PZM's for theatrical use

I've been tasked to select boundary microphones for a small theatre
company. I'm currently going over reviews and specifications, and
figured I'd see if anyone here happened to have any particular favorites.

Bob Howes...

The Crown PCC160 is absolutely the standard mic used for theatrical
purposes.

HangingJester...

That's pretty much what I figured. I've only ever used Crown PCC-160,
and PZM-30D's. Having not had personal experience with any of the other
boundry microphone products I didn't want to assume.

Garth D. Wiebe...

I've been using PCC-160 microphones for theater for the better part of
two decades. You need the boundary to extend behind, as well as in
front of the PCC. We put them on plexiglass sheets that we mount on
stands. This also decouples them from the stage floor, no one trips
over them, and allows you to tilt them upwards. If you look at the
pickup pattern that came with the microphone, it is greatest at the
horizontal plane. Tilt up to the point that you anticipate the lowest
level/angle at which voices will come from. Also you can tilt to
attempt to point the supercardioid null (from rear axis, approx. 30
degrees vertical, 30 degrees horizontal) towards the speakers.

Jason Lavoie...

a lot of people fail to recognize that these are directional and that
mic placement is very important.
I've seen them all too often placed as a pair at centre stage at 90
degrees apart.. but placing them at the corners of the stage facing IN
places the nulls towards the speakers and gets you much better
feedback rejection.

to the OP, I love these mics. I have a pile of used ones that I had to
rewire and they are still the best area mics I've used

Regarding the topic's title, you know that PZMs are almost never good
for sound reinforcement, due to their omnidirectional pickup. I've used
them a lot for recording.

HangingJester...

Yes, I know how to use them too, I was just curious about opinions on
the various products that are out there.

~ Jester

Has anyone tried the Astatic 930VP?

~ Jester

Their production types include musicals occasionally including dance.
Their current performance space's stage area is 35 feet wide by 30 feet
deep with roughly 5' wings. Their mixer does supply +48 phantom power.
They are more concerned with sound quality, and durability over price
with balanced output.

Some of those I am considering are:
Sure: MX393/O,
Astatic 930VP
Audio Technica: AT849, PRO42, U851R U841A, U851A
Crown: PCC-160, PZM-6D, PZM-30D
Sanken CUB-01

Peet...

The AKG C 547 BL Boundary is also a very smooth in sound mike to use,
whe have good results with it, in recordings and liveuse.

greetings,
Peet

I am leaning most towards the Crown PCC-160, Astatic 930VP, and Crown
PZM-6D.

Tim Scott...

I use the PCC-160 here when I need that kind of thing. My main shows, all
the cast are on headset mics (DPA 4088) But when I have quieter shows, that
just need ambient micing (mainly classical/opera stuff) I would tend to go
with the PCCs. Durability wise they are very strong - you can stand on them
and they will be fine! Pickup is good.

~ Jester

Denny Conn...

I've used the PCC-160s for theater for years and been very happy both
with the sound and the durability.

TimPerry...

on a musical i did a few weeks ago i used a variety of what was avalible
spread accross the stage. i felt the PCC-160 outperformed all others.
comparisons included shure 819, PCC-170 and AT-849. i also used a PZM-30GPB
under the grand.