip the polarity of one channel of each pair to check for cancellation.12,25,13,16,11,3

Mics

  1. DPA 4097 3 sources, 1 from a mic makerOverhead, area
  2. Shure MX202 3 sources, 1 from a mic makerOverhead · Overhead mics, like the Shure MX202, often are used for choirs.
  3. Audio-Technica PRO 45 2 sourcesOverhead
  4. Neumann KM 184 2 sourcesArea, main pair or array · Neumann KM184 ... available in single or matched pair packages, for easy use in X-Y applications.
All the mics sources name, by setting and role (50)

On stage

Overhead

Area

X-Y

Handheld

The 18 setups behind this: placement and quotes
  • Overhead Audio-Technica ES933
    overhead, hanging, forward of front row, above back row
    Hanger positions the mic "over choirs, instrumental groups and theatre"; rear row no more than twice the distance of the front.1
  • Overhead Audix MicroBoom MB5050
    overhead, portable boom
    Lists "Choir" and "Ensemble vocal" as applications; boom lengths 24, 50 and 84 in.2
  • Overhead Audix MicroBoom MB8450
    overhead, tall portable boom
    Lists "Choir" and "Ensemble vocal" as applications.2
  • Overhead DPA 4098
    overhead, hanging
    The 4098 Supercardioid Ceiling Microphone is often preferred for amplifying choirs.3
  • Area 2 × Neumann KM 184
    stand-mounted pair, 2-3 ft from first row, at or just above tallest back-row singer
    "Neumann KM184 ... available in single or matched pair packages, for easy use in X-Y applications."4
  • Area Shure SM81
    stand-mounted, 2-3 ft from first row
    "The Shure SM81 and DPA 4097 CORE are great options as well."4
  • Area DPA 4097 CORE
    stand-mounted or hanging
    Hanging version of the DPA 4097 CORE named as a good overhead option; the stand version as unobtrusive.4
  • Area 2 × Audix MicroBoom MB5055
    stand-mounted boom, pair for X-Y
    "Audix MB5055 MicroBoom-50" listed with the KM184 as a stand-mounted choir option.4
  • Overhead Audix ADX40W or Shure MX202
    overhead, 6-10 ft above and in front of the choir
    Named as a good overhead option alongside DPA 4097 and Shure MX202. ... Named as a good overhead option for choirs.4
  • Handheld DPA d:facto 4018 or Shure KSM9 or Audix OM7 or Neumann KMS 104
    soloist, handheld (often wireless)
    Named as a handheld mic for choir soloists; soloists should have their own mics (paraphrase).4
  • Overhead condenser, small-diaphragm, cardioid, purpose-made hanging choir mic
    overhead, hanging, 18 in in front of front row, 18 in above back row
    "Choir mics are condenser types with a cardioid or supercardioid polar pattern."5
  • Overhead condenser, small-diaphragm, cardioid/supercardioid, hanging or stand
    overhead, above the tallest back-row singer
    "The most popular microphones for choirs are small diaphragm condenser types that are purpose designed."6
  • Overhead Shure MX202
    overhead, hanging
    "Overhead mics, like the Shure MX202, often are used for choirs."7
  • Overhead Audio-Technica PRO 45 or Audio-Technica U853 or Earthworks C30 or Electro-Voice RE90H or Electro-Voice RE92H or Shure CVO or Shure MX202
    overhead, hanging
    Listed by SoundPro among its choir overhead/boom mics (retailer list, no quote).8
  • Overhead DPA 4097 CORE
    overhead, hanging or boom
    Listed by SoundPro among its choir overhead/boom mics (retailer list, no quote).8
  • Overhead Audix MB5050 MicroBoom
    overhead, portable boom
    Listed by SoundPro among its choir overhead/boom mics (retailer list, no quote).8
  • Overhead Galaxy Audio CBM-5
    overhead, boom
    Listed by SoundPro among its choir overhead/boom mics (retailer list, no quote).8
  • Handheld Audio-Technica AE4100 or DPA d:facto 4018VL (variant of the DPA 4018A) or Electro-Voice ND76 or sE Electronics V7 or Sennheiser e 835 or Shure Beta 58A
    soloist in front of choir, handheld
    Listed by SoundPro as handheld mics for choir soloists; "handheld dynamic mics are ideal for highlighting an individual voice".8

