M-Audio Microphone Basic MikingChapterConcepts3, Close-Miking vs. Distance-Miking Techniques

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Basic MikingChapterConcepts3

Microphone placement is an area in which art meets science. Microphone choice and placement is somewhat subjective, much in the same way that choosing a guitar and amp is a matter of personal preference. Furthermore, each situation brings a difference confluence of performer, sound space, recording equipment and creative forces.The question is not one of using the right or wrong mic or technique, but simply one of what works best in each unique situation. Nonetheless, it￿s good to know the ￿rules￿ in order to break them with the greatest success. Here, then, are some generalizations to consider. Note that since condenser mics are used in the vast majority of studio situations, all of the following application tips apply to condenser mics.

All recording spaces have a unique ambient quality that determines how sound from the source will be reflected. Those reflections are candidates for being picked up in the microphone(s) along with the direct sound from the source.The choice of microphone, pattern and placement depends in part on the balance you wish to strike between the sound source and the ambient characteristic of the recording space. Another critical consideration is isolation from other sound sources. In

many ways, it all comes down to envisioning the sonic focus you want the mic to have.

Close-Miking vs. Distance-Miking Techniques

In general, close-mikingtechniques (where the microphone is very close to the sound source) are used in conjunction with a cardioid or super-cardioid to focus the pickup pattern on the source while simultaneously avoiding any significant influence from the surrounding space. Close-miking with cardioids (or super-cardioids for extreme situations) is also very useful in isolating the sound source from other performers. Note also that the closer the mic is to the source, the more prevalent with be the performance by-products such as breath, fret noise, snare rattles and piano hammers. With close-miking, the illusion of space is likely to

be added electronically in post-production via reverb and/or other forms of time-delay devices.

Placing any mic at a greater distanceDistancefrom the-mikingsource will add

more of the room reflections.refers to microphone placement intended to incorporate at least some room reflections. An omni pattern really opens up the recording to incorporate the full ambience of a room. Regardless of the pattern, a proper balance must be found in order to maintain the presence of the source while incorporating surrounding ambience. When enough mics are available, engineers often employ both close- and distance-miking techniques simultaneously in order to control the balance of direct and room sound.

The farther the microphone is placed from the source, the less sensitive it is to the sound emanating from that source.

Thislaw offalloffinverissenotsquareslinear. Microphone sensitivity exhibits the ￿ i . e. sound power reaching the

microphone varies inversely as the square of the distance from the source. For example, the typical mic is exposed to only one-quarter the sound power at twice the distance from the source. (You can think of this as the aural equivalent of the exponential falloff in light as you get further away from a light bulb.)

Recall also that large-diaphragm cardioid microphones exhibit

Microphones potentially receive

reflections from the room and other objects as well as sounds emanating directly from the source

2'

4'

full 1/4 1/16

sensivitiy sensivitiy sensivitiy

Sound power falls off exponentially with distance

according to the law of inverse squares

Choosing & Using Microphones

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Contents Page Contents Ribbon microphones MicrophoneC apter 1DesignMicrophone Types Dynamic microphonesCondenser microphones Capsule SizeLarge Capsules BackplateSmall Capsules Medium CapsulesCardioid pattern PatternsSingle pattern vs. multi-pattern mics Super-cardioid patternMicrophone Electronics Top Address vs. Side Address DesignsTube electronics Tubes vs. solid stateManufacturing Standards Solid state electronicsStory behind affordable matched pairs for stereo-miking Higher standards Choosing & Using Microphones Pop Filters and Windscreens Temperature and HumidityCaring forChapterMicrophones2 Shock ProtectionCleaning and Storage Close-Miking vs. Distance-Miking Techniques Basic MikingChapterConcepts3Large Capsules vs. Medium Capsules Dealing with Unwanted Low-FrequenciesMic Preamp Revolutionary New Tampa Preamp Recording EnvironmentPhasing Issues with Multiple Microphones Choosing & Using Microphones Choosing & Using Microphones Appropriate angle Stereo MikingChapterTechniques4Mid-Side BlumleinDecca Tree Spaced OmniChoosing & Using Microphones Vocals Specific MikingChapterApplications5Acoustic Guitar Grand Piano Electric GuitarDrums Three different approaches to miking Drum kit with two mics Choosing & Using Microphones Choosing & Using Microphones Choosing & Using Microphones Patterns Cardioid, Omni & Figure Address Top M-Audio FamilyChapter 6of MicrophonesProblem Sound is muffled TroubleshootingAppendix a TipsProblem No audio from mic Problem Audible buzzContactAppeInformationdix B Audio CanadaAudio France Audio Germany Audio Japan