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Microphones

Microphones. The basics. The microphone is your primary tool in the sound chain from sound source to audio storage medium. Factors when capturing a sound with a microphone:. microphones location in relation to the sound source

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Microphones

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  1. Microphones The basics

  2. The microphone is your primary tool in the sound chain from sound source to audio storage medium.

  3. Factors when capturing a sound with a microphone: • microphones location in relation to the sound source • the acoustic environment in which we choose to record the sound source

  4. Types of Microphones • There are three main types of microphones: • 1) Dynamic/Moving Coil • 2) Ribbon • 3) Condenser/Capacitor

  5. 1) Dynamic/Moving Coil microphones • Example: Shure SM 57 • They operate on a magnetic principle : movement of a copper coil around a magnet causes a changing flow of electrons that represent the sound wave

  6. Dynamic/Moving Coil microphonesAdvantages: • durable and can withstand a lot of volume before they distort (within their own circuitry). • they don’t require phantom power to operate. • colours the sound in range between 5-10khz, this adds clarity, presence and understandability to many vocal and instrument sounds. • doesn’t feedback as easily as other mics

  7. Dynamic/Moving Coil microphones typical uses: • mostly live situations, but they are also used a lot in the studio. • close mic applications (1-12 inches) • snare drums, guitar amplifiers, kick drum, vocals and any instrument that can play loud.

  8. Dynamic/Moving Coil microphones disadvantage: These microphones often miss the many subtle nuances of sounds because it takes a lot of sound pressure to move the coil.

  9. 2) Ribbon microphones • Example: Beyer M 160 • a metallic ribbon is suspended between two poles of a magnet. Sound waves vibrate the metallic ribbon which causes a varying flow of electrons to the different poles of the magnet

  10. Ribbon microphonesadvantages: • These microphones capture a warmer and smoother sound than dynamic/moving coil microphones. • Don’t feedback much in live situations. • Don’t require phantom power to operate.

  11. Ribbon microphonestypical uses: • Typically used in the studio because they are fragile • Used in close mic applications (1-12 inches) • Often used for acoustic guitars. Also work well for vocals.

  12. Ribbon microphonesdisadvantages: • colours the sound by adding a high frequency edge • fragile • will only pick up sounds that are very close.

  13. 3) Condenser/Capacitor microphones • Example: Audio Technica AT 4033 • How do condenser microphones work? • A charged electrical current is applied to a metal-coated piece of plastic. the coating vibrates sympathetically in response to a sound wave because it is very thin. • The metal-coated piece of plastic is positioned close to a piece of metallic alloy. • The changes in the space between the surfaces create a changing discharge of electrical current. • It makes an electrical version of acoustic energy from the sound source.

  14. Condenser/Capacitor microphonesadvantages: • they respond to fast attacks and transients more precisely than other mics and add little tonal colouration • they can be used to record sounds from a greater distance and capture a broader range of frequencies • big advantage: these mics record a sound while capturing natural ambience of a room.

  15. Condenser/Capacitor microphonestypical uses: • recording studios • can be used to record almost any sound…except very loud ones (ex. Kick drum) • extremely effective with quiet sounds • the perfect choice for capturing room ambience. • almost always used for vocals , acoustic guitars and drum ovreheads.

  16. Condenser/Capacitor microphonesdisadvantages: • fairly fragile • feedback too easily in a live environment (although some have low frequency roll off switches to help alleviate feedback frequencies) • require phantom power to operate

  17. Microphone polar patterns: • A polar pattern is the pickup pattern of the microphone. • There are three main types of patterns: • 1) Cardiod • 2) Bi-directional • 3) Omnidirectional

  18. Frequency Response • Most microphones respond to frequencies within and beyond the human range of hearing. • Our ears have the ability to hear frequencies from 20-20 000 hertz . • All microphone manufacturers provide specifications for the frequency range of their products.

  19. Frequency response curve • The frequency response curve of a microphone shows how the microphone responds to different frequencies across the audible spectrum. • A mic with a flat response adds little colouration to the sound. Many mics drop off sharply in the frequencies below 300 hz. Yet boast frequencies in the area of 4000 hz.

  20. Pre-amplifiers • Although a microphone can be plugged directly into a mixing board, better results are often achieved by using a pre-amplifier. • Example: Universal Audio 2-610

  21. Conclusion • Effective sound miking requires lots of experimentation. • Most home studios should have at least one good moving coil and one good condenser mic.

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