Studio and stage

Overhead

Main pair or array

Stereo pair

Spot

Stereo pair

Area

The 8 setups behind this: placement and quotes
  • Overhead DPA 4097 CORE
    overhead, hanging or stand, aimed at back row
    "Often preferred for the amplification of choirs", but "very suitable for recording as well".3
  • Overhead DPA 4011 (earlier version of the DPA 4011A)
    overhead or spot, recording
    "High definition and clarity" for choir applications (paraphrase).3
  • Main pair or array 2 × Rode M5 matched pair
    stereo pair
    Listed among the best microphones for church choirs (paraphrase of a ranked list).9
  • Main pair or array 2 × Behringer C-2 or Samson C02PR
    stereo pair, budget
    Listed among the best microphones for church choirs (paraphrase of a ranked list).9
  • Overhead Audio-Technica PRO 45
    overhead
    Listed among the best microphones for church choirs (paraphrase of a ranked list).9
  • Overhead Shure CVO-B/C or AKG CHM 99
    overhead, hanging
    Listed among the best microphones for church choirs (paraphrase of a ranked list). ... Listed among the best microphones for church choirs; "specifically designed for recording choirs" (CHM 99) or choir-suitable (paraphrase).9
  • Spot 2 × Audio-Technica AT4021
    spot or pair
    Listed among the best microphones for church choirs (paraphrase of a ranked list).9
  • Area Audio-Technica AT2021 or Audio-Technica AT4047MP (variant of the Audio-Technica AT4047/SV) or DPA 2011A or Rode NT3 or Sennheiser e 965 or Shure KSM137
    group mic in front of choir (2 ft in front, 2 ft above back row)
    Listed by SoundPro under condenser mics for choirs; "condenser mics deliver the sensitivity and nuance you need".8

Studio

Spot

  • DPA ST4011A stereo pair (variant of the DPA 4011A)1 source from its own maker

ORTF

Main pair or array

Spaced pairX-YDecca treeBlumleinORTFL-C-R

Multi-mic plan

The 14 setups behind this: placement and quotes
  • Spot 2 × DPA ST4011A stereo pair (variant of the DPA 4011A)
    spot pair for a choir section
    "ORTF technique is ideal as a spot pair for supporting a choir section of an orchestra".3
  • Main pair or array 2 × DPA ST4006A stereo pair (variant of the DPA 4006A)
    main pair, natural room blend
    Use A-B stereo so solo recordings of a choir blend with the timbre of the room (paraphrase).3
  • Main pair or array 3 × Neumann M 50
    main tree above and behind conductor
    Decca Tree: tree 10-12 ft above stage just behind the conductor, M50 omnis from 1955 (orchestra/opera practice).10
  • Main pair or array 2 × two cardioid condensers, X-Y, in front of the choir
    main pair, singers in a slight semicircle
    "An XY stereo pair of cardioid condensers placed in front of the choir is a good place to begin."11
  • Main pair or array 2 × two figure-of-eight condensers, Blumlein pair
    main pair, captures room behind the mics too
    Blumlein "captures the same focused stereo image but ... the stereo room ambience behind the microphones is also captured".11
  • Main pair or array 3 × Decca tree, two mics about 1.5 m apart plus a centre mic, above conductor
    main array above conductor
    Decca Tree: two mics about 1.5 m apart facing left and right, a third at the choir, above the conductor's head.11
  • Main pair or array 2 × two coincident directional mics at 90 degrees (X-Y)
    stereo pair over choir
    X-Y "works well for overdubbed choir parts".12
  • Main pair or array 2 × two directional mics, 17 cm apart, 110 degrees (ORTF)
    stereo pair over choir
    ORTF gives "a wider image than XY stereo, and is therefore more pleasing with unaccompanied choir".12
  • Main pair or array 2 × two omni mics, about 3 ft apart (spaced pair)
    stereo pair over choir
    "For larger groups like choirs, I usually start around 3 feet" apart.12
  • Main pair or array 3 × three omnis or cardioids spaced across the front, panned L-C-R
    main array for a choir in a block formation
    "Probably my favorite array for choral groups, three mics spaced across the front."12
  • Multi-mic plan main pair: 2 × Neumann KM 184 + sopranos, altos, tenors: 3 × Superlux R102 + basses: Beyerdynamic M 130
    main pair above the conductor; one spot per section, 3-4 ft away and about 1 ft above head height
    Pair of KM184s, 90-degree angle and five-inch spacing, above the conductor, to capture the whole 20-voice choir (paraphrase). ... Three Superlux R102 ribbons on tenor, alto, soprano sections; engineer preferred ribbons over condensers for close mics (paraphrase). ... A Beyerdynamic M130 ribbon on the bass section, with Superlux R102 on the other three sections (paraphrase).13
  • Main pair or array 2 × DPA ST4006A stereo pair (variant of the DPA 4006A) or DPA ST4011A stereo pair (variant of the DPA 4011A) or DPA ST4015A stereo pair (variant of the DPA 4015A) or DPA 3532-SP stereo kit or Samson C02 pair or Shure KSM137 stereo pair
    stereo pair, X-Y or similar
    Listed by SoundPro as stereo pairs for X-Y miking; "most small-to-medium-sized choirs can be adequately miked" this way.8
  • Main pair or array 3 × three directional mics, left, centre and right, behind the principals
    opera chorus on stage, studio recording
    "Choruses ... were covered by three directional microphones covering left centre and right" (Decca opera recording).14
  • Main pair or array Choir advice Royer SF-24 or Royer SF-12
    stereo pair for vocal groups
    "The SF12 and SF-24 are especially useful for recording vocal groups in stereo."15

