Microphone Basics

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Microphone BasicsIntro to Music Production; Loudon Stearns:

Assignment 1

3/7/2013Michael A. Michnya, MEd, LPC© 2013 Amor Songs

Michael A. Michnya, MEd, LPC 2

I started playing piano, guitar and singing when I was 13 or 14, but since I took the Allen Iverson approach to practice (“Practice? We’re talkin’ ‘bout practice???”), consider myself to be average musically. I wrote my first (really bad) song when I was 15, and it wasn’t until my mid-30’s that I started writing what I considered decent songs. I wish I had discovered songwriting TEACHERS sooner, so I’m making up for lost time.

I co-coordinate the Atlantic County NJ NSAI chapter and as co-founder of the Garden State Songwriters, hosted a monthly open mic for most of the last 12 years. I am either writing, re-writing or thinking up song ideas every day, and recording when I can squeeze in some quiet time. Recently, I discovered the power of songwriting with children, and plan to make that my next career. I’ve also been a TAXI member for several years now, and have had a few “forwards.” I aim to improve my music production skills so that recordings of my original songs reach the “broadcast quality – excellent home recordings” standard for most listings.My day job: professional counselor and coach specializing in parenting, relationships, and creativity. I’m available for Skype, telephone or email creativity coaching.

~ Michael A. Michnya, Somers Point, NJ

3/7/2013

About the Author

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Acoustic to electric “transducers” that convert acoustic “sound” (a mechanical wave or “oscillation” through a solid, liquid or gaseous medium - metal, water, air, etc. – that produces pressure variations) into an audio signal commonly in the frequency range from 20 to 20,000 Hz (the outer boundaries of human hearing)

Use a variety of methods to produce variations in electrical voltage from mechanical vibrations

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Microphones:

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Main Mics◦ Dynamic (electromagnetic induction)◦ Condenser (capacitance change)

Specialty Mics◦ Ribbon (magnetic induction)◦ Piezoelectric (structure-born sound)◦ Lavalier (may be condenser or dynamic)◦ Pressure Zone (PZM or “boundary”)

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Typical Music Production Mics

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Designed to be used on-stage in a loud environment◦ Rugged◦ Relatively inexpensive and moisture-resistant◦ Much less sensitive than condenser mics◦ Does not require external power

Frequency response usually ideal for vocals or specific instruments (i.e., drum mics)

Ex: Shure SM58 (vocal), SM57 (instrument)

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Dynamic Mics

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Designed for studio use◦ Very sensitive ◦ Picks up the widest range of frequencies ◦ Picks up sound from all directions◦ Requires “phantom” power ◦ May be used for vocals and instruments

Best all-around choice for home studios is a medium to large diaphragm condenser mic

Ex: AKG 414, Sterling St55, Rode NT-1A

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Condenser Mics

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Microphones are often designed for specific applications (vocals, instruments, all-around, frequencies, uses, spaces, etc.):◦ Piezoelectric: contact mics used for recording acoustic

instruments or drums◦ Lavalier: small, “hands free” mics worn on the body

(may be wired or wireless)◦ Pressure Zone (PZM or “boundary”): used in acoustic

spaces which suffer from excessive reflections from the “boundary” surfaces

◦ Ribbon: used to capture high-end frequencies or in a “Blumlein Pair” array for a high degree of stereo separation as well as room ambience

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Other Specialty Mics

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Microphone diagrams graph sensitivity in decibels over a range of frequencies, generally for sound arriving directly (at 0°) to the capsule.

Frequency response statements such as "30 Hz–16 kHz, “±3 dB“: ◦ Describe the range of frequencies, ◦ Mean a nearly flat, linear, plot between with variations in

amplitude of no more than plus or minus 3 dB. ◦ Do not describe variations in smoothness, nor the

frequencies at which they occur. Common statements such as "20 Hz–20 kHz" are

meaningless without a decibel measure of tolerance.

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Frequency Response

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http://en.wikipedia.org/wiki/Decibel


Knowing the frequency response capability of the available mics can help you choose the right mic for the application (e.g., vocal or instrument mic, stage or studio, etc.)

The “polar pattern” of a particular mic is a function of: ◦ Its frequency responsiveness◦ The direction from which it is sensitive to sound◦ Various elements of the mic’s design and

construction

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Frequency Response

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Graphically describes the areas the mic picks up well and the areas it rejects:◦ Unidirectional mics pick up sound from one primary

direction, with varying degrees of environmental “color” from other sides/rear Common unidirectional patterns include cardioid,

subcardiod, supercardioid and hypercardioid ◦ Omnidirectional mics: pick up sound from all areas◦ Bi-directional (figure 8) mics: pick up sound from front

and rear◦ Shotgun mics: pick up sound from front, sides and rear◦ Switchable mics: pick up sound from a variety of

selectable patterns, which also alters the mic’s frequency response

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Polar Patterns

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Michael A. Michnya, MEd, LPC 113/7/2013

Omnidirectional Polar Pattern

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Cardioid Polar Pattern

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Subcardioid Polar Pattern

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Intro to Music Production, Loudon Stearns, Berklee Music: https://class.coursera.org/musicproduction

Wikipedia: http://en.wikipedia.org/wiki/Microphone

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References

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Microphone Basics

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