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I N D E X
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . 4
MICROPHONE TECHNIQUES . . . . . . . . . . . . . . . . . 4
MICROPHONE PLACEMENT . . . . . . . . . . . . . . . . . . 8
MICROPHONE CHARACTERISTICS . . . . . . . . . . . . . 20
INSTRUMENT CHARACTERISTICS . . . . . . . . . . . . . 23
ACOUSTIC CHARACTERISTICS . . . . . . . . . . . . . . . 24
GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
APPENDIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
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R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Introduction SECTION ONE
sound better than an instrument that has been response that is suited to the frequency
reshaped by a multitude of signal processing gear. range of the sound, if possible, or filter out
frequencies above and/or below the highest
In this guide, Shure Application Engineers and lowest frequencies of the sound.
describe particular microphone techniques and
placement: techniques to pick up a natural tonal 2) Place the microphone at various distances
balance, techniques to help reject unwanted and positions until you find a spot where
sounds, and even techniques to create special you hear from the studio monitors the
effects. desired tonal balance and the desired
amount of room acoustics. If you don’t
Following this, some fundamentals of micro- like it, try another position, try another
phones, instruments, and acoustics are presented. microphone, try isolating the instrument
further, or change the sound of the instru-
ment itself. For example, replacing worn
out strings will change the sound of a guitar.
4
S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Vocal Microphone Techniques While many vocals are recorded professionally
in an isolation booth with a cardioid condenser
Individual Vocals microphone, other methods of vocal recording
R E C O R D I N G
Microphones with various polar patterns can be are practiced. For instance, a rock band’s singers
used in vocal recording techniques. Consider may be uncomfortable in the isolated environ-
recording a choral group or vocal ensemble. ment described earlier. They may be used to
Having the vocalists circle around an omnidi- singing in a loud environment with a monitor
rectional mic allows well trained singers to loudspeaker as the reference. This is a typical
perform as they would live: creating a blend performance situation and forces them to sing
of voices by changing their individual singing louder and push their voices in order to hear
levels and timbres. Two cardioid mics, posi- themselves. This is a difficult situation to recre-
tioned back to back could be used for this same ate with headphones.
application.
A technique that has been used successfully in
An omnidirectional mic may be used for a this situation is to bring the singers into the
single vocalist as well. If the singer is in a room control room to perform. This would be espe-
with ambience and reverb that add to the desired cially convenient for project studios that exist in
effect, the omnidirectional mic will capture the only one room. Once in that environment, a
room sound as well as the singer’s direct voice. supercardioid dynamic microphone could be
By changing the distance of the vocalist to the used in conjunction with the studio monitors.
microphone, you can adjust the balance of the The singer faces the monitors to hear a mix of
direct voice to the ambience. The closer the music and voice together. The supercardioid
vocalist is to the mic, the more direct sound is mic rejects a large amount of the sound project-
picked up relative to the ambience. ed from the speakers if the rear axis of the
microphone is aimed between the speakers and
The standard vocal recording environment usually the speakers are aimed at the null angle of the
captures the voice only. This typically requires mic (about 65 degrees on either side of its rear
isolation and the use of a unidirectional mic. axis). Just as in live sound, you are using the
Isolation can be achieved with baffles surrounding polar pattern of the mic to improve gain-before-
the vocalist like a “shell” or some other method feedback and create an environment that is
of reducing reflected sound from the room. familiar and encouraging to the vocalists. Now
Remember even a music stand can cause reflec- the vocalist can scream into the late hours of
tions back to the mic. the night until that vocal track is right.
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R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
0.6 - 1m
S T U D I O
(2 - 3 ft)
1.8 - 3m
(6 - 9 ft)
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S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Acoustic String and Fretted This will allow you to hear the instrument and
Instruments an element of room ambience. Record both
mics dry and flat (no effects or EQ), each to its
R E C O R D I N G
Experimentation with mic placement provides own track. These two tracks will sound vastly
the ability to achieve accurate and pleasing different. Combining them may provide an
sound reproduction on these complex sound open sound with the addition of the distant
sources. It is also an opportunity for exploring mic. Giving the effect of two completely dif-
sound manipulation, giving the studio engineer ferent instruments or one in a stereo hallway
many paths to the final mix. Whether you are may be achieved by enhancing each signal
involved in a music studio, a commercial stu- with EQ and effects unique to the sound you
dio, or a project studio, you should continue to want to hear.
explore different methods of achieving the
desired results. The possibilities are limited Try the previously mentioned mic technique on
only by time and curiosity. any acoustic instrument. Attempt to position the
mic in different areas over the instruments, listen-
Acoustic Guitar (Also Dobro, Dulcimer, ing for changes in timbre. You will find different
Mandolin, Ukelele) areas offer different tonal characteristics. Soon
When recording an acoustic guitar, try placing you should develop “an ear” for finding instru-
one mic three to six inches away, directly in ments’ sweet spots. In addition, the artist and
front of the sound hole. Then put another style of music should blend with your experiences
microphone, of the same type, four feet away. and knowledge to generate the desired effect.
Above Front
4
6”
3 2
7
R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Acoustic Guitar:
1 8 inches from sound hole Bassy Good starting placement when leakage is a
problem. Roll off bass for a more natural
sound (more for a uni than an omni).
S T U D I O
2 3 inches from sound hole Very bassy, boomy, Very good isolation. Bass roll-off needed
muddy, full for a natural sound.
3 4 to 8 inches from bridge Woody, warm, Reduces pick and string noise.
mellow. Mid-
bassy, lacks detail
4 6 inches above the side, over Natural, Less pickup of ambiance and leakage than 3
the bridge, and even with the well-balanced, feet from sound hole.
front soundboard slightly bright
Miniature microphone clipped Bassy, less Reduces leakage. Test positions to find each
inside sound hole string noise guitar’s sweet spot.