Setting not stated

Main pair or array

ORTF

The 1 setup behind this: placement and quotes
  • Main pair or array 2 × Rode NT5
    main pair, about 3 m back and at the same height as the choir (30-voice choir in a stone church)
    "I'd stick with the original idea of ORTF NT5s for the choir" and start about three metres back, same height.16

Advised against

  • Spot Shure KSM141 or Shure KSM137 or Avantone CK-1
    section spots, 3-4 ft
    KSM141 close mics were thin and brittle on voices because of the small-diaphragm on-axis high-frequency boost (paraphrase). ... KSM137 on the altos; judged thin and brittle against ribbons (paraphrase). ... Avantone CK1 on the sopranos; judged thin and brittle against ribbons (paraphrase).13

On stage

  • Small-diaphragm cardioid or supercardioid condensers on stands or hanging, about 45 cm in front of the first row and 45 cm above the back row's heads; or '2x2': 2 ft in front, 2 ft above the tallest singer, for up to 20 singers.
  • About one mic per 6 m of singers; 30-45 voices need two or three.
  • Keep neighbouring mics at least three times as far apart as each is from its singers (3:1); with few mics it can't always be met.
  • Aim a supercardioid at the back row: the front row is then about 60 degrees off axis and the back row 1.4 times further away.
  • Gain before feedback drops fast as mics cover more singers: in DPA's example for 12 singers, six mics lose 17 dB and three mics 25.5 dB against one mic per singer.5,8,3,1

Problems to watch

  • Feedback with monitors behind the choir.
  • Hearing loops pick up dynamic mics and cables: use condensers and route cables away.
  • Comb filtering from too many open mics.3,6

Sources

  1. Audio-Technica: ES933 datasheet (hanging choir mic)manufacturer · fullcompass.com
  2. Audix: MicroBoom series specificationsmanufacturer · fullcompass.com
  3. DPA Mic University: How to mic a choirmanufacturer · dpamicrophones.com
  4. Guitar Center: How to Mic a Choirretailer · guitarcenter.com
  5. ProSoundWeb: Church Sound, Effective Microphone Strategies For ChoirsBruce Bartlett · educational · prosoundweb.com
  6. ProSoundWeb: Choir Mic Techniques, Rising To The Challengemagazine · prosoundweb.com
  7. Shure: Of Mics and Monitors, Live Sound Reinforcement Tips for ChoirsJames Wasem · manufacturer · shure.com
  8. SoundPro: How To Mic a Choir, Best Mics & Placement Tipsretailer · soundpro.com
  9. Musician Wave: The 7 Best Microphones for Church Choirsmagazine · musicianwave.com
  10. Josephson Engineering: The Decca Treemanufacturer · josephson.com
  11. Production Expert: Capturing Choral Charisma, Part 3 of 3Denis Kilty · magazine · 2013-12 · production-expert.com
  12. Recording Magazine: Choir Recording And A Primer On Mid/Sidemagazine · recordingmag.com
  13. Sound On Sound: Session Notes, Recording A ChoirMike Senior · magazine · soundonsound.com
  14. Peter van Biene: Decca Outside-Recording TechniquesPeter van Biene · engineer · kevindaly.org.uk
  15. Royer Labs FAQ: Which Royer mic would you recommend for recording vocals?manufacturer · royerlabs.com
  16. Sound On Sound: Q. What kind of mic setup should I use to record a choir?Hugh Robjohns · magazine · soundonsound.com
  17. IJRCS: Sullivan and Taylor, Sound Energy Levels Produced by a Choral Ensemble (vol. 14, 2026)Kristen Sullivan; Meghan S. Taylor · academic · 2026 · acda.org
  18. Representative noise levels table with orchestra noise guidance (UK Sound Advice material)eclass-b.uoa.gr
  19. Titze and Maxfield: choir dynamic range model (JASA 142(4), 2464-2468)academic · 2017 · pmc.ncbi.nlm.nih.gov
  20. Cook-Cunningham, Grady and Nelson: choir singers' noise exposure (IJRCS 4(1), 19-35)academic · 2012 · acda.org
  21. Noise & Health: Dance and Zepidou, Sound Exposure of Choristers (21(98), 41-46)Stephen M. Dance; Georgia Zepidou · academic · 2020 · pmc.ncbi.nlm.nih.gov
  22. IJRCS: Cook-Cunningham, Grady and Nelson, Hearing doses of university choral singers (4(1), 2012), PDFSheri L. Cook-Cunningham; Melissa L. Grady; Heather Nelson · academic · 2012 · acda-publications.s3.us-east-2.amazonaws.com
  23. Katz and d'Alessandro: voice directivity measurements (ICA 2007)academic · 2007 · groupeaa.lisn.upsaclay.fr
  24. Wikipedia: Choirreference · en.wikipedia.org
  25. DV Info Net forum: Audio Micing Church Choirforum · dvinfo.net