MICROPHONES 1
“MIC TECHNIQUE” = choosing the best microphone and positioning to capture (and possibly enhance) a particular sound.
Lets break this down:
A TRANSDUCER is a device that converts sound from one form of energy to another. A speaker is a transducer, and so is a microphone (the sound is just going in opposite directions). In fact, I know of people that have used a simple speaker (the good ol’ Aurotone) as a mic!
There are many different types of microphones, and of course they all sound different.
A DYNAMIC microphone is a simple microphone that contains a simple moving diaphragm.
A RIBBON microphone contains a delicate metal ribbon..
A CONDENSER microphone contains a metal plate that must be powered in order to work.
Each of these converts sound waves to electricity in slightly different ways, and as a result sound different from each other. Depending on what it is you are trying to record, and whether you want to do so accurately or attempt to enhance it, one type might be more appropriate to use.
Knowing the sound of the different microphone types (and even models) will allow you to properly choose which mic to use for a particular purpose. Often you will want flat, exact reproduction of what is being heard. But frequently you will try to enhance the sound of what is being heard WHILE you are capturing it. And that means CHOOSING a mic that BEST MATCHES OR ENHANCES the sound of what is being heard. Use a bright sounding microphone to record a bright sounding instrument, and a bassy sounding microphone for a low sounding instrument.
Of course, the MICROPHONE PRE-AMP that you are using to amplify the microphone will color the sound. Take that into consideration when deciding what to use. A clear condenser microphone through a meaty old Neve mic pre would be a very nice thing indeed.
All microphones have POLAR PATTERNS, which are the areas in front, behind or around it that will be captured or ignored. OMNIDIRECTIONAL mics capture in a complete circle, CARDIOID mics capture in front of the mic, and FIGURE-8 mics capture in front and back but ignore the sides.
Cardioid mics can get very tight. An AKG 414 set to hyper-cardioid is a great way to isolate the high-hat or snare bottom when tracking a drum kit. A shotgun mic has a super-cardioid pattern. Cardioid mics are very helpful when you are trying to mic only one sound source (or area) and avoid others, such as a live vocalist in front of a band (or one side of a stereo instrument).
Omnidirectional mics will record everything in the area. All cardioid mics are really Omnis with phase cancellation. That means that if you want a microphone to TRULY capture the sound it is hearing, it should be in Omni.
X/Y STEREO:If you place a pair of matched microphones at a right angle from each other, you can capture a stereo image. Stereo microphones actually consist of two mics that are already connected.
MS STEREO:Using a combination of a cardioid and figure-8 pattern, it is possible to create a very nice stereo image using a technique called “MS” (middle, side). You basically set up the mics in the same vertical axis (close together). Aim the figure 8 so that it captures the sides, and the cardioid so it captures the front. Then send the cardioid to both tracks, the figure-8 to the left track, and the figure-8 (out of phase) to the right track. The stereo field will vary with the proportion between the two mics. I suggest that after you check the sound you also record the cardioid and figure-8 mics to their own tracks rather than only combining them into the MS tracks. That way you can change your mind about the ratio later.
Left track = Cardioid & Figure-8 (in phase) / Right track = Cardioid & Figure-8 (flipped out of phase)
(I will add more text and images here to make this easier to understand)
BINAURAL STEREO:A binaural recording is made with matched microphones mounted in an artificial head, and can create startlingly realistic sonic images.
MILLER STEREO:Ah, screw the rules! Sure, set up something traditional and even TRACK it to be on the safe side (what the hey – we’re digital so tracks are not an issue) but be sure to PLAY AROUND AND EXPERIMENT. I record drums like a large stereo instrument, but I record them from the outside in rather than inside out. I record piano with mics that are far from the often recommended x/y pattern. I tiny bell trees and rainsticks using hypercardioid mics pointing outward from the middle.
The point is to experiment with your stereo field. Capture what you can and you can always decide what to use later.
HOWEVER you had better make sure that you are aware of the PHASE of any mics that are to be heard together, and especially aware of the phase of any mics you are combining. ALWAYS be sure to double check mics you are combining by flipping phase on one of the mics and listening to see if there is better low end.
(mic selection will be covered in each “Recording – “ unit)