Banjo:
3 inches from center of head Bassy, thumpy Limits leakage. Roll off bass for natural
sound.
Violin (Fiddle):
Cello:
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S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Acoustic Bass: (Upright Bass, String Bass, Bass Violin)
R E C O R D I N G
6 inches to 1 foot out front, just above Well-defined Natural sound.
bridge
A few inches from f-hole Full Roll off bass if sound is too boomy.
Wrap microphone in foam padding Full, “tight” Minimizes feedback and leakage.
(except for grille) and put behind bridge
or between tailpiece and body
Harp:
1 4
8 7 2
Hammers
6”-12”
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R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Grand Piano:
1 12 inches above middle strings, 8 Natural, Less pickup of ambience and leakage
inches horizontally from hammers well-balanced than 3 feet out front. Move micro-
with lid off or at full stick phone(s) farther from hammers to
reduce attack and mechanical noises.
S T U D I O
2 8 inches above treble strings, as Natural, Place one microphone over bass strings
above well-balanced, and one over treble strings for stereo.
slightly bright Phase cancellations may occur if the
recording is heard in mono.
3 Aiming into sound holes Thin, dull, hard, Very good isolation. Sometimes sounds
constricted good for rock music. Boost mid-bass
and treble for more natural sound.
4 6 inches over middle strings, Muddy, boomy, Improves isolation. Bass roll-off and
8 inches from hammers, with dull, lacks attack some treble boost required for more
lid on short stick natural sound.
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S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Open
2 Open 1 1 2
R E C O R D I N G
3 3
Mic Mic Mics
6
4 5
Open
Upright Piano:
1 Just over open top, above treble Natural (but lacks Good placement when only one
strings deep bass), picks microphone is used.
up hammer attack
2 Just over open top, above bass Slightly full or Mike bass and treble strings for stereo.
strings tubby, picks up
hammer attack
3 Inside top near the bass and treble Natural, picks up Minimizes feedback and leakage.
stings hammer attack Use two microphones for stereo.
4 8 inches from bass side of sound- Full, slightly Use this placement with the following
board tubby, no placement for stereo.
hammer attack
5 8 inches from treble side of sound- Thin, constricted, Use this placement with the preceding
board no hammer attack placement for stereo.
1 foot from center of soundboard on Natural, good Minimize pickup of floor vibrations by
hard floor or one-foot-square plate presence mounting microphone in low-profile
on carpeted floor, aiming at piano shock-mounted microphone stand.
(soundboard should face into room)
6 Aiming at hammers from front, sev- Bright, picks up Mike bass and treble strings for stereo.
eral inches away (remove front panel) hammer attack
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R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Woodwinds
Saxophone:
With the saxophone, the sound is fairly well distributed between the finger holes and the bell. Miking
close to the finger holes will result in key noise. The soprano sax must be considered separately because
S T U D I O
its bell does not curve upward. This means that, unlike all other saxophones, placing a microphone
toward the middle of the instrument will not pick-up the sound from the key holes and the bell simulta-
neously. The saxophone has sound characteristics similar to the human voice. Thus, a shaped response
microphone designed for voice works well.
A few inches from and aiming into bell Bright Minimizes feedback and leakage.
A few inches from sound holes Warm, full Picks up fingering noise.
A few inches above bell and aiming at Natural Good recording technique.
sound holes
Miniature microphone mounted on bell Bright, punchy Maximum isolation, up-front sound.
Flute:
The sound energy from a flute is projected both by the embouchure and by the first open fingerhole.
For good pickup, place the mic as close as possible to the instrument. However, if the mic is too close
to the mouth, breath noise will be apparent. Use a windscreen on the mic to overcome this difficulty.
A few inches from area between Natural, breathy Pop filter or windscreen may
mouthpiece and first set of finger holes be required on microphone.
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S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Woodwinds (continued)
Saxophone:
R E C O R D I N G
Microphone Placement Tonal Balance Comments
Harmonica
Accordian
One or two feet in front of instrument, Full range, Use two microphones for stereo or to
centered natural sound pick up bass and treble sides separately.
Brass
The sound from most brass instruments is very directional. Placing the mic off axis with the bell of the
instrument will result in less pickup of high frequencies.
1 to 2 feet from bell (a couple of instru- On-axis to bell Close miking sounds “tight” and
ments can play into one microphone) sounds bright; to minimizes feedback and leakage.
one side sounds More distant placement gives fuller,
natural or mellow more dramatic sound.
Miniature microphone mounted
on bell Bright Maximum isolation.
French Horn:
Microphone aiming toward bell Natural Watch out for extreme fluctuations
on VU meter.
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R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
distant-mic techniques can be used to capture a
Amplified Instruments more representative sound.
Another “instrument” with a wide range of charac- Often, by using both a close and a distant (more
teristics is the loudspeaker. Anytime you are record- than a few feet) mic placement at the same time, it
ing a guitar or bass cabinet, you are confronted with is possible to record a sound which has a control-
the acoustic nature of loudspeakers. A single loud- lable balance between “presence” and “ambience”.
speaker is directional and displays different frequen-
cy characteristics at different angles and distances. Placement of loudspeaker cabinets can also have
On-axis at the center of a speaker tends to produce a significant effect on their sound. Putting cabi-
S T U D I O
the most “bite”, while off-axis or edge placement of nets on carpets can reduce brightness, while rais-
the microphone produces a more “mellow” sound. ing them off the floor can reduce low end. Open-
A cabinet with multiple loudspeakers has an even back cabinets can be miked from behind as well
more complex output, especially if it has different as from the front. The distance from the cabinet
speakers for bass and treble. to walls or other objects can also vary the sound.
Again, move the instrument and the mic(s)
As with most acoustic instruments, the desired around until you achieve something that you like!
sound develops at some distance away from the
speaker. The most common approach is to close- Top Side
mic an individual speaker. This is a habit people
develop from viewing or doing live sound. In the
live sound environment, most audio sources are
close-miked to achieve the highest direct to ambi-
ent pickup ratios. Using unidirectional mics for 2
close miking maximizes off-axis sound rejection as 3 1 4 1 2
well. These elements lead to reduction of potential
feedback opportunities. In the recording environ-
ment, the loudspeaker cabinet can be isolated and 4
Electric Guitar:
The electric guitar has sound characteristics similar to the human voice. Thus, a shaped response
microphone designed for voice works well.
1 4 inches from grille cloth at center Natural, well-bal- Small microphone desk stand may be
of speaker cone anced used if loudspeaker is close to floor.
2 1 inch from grille cloth at center Bassy Minimizes feedback and leakage.
of speaker cone
3 Off-center with respect to speaker Dull or mellow Microphone closer to edge of speaker
cone cone results in duller sound. Reduces
amplifier hiss noise.
4 3 feet from center of speaker cone Thin, reduced bass Picks up more room ambiance and leakage.
Microphone placed behind open back Depends on position Can be combined with mic in front of cabi-
cabinet net, but be careful of phase cancellation.
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S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Bass Guitar:
If the cabinet has only one speaker a single micro- Placing the microphone between speakers can
phone should pick up a suitable sound with a little result in strong phase effects though this may be
R E C O R D I N G
experimentation. If the cabinet has multiple desirable to achieve a particular tone. However, if
speakers of the same type it is typically easiest to the cabinet is stereo or has separate bass and treble
place the microphone to pick up just one speaker. speakers multiple microphones may be required.
Aim microphone at speaker as Depends on Roll off bass for clarity, roll off high
described in Electric Guitar brand of piano frequencies to reduce hiss.
Amplifier section
Aim one microphone into top Natural, lacks Good one-microphone pickup.
louvers 3 inches to 1 foot away deep bass
Mike top louvers and bottom bass Natural, Excellent overall sound.
speaker 3 inches to 1 foot away well-balanced
STUDIO
RECORDING
other instruments. In professional studios it is kit may capture the sounds of kit and room
common for the drums to be raised above the acoustics in an enjoyable balance. Additional
floor. This helps reduce low frequency transmis- mics may be added to reinforce certain parts of
sion through the floor. the kit that are used more frequently.
Here is a basic individual drum miking technique: 4 Tom Toms – While the kick and snare
establish the low and high rhythmic functions,
1 Bass (Kick) Drums – This drum’s purpose the toms are multiple drums that will be tuned
in most music is to provide transient, low-fre- from high to low between the snare and kick.
S T U D I O
quency energy bursts that help establish the pri- They are primarily used for fills, but may also
mary rhythmic pattern of a song. The kick be consistent parts of the rhythmic structure.
drums’ energy is primarily focused in two areas: The attack range is similar to the snare drum,
very low-end timbre and “attack”. Although this but often with more sustain.
varies by individual drum, the attack tends to be
in the 2.5-5kHz range. An individual directional mic on the top head
near the edge can be used on each drum and
A microphone for this use should have good low panned to create some spatial imaging. A sim-
frequency response and possibly a boost in the pler setup is to place one mic slightly above and
attack range, although this can be done easily directly between two toms. (position E )
with EQ. The mic should be placed in the drum,
in close proximity (1 - 6 inches), facing the beat- 5 Overheads – The cymbals perform a variety
er head. (position D) of sonic duties from sibilant transient exclama-
tion points to high frequency time keeping. In
2 Snare Drum – This is the most piercing any case, the energy is mostly of a high-fre-
drum in the kit and almost always establishes quency content. Flat frequency response con-
tempo. In modern music it usually indicates denser microphones will give accurate repro-
when to clap your hands! This is an extremely duction of these
transient drum with little or no sustain to it. Its sounds. Having
attack energy is focused in the 4 - 6kHz range. microphones with
low frequency
Typically, the drum is miked on the top head at roll-off will help
the edge of the drum with a cardioid or supercar- to reject some of
dioid microphone. (position C) the sound of the
rest of the kit
3 Hi-Hats – These cymbals are primarily short, which may
high frequency bursts used for time keeping, otherwise cause
although the cymbals can be opened for a more phase problems
loose sound. Many times the overhead mics when the drum Front view
will provide enough response to the high hat to channels are
eliminate the need for a separate hi-hat micro- being mixed.
phone. If necessary, a mic placed away from the The common
puff of air that happens when hi-hats close and approach to
within four inches to the cymbals should be a capturing the
good starting point. (position G) array of cymbals
that a drummer
Simpler methods of drum miking are used for may use is an
jazz and any application where open, natural kit overhead stereo
sounds are desired. Using fewer mics over sec- pair of micro-
tions of the drums is common. Also, one high phones. (posi-
quality mic placed at a distance facing the whole tions A and B) Top view
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S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
When there are limited microphones available to record a drum kit use the following guidelines:
R E C O R D I N G
One Use as “overhead” ( 5 )
Two Kick drum and overhead ( 1 and 5 )
Three Kick drum, snare, and overhead or kick drum ( 1 , 2 , and 5 )
Four Kick drum, snare, high hat, and overhead ( 1 , 2 , 3 , and 5 )
Five Kick drum, snare, high hat, tom-toms, and overhead ( 1 , 2 , 3 , 4 , and 5 )
One microphone aiming down between Natural Provides full sound with good attack.
pair of drums, just above top heads
Tambourine:
One microphone placed 6 to 12 inches Natural Experiment with distance and angles if
from instrument sound is too bright.
Steel Drums:
Microphone placed underneath pan Decent if used for tenor or second pans.
Too boomy with lower voiced pans.
Cello Pan, Bass Pan
One microphone placed 4 - 6 inch- Natural Can double up pans to a single
es above each pan microphone.
Two microphones aiming down Natural Pan two microphones to left and right
toward instrument, about 1 1/2 feet for stereo. See “Stereo Microphone
above it, spaced 2 feet apart, or angled Techniques” section.
1350 apart with grilles touching
Glockenspiel:
One microphone placed 4 - 6 inches Bright, with lots For less attack, use rubber mallets
above bars of attack. instead of metal mallets. Plastic
mallets will give a medium attack.
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R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Stereo fall out of the sound, you can assume that there
is phase problem. This may be a serious problem
Stereo Microphone Techniques – One of the if your recording
most popular specialized microphone techniques is going to be
is stereo miking. This use of two or more micro- heard in mono
phones to create a stereo image will often give as is typical in
depth and spatial placement to an instrument or broadcast or
overall recording. There are a number of differ- soundtrack
ent methods for stereo. Three of the most popu- playback. X-Y top view
S T U D I O
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MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
R E C O R D I N G
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R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Introduction
The world of studio recording is much different
from that of live sound reinforcement, but the fun-
damental characteristics of the microphones and
sound are the same. It is the ability to isolate
individual instruments that gives a greater ele-
ment of control and freedom for creativity in the
studio. Since there are no live loudspeakers, feed-
S T U D I O
STUDIO
RECORDING
between the element and the electronics to allow A microphone whose response has peaks or dips
them to handle higher sound levels. If you hear in certain frequency areas is said to have a
distortion when using a condenser microphone “shaped” response. This response is designed to
R E C O R D I N G
close to a very loud sound source, first make sure enhance a frequency range that is specific to a
that the mixer input itself is not being overloaded. given sound source. For instance, a microphone
If not, switch in the attenuator in the mic (if may have a peak in the 2-10Khz range to enhance
equipped), move the mic farther away, or use a mic the intelligibility or presence of vocals. This shape
that can handle a higher level. In any case, the is said to have a “presence peak”. A microphone’s
microphone will not be damaged by excess level. response may also be reduced at other frequencies.
One example of this is a low frequency roll-off to
A second side effect of the condenser/electronics reduce unwanted “boominess”.
design is that it generates a certain amount of
electrical noise (self-noise) which may be heard
as “hiss” when recording very quiet sources at
high gain settings. Higher quality condenser
mics have very low self-noise, a desirable char-
acteristic for this type of recording application.
Virtually all microphone manufacturers will list shaped frequency response drawing
the frequency response of their microphones
as a range, for example 20 - 20,000Hz. This is Although dynamic microphones and condenser
usually illustrated with a graph that indicates microphones may have similar published frequen-
relative amplitude at each frequency. The graph cy response specifications their sound qualities can
has the frequency in Hz on the x-axis and rela- be quite different. A primary aspect of this differ-
tive response in decibels on the y-axis. ence is in their transient response. See the
appendix for an explanation of this characteristic.
A microphone whose response is equal at all
frequencies is said to have a “flat” frequency Directionality - The sensitivity to sound relative to
response. These microphones typically have a the direction or angle of arrival at the microphone.
wide frequency range. Flat response microphones
tend to be used to reproduce sound sources without Directionality is usually plotted on a graph
coloring the original source. This is usually desired referred to as a polar pattern. The polar pattern
in reproducing instruments such as acoustic guitars shows the variation in sensitivity 360 degrees
or pianos. It is also common for stereo miking around the microphone, assuming that the micro-
techniques and distant miking techniques. phone is in the center and 0 degrees represents the
front or on-axis direction of the microphone.
STUDIO
RECORDING
balance of direct and ambient sound depends on Unidirectional microphones are available with
the distance of the microphone from the instru- several variations of the cardioid pattern. Two of
ment, and can be adjusted to the desired effect. these are the supercardioid and hypercardioid.
S T U D I O
supercardioid
cardioid (unidirectional)
STUDIO
RECORDING
Other directional-related microphone characteristics: Instrument Characteristics
Ambient sound sensitivity - Since unidirectional First, let’s present a bit of background information
R E C O R D I N G
microphones are less sensitive to off-axis sound about how instruments radiate sound. The sound
than omnidirectional types, they pick up less from a musical instrument has a frequency output
overall ambient or room sound. Unidirectional which is the range of frequencies produced and
mics should be used to control ambient noise their relative amplitudes. The fundamental fre-
pickup to get a “cleaner” recording. quencies establish the basic pitch, while the har-
monic frequencies produce the timbre or charac-
Distance factor - Since directional microphones teristic tone of the instrument. Here are frequency
have more rejection of off-axis sound than omni- ranges for some commonly known instruments:
directional types, they may be used at greater
distances from a sound source and still achieve
the same balance between the direct sound and
background or ambient sound. An omnidirec-
tional microphone will pick up more room
(ambient) sound than a unidirectional micro-
phone at the same distance. An omni should be
placed closer to the sound source than a “uni”–
about half the distance – to pick up the same bal-
ance between direct sound and room sound.
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R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Acoustic Characteristics The Wave Equation: c = f • l
speed of sound = frequency • wavelength
Since room acoustics have been mentioned or
repeatedly, here is a brief introduction to some speed of sound
wavelength =
basic factors involved in acoustics. frequency
for a 500Hz sound wave:
Sound Waves – Sound waves consist of pressure
1,130 feet per second
variations traveling through the air. When the wavelength =
500Hz
sound wave travels, it compresses air molecules
S T U D I O
... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...
.. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..
110
change above and 100
below normal 90
atmospheric pres- 80
70
sure. This is what 60
the human ear 50
wave motion 40
responds to. The
30
Frequency, Wavelength, and the Speed of varying amount of 20
Sound – The frequency of a sound wave indi- pressure of the air 10
cates the rate of pressure variations or cycles. molecules com- 0
One cycle is a change from high pressure to low pressing and
pressure and back expanding is relat- ambient sounds
to high pressure. one cycle or one period ed to the apparent
The number of loudness at the human ear. The greater the pres-
rms
cycles per second peak sure change, the louder the sound. Under ideal
is called Hertz, conditions the human ear can sense a pressure
abbreviated change as small as .0002 microbar. One microbar
“Hz.” So, a 1,000Hz peak-to-peak
is equal to one millionth of atmospheric pressure.
tone has 1,000 cycles The threshold of pain is about 200 microbar.
per second. Obviously, the human ear responds to a wide
range of amplitude of sound. This amplitude
The wavelength of a sound is the physical distance range is more commonly referred to in decibels.
from the start of one cycle to the start of the next Sound Pressure Level (dB SPL), relative to .0002
cycle. Wavelength is related to frequency by the microbar (0dB SPL). 0 dB SPL is the threshold of
speed of sound. The speed of sound in air is 1130 hearing and 120 dB SPL is the threshold of pain.
feet per second or 344 meters/second. The speed of 1 dB is about the smallest change in SPL that can
sound is constant no matter what the frequency. You be heard. A 3 dB change is generally noticeable,
can determine the wavelength of a sound wave of while a 6 dB change is very noticeable. A 10 dB
any frequency if you understand these relationships: SPL increase is perceived to be twice as loud!
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S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Sound Transmission – It is important to remem- hung for isolation or thin gobos, or it may be due
ber that sound transmission does not normally to atmospheric effects such as wind or tempera-
happen in a completely controlled environment. ture gradients. These effects are not noticeable
R E C O R D I N G
In a recording studio, though, it is possible to in a studio environment.
separate or isolate the sounds being recorded.
The best way to do this is to put the different 3. Diffraction - A sound wave will typically bend
sound sources in different rooms. This provides around obstacles in its path which are smaller than
almost complete isolation and control of the its wavelength. Because a low frequency sound
sound from the voice or instrument. wave is much longer than a high frequency wave,
Unfortunately, multiple rooms are not always an low frequencies will bend around objects that high
option in studios, and even one sound source in a frequencies cannot. The effect is that high frequen-
room by itself is subject to the effects of the cies are more easily blocked or absorbed while low
walls, floor, ceiling and various isolation barriers. frequencies are essentially omnidirectional. When
All of these effects can alter the sound before it isolating two instruments in one room with a gobo
actually arrives at the microphone. as an acoustic barrier, it is possible to notice the
individual instruments are “muddy” in the low end
In the study of acoustics there are three basic ways response. This may be due to diffraction of low
in which sound is altered by its environment: frequencies around the acoustic barrier.
25
R E C O R D I N G MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Direct vs. Ambient Sound – A very important The peak of the low pressure zone is at 270
property of direct sound is that it becomes weak- degrees, and the pressure change rises to zero at
er as it travels away from the sound source, at a 360 degrees for the start of the next cycle.
rate controlled by the inverse-square law. When
the distance from a sound source doubles, the Two identical sound waves starting at the
sound level decreases by 6dB. This is a notice- same point in time are called “in-phase” and will
able audible decrease. For example, if the sound sum together creating a single wave with double
from a guitar amplifier is 100 dB SPL at 1 ft. the amplitude but otherwise identical
from the cabinet it will be 94 dB at 2 ft., 88 dB at to the original
S T U D I O
This is why the ambient sound of the room will of phase”, and
become increasingly apparent as a microphone is the two waves +1 +2
placed further away from the direct sound will cancel 0
+1
-1
source. The amount of direct sound relative to each other “phase shifts” + = 0
+1
ambient sound can be controlled by the distance completely. 0
-1
change is also zero at are three possibilities for the resulting wave: a
this point. The peak doubling of amplitude at all frequencies if the
of the high pressure waves are “in phase”, a complete cancellation at
zone is at 90 degrees, all frequencies if the waves are 180 degrees “out
0 0
90
0 0
180
0
270
0
360 and the pressure of phase”, or partial cancellation and partial rein-
change falls to zero forcement at various frequencies if the waves
sound pressure wave again at 180 degrees. have intermediate phase relationship.
26
S T U D I O
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
The last case is the most likely, and the audible depends on the distance between the microphone
result is a degraded frequency response called and the source of the reflection or the distance
“comb filtering.” The pattern of peaks and dips between the multiple sources.
R E C O R D I N G
resembles the teeth of a comb and the depth and
location of these notches depend on the degree The goal here is to create an awareness of the
of phase shift. sources of these potential influences on recorded
sound and to provide insight into controlling
With microphones this effect can occur in two them. When an effect of this sort is heard, and is
ways. The first is when two (or more) mics pick up undesirable, it is usually possible to move the
the same sound source at different distances. sound source, use a microphone with a different
Because it takes longer for the sound to arrive at the directional characteristic, or physically isolate
more distant microphone, there is effectively a the sound source further to improve the situation.
phase difference between the signals from the mics
when they are combined (electrically) in the mixer. APPLICATIONS TIP: Microphone phase
The resulting comb filtering depends on the sound
arrival time difference between the microphones: a One of the strangest effects that can happen in the
large time difference (long distance) causes comb recording process is apparent when two micro-
filtering to begin at low frequencies, while a small phones are placed in close proximity to the same
time difference (short distance) moves the comb fil- sound source. Many times this is due to the phase
tering to higher frequencies. relationship of the sounds arriving at the micro-
phones. If two microphones are picking up the
The second way same sound source from different locations, some
for this effect to phase cancellation or summing may be occurring.
occur is when a Phase cancellation happens when two micro-
single micro- phones are receiving the same soundwave but
phone picks up a with opposite pressure zones (that is, more than
direct sound and 180 degrees out of phase). This is usually not
also a delayed desired. A mic with a different polar pattern may
version of the reduce the pickup of unwanted sound and reduce
same sound. The the effect, or physical isolation can be used. With
multi-mic comb filtering delay may be due a drum kit, physical isolation of the individual
to an acoustic drums is not possible. In this situation your
reflection of the original sound or to multiple choice of microphones may be more dependent
sources of the original sound. A guitar cabinet with on the off-axis rejection of the mic.
more than one speaker or multiple cabinets for the
same instrument would be an example. The Another possibility is phase reversal. If there is
delayed sound travels a longer distance (longer cancellation occurring, a 180 degree phase flip will
time) to the mic create phase summing of the same frequencies.
and thus has a A common approach to the snare drum is to place
phase difference one mic on the top head and one on the bottom
relative to the head. Because the mics are picking up relatively
direct sound. similar sound sources at different points in the
When these sound wave, you are probably experiencing some
sounds combine phase cancellations. Inverting the phase of one
(acoustically) at mic will sum any frequencies being canceled.
the microphone, This may sometimes achieve a “fatter” snare drum
comb filtering sound. This effect will change dependent on mic
results. This time locations. The phase inversion can be done with
the effect of the an in-line phase reverse adapter or by a phase
reflection comb filtering comb filtering invert switch found on many mixer inputs.
27
G U I D E V O C A L S
PERFORMANCE PERFORMANCE HEADWORN STUDIO ENSEMBLE
VOCAL (dynamic) VOCAL (condenser) VOCAL VOCAL VOCAL2
BETA 58A BETA 87 WCM16 SM81 SM81
SM58 SM87A WH10XLR SM7 SM94
BETA 57A BG5.1 SM10A BETA 87 BG4.1
SM57 SM12A SM87A
BG3.1 512 BG5.1
BG2.1
S E L E C T I O N
BG1.1
I N S T R U M E N T S
GUITAR BASS KICK SNARE TOMS
AMPLIFIER AMPLIFIER DRUM DRUM RACK & FLOOR
BETA 56 BETA 52 BETA 52 BETA 57A SM98A1
BETA 57A SM7 SM91A BETA 56 BETA 57A
SM57 BETA 57A BETA 57A SM57 BETA 56
BG6.1 BETA 56 SM57 BG6.1 SM57
BG3.1 SM57 BG6.1 BG6.1
BG2.1
This guide is an aid in selecting microphones for various applications. Microphone sound
SAMPLING KARAOKE quality and appearance are subject to specific acoustic environments, application technique,
SM81 SM58S and personal taste.
1 With A98MK drum mount kit.
SM94 565
2 For single point stereo miking, use VP88 M-S stereo microphone.
BG4.1 BG3.1
3 Bell-mounted with A98KCS clamp.
BG2.1
4 With RK279 mounting kit for instrument applications.
BG1.1K
12A
28
G L O S S A R Y
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
3-to-1 Rule - When using multiple microphones, Clipping Level - The maximum electrical output
the distance between microphones should be at signal level (dBV or dBu) that the microphone
least 3 times the distance from each microphone can produce before the output becomes distorted.
to its intended sound source.
Close Pickup - Microphone placement within 2
Absorption - The dissipation of sound energy by feet of a sound source.
losses due to sound absorbent materials.
Comb Filtering - An interference effect in which
Active Circuitry - Electrical circuitry which the frequency response exhibits regular deep
requires power to operate, such as transistors and notches.
vacuum tubes.
Condenser Microphone - A microphone that
Ambience - Room acoustics or natural generates an electrical signal when sound waves
reverberation. vary the spacing between two charged surfaces:
the diaphragm and the backplate.
Amplitude - The strength or level of sound
pressure or voltage. Critical Distance - In acoustics, the distance from
a sound source in a room at which the direct
Audio Chain - The series of interconnected audio sound level is equal to the reverberant sound
equipment used for recording or PA. level.
Backplate - The solid conductive disk that forms Current - Charge flowing in an electrical circuit.
the fixed half of a condenser element. Analogous to the amount of a fluid flowing in a
pipe.
Balanced - A circuit that carries information by
means of two equal but opposite polarity signals, Decibel (dB) - A number used to express relative
on two conductors. output sensitivity. It is a logarithmic ratio.
29
G L O S S A R Y MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Dynamic Microphone - A microphone that Gain - Amplification of sound level or voltage.
generates an electrical signal when sound waves
cause a conductor to vibrate in a magnetic field. Gain-Before-Feedback - The amount of gain
In a moving-coil microphone, the conductor is a that can be achieved in a sound system before
coil of wire attached to the diaphragm. feedback or ringing occurs.
Dynamic Range - The range of amplitude of a Gobos - Movable panels used to reduce reflected
sound source. Also, the range of sound level that sound in the recording environment.
a microphone can successfully pick up.
Harmonic - Frequency components above the
Echo - Reflection of sound that is delayed long fundamental of a complex waveform. They are
enough (more than about 50 msec.) to be heard generally multiples of the fundamental which
as a distinct repetition of the original sound. establish the timbre or tone of the note.
Frequency - The rate of repetition of a cyclic Inverse Square Law - States that direct sound
phenomenon such as a sound wave. levels increase (or decrease) by an amount pro-
portional to the square of the change in distance.
Frequency Response Tailoring Switch - A
switch on a microphone that affects the tone qual- Isolation - Freedom from leakage; the ability to
ity reproduced by the microphone by means of an reject unwanted sounds.
equalization circuit. (Similar to a bass or treble
control on a hi-fi receiver.) Leakage - Pickup of an instrument by a micro-
phone intended to pick up another instrument.
Frequency Response - A graph showing how a Creative leakage is artistically favorable leakage
microphone responds to various sound frequen- that adds a “loose” or “live” feel to a recording.
cies. It is a plot of electrical output (in decibels)
vs. frequency (in Hertz). Maximum Sound Pressure Level - The
maximum acoustic input signal level (dB SPL)
Fundamental - The lowest frequency component that the microphone can accept before clipping
of a complex waveform such as musical note. It occurs.
establishes the basic pitch of the note.
30
G L O S S A R Y
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Microphone Sensitivity - A rating given in dBV Pickup Angle/Coverage Angle - The effective
to express how “hot” the microphone is by expos- arc of coverage of a microphone, usually taken to
ing the microphone to a specified sound field level be within the 3dB down points in its directional
(typically either 94 dB SPL or 74 dB SPL). This response.
specification can be confusing because manufac-
turers designate the sound level different ways. Pitch - The fundamental or basic frequency of a
Here is an easy reference guide: 94 dB SPL = 1 musical note.
Pascal = 10 microbars. To compare a microphone
that has been measured at 74 dB SPL with one Polar Pattern (Directional Pattern, Polar
that has been measured at 94 dB SPL, simply add Response) - A graph showing how the sensitivi-
20 to the dBV rating. ty of a microphone varies with the angle of the
sound source, at a particular frequency.
NAG - Needed Acoustic Gain is the amount of Examples of polar patterns are unidirectional
gain that a sound system must provide for a and omnidirectional.
distant listener to hear as if he or she was close to
the unamplified sound source. Polarization - The charge or voltage on a
condenser microphone element.
Noise - Unwanted electrical or acoustic interference.
Pop Filter - An acoustically transparent shield
Noise Cancelling - A microphone that rejects around a microphone cartridge that reduces
ambient or distant sound. popping sounds. Often a ball-shaped grille, foam
cover or fabric barrier.
NOM - Number of open microphones in a sound
system. Decreases gain-before-feedback by 3dB Pop - A thump of explosive breath sound pro-
everytime NOM doubles. duced when a puff of air from the mouth strikes
the microphone diaphragm. Occurs most often
Omnidirectional Microphone - A microphone with “p”, “t”, and “b” sounds.
that picks up sound equally well from all directions.
Presence Peak - An increase in microphone out-
Output Noise (Self-Noise) - The amount of resid- put in the “presence” frequency range of 2,000 Hz
ual noise (dB SPL) generated by the electronics of to 10,000 Hz. A presence peak increases clarity,
a condenser microphone. articulation, apparent closeness, and “punch.”
Overload - Exceeding the signal level capability Proximity Effect - The increase in bass occurring
of a microphone or electrical circuit. with most unidirectional microphones when they
are placed close to an instrument or vocalist
PAG - Potential Acoustic Gain is the calculated (within 1 foot). Does not occur with omnidirec-
gain that a sound system can achieve at or just tional microphones.
below the point of feedback.
Rear Lobe - A region of pickup at the rear of a
Phantom Power - A method of providing power supercardioid or hypercardioid microphone polar
to the electronics of a condenser microphone pattern. A bidirectional microphone has a rear
through the microphone cable. lobe equal to its front pickup.
Phase - The “time” relationship between cycles of Reflection - The bouncing of sound waves back
different waves. from an object or surface which is physically
larger than the wavelength of the sound.
31
G L O S S A R Y MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Refraction - The bending of sound waves by a Standing Wave - A stationary sound wave that is
change in the density of the transmission medium, reinforced by reflection between two parallel
such as temperature gradients in air due to wind. surfaces that are spaced a wavelength apart.
Shaped Response - A frequency response that Transient Response - The ability of a device to
exhibits significant variation from flat within respond to a rapidly changing input.
its range. It is usually designed to enhance the
sound for a particular application. Unbalanced - A circuit that carries information
by means of one signal on a single conductor.
Signal to Noise Ratio - The amount of signal
(dBV) above the noise floor when a specified Unidirectional Microphone - A microphone that
sound pressure level is applied to the micro- is most sensitive to sound coming from a single
phone (usually 94 dB SPL). direction-in front of the microphone. Cardioid,
supercardioid, and hypercardioid microphones are
Sound Chain - The series of interconnected examples of unidirectional microphones.
audio equipment used for recording or PA.
Voice Coil - Small coil of wire attached to the
Sound Reinforcement - Amplification of live diaphragm of a dynamic microphone.
sound sources.
Voltage - The potential difference in an electric
Speed of Sound - The speed of sound waves, circuit. Analogous to the pressure on fluid flow-
about 1130 feet per second in air. ing in a pipe.
SPL - Sound Pressure Level is the loudness of Wavelength - The physical distance between the
sound relative to a reference level of 0.0002 start and end of one cycle of a soundwave.
microbars.
32
A P P E N D I X
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
Appendix A: The Decibel
The decibel (dB) is an expression often used in Since the decibel is a ratio of two values, there
electrical and acoustic measurements. The deci- must be an explicit or implicit reference value
bel is a number that represents a ratio of two val- for any measurement given in dB. This is usu-
ues of a quantity such as voltage. It is actually a ally indicated by a suffix on the dB. Some
devices are measured in dBV (reference to 1
A
logarithmic ratio whose main purpose is to scale
Volt = 0 dBV), while others may be specified
a large measurement range down to a much in dBu or dBm (reference to .775V =
smaller and more useable range. The form of 0dBu/dBm). Here is a chart that makes conver-
the decibel relationship for voltage is: sion for comparison easy:
dB = 20 x log(V1/V2) Audio equipment signal levels are generally
broken into 3 main categories: Mic, Line, or
where 20 is a constant, V1 is one voltage, V2 is Speaker Level. Aux level resides within the
a reference voltage, and log is logarithm base 10. lower half of line level. The chart also shows
at what voltages these categories exist.
Examples:
dB = 20 x log(100/1)
dB = 20 x log(100)
dB = 20 x 2 (the log of 100 is 2)
dB = 40
dB = 20 x log(.001/1)
dB = 20 x log(.001)
dB = 20 x (-3) (the log of .001 is -3)
dB = -60
Similarly:
One reason that the decibel is so useful in
If one voltage is equal to the other, they certain audio measurements is that this scaling
are 0dB different. function closely approximates the behavior
of human hearing sensitivity. For example,
If one voltage is twice the other, they are a change of 1dB SPL is about the smallest
6dB different. difference in loudness that can be perceived
while a 3dB SPL change is generally notice-
able. A 6dB SPL change is quite noticeable
If one voltage is ten times the other, they and finally, a 10dB SPL change is perceived
are 20dB different. as “twice as loud.”
33
B MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
A P P E N D I X
RECORDING
Appendix B: Transient Response
The ability of a microphone to respond to a The picture below is of two studio microphones
rapidly changing sound wave. responding to the sound impulse produced by an
electric spark: condenser mic on top, dynamic
A good way to understand why dynamic and mic on bottom. It is evident that it takes almost
condenser mics sound different is to understand twice as long for the dynamic microphone to
the differences in their transient response. respond to the sound. It also takes longer for the
dynamic to stop moving after the impulse has
In order for a microphone to convert sound ener- passed (notice the ripple on the second half of the
gy into electrical energy, the sound wave must graph). Since condenser microphones generally
physically move the diaphragm of the micro- have better transient response then dynamics, they
phone. The speed of this movement depends on are better suited for instruments that have very
the weight or mass of the diaphragm. For sharp attacks or extended high frequency output
instance, the diaphragm and voice coil assembly such as cymbals. It is this transient response
of a dynamic microphone may have up to 1000 difference that causes condenser mics to have a
times the mass of the diaphragm of a condenser more crisp, detailed sound and dynamic mics to
microphone. The lightweight condenser have a more mellow, rounded sound.
diaphragm starts moving much more quickly
than the dynamic’s diaphragm. It also takes
longer for the dynamic’s diaphragm to stop mov-
ing in comparison to the condenser’s diaphragm.
Thus, the dynamic’s transient response is not as
good as the condenser’s transient response. This
is similar to two vehicles in traffic: a truck and a
sports car. They may have engines of equal
power, but the truck weighs much more than the
car. As traffic flow changes, the sports car can
accelerate and brake very quickly, while the semi
accelerates and brakes very slowly due to its
greater weight. Both vehicles follow the overall
traffic flow but the sports car responds better to
sudden changes. condenser/dynamic scope photo
34
A B O U T
MICROPHONE
TECHNIQUES FOR MUSIC
STUDIO
RECORDING
JOHN BOUDREAU John, a lifelong TIM VEAR Tim is a native of Chicago
Chicago native, has had extensive experience as a who has come to the audio field as a way of com-
T H E
musician, a recording engineer, and a composer. His bining a lifelong interest in both entertainment and
desire to better combine the artistic and technical science. He has worked as an engineer in live
aspects of music led him to a career in the audio field. sound, recording and broadcast, has operated his
Having received a BS degree in Music own recording studio and sound company, and has
Business from Elmhurst College, John performed played music professionally since high school.
and composed for both a Jazz and a Rock band At the University of Illinois, Urbana-
A U T H O R S
prior to joining Shure Brothers in 1994 as an associ- Champaign, Tim earned a BS in Aeronautical and
ate in the Applications Engineering group. While at Astronautical Engineering with a minor in
Shure, John led many audio product training semi- Electrical Engineering. During this time he also
nars and clinics, with an eye to helping musicians worked as chief technician for both the Speech and
and others affiliated with the field use technology to Hearing Science and Linguistics departments.
better fulfill their artistic interpretations. In his tenure at Shure Brothers, Tim has served
No longer a Shure associate, John continues to in a technical support role for the sales and market-
pursue his interests as a live and recorded sound ing departments, providing product and applications
engineer for local bands and venues, as well as training for Shure customers, dealers, installers,
writing and recording for his own band. and company staff. He has presented seminars for
a variety of domestic and international audiences,
RICK FRANK Over his career, Rick has including the National Systems Contractors
been involved in a wide variety of music and Association, the Audio Engineering Society and
recording activities including composing, teaching, the Society of Broadcast Engineers. Tim has
performing, and producing popular music, jazz and authored several publications for Shure Brothers
commercial jingles. He has spent his life in Illinois and his articles have appeared in Recording
where he received his BS in English and his MBA Engineer/Producer, Live Sound Engineering,
from the University of Illinois, Urbana-Champaign. Creator, and other publications.
While in downstate Illinois he also operated a
successful retail musical instrument business and RICK WALLER Now residing in the
teaching program that coincided with working as a Chicago area, Rick grew up near Peoria, Illinois.
professional guitarist and electric bassist. An interest in the technical and musical aspects of
Rick’s work at Shure began as Marketing audio has led him to pursue a career as both engi-
Specialist for Music and Sound Reinforcement where neer and musician. He received a BS degree in
he was responsible for researching and analyzing Electrical Engineering from the University of
new product concepts and introducing new wired and Illinois at Urbana/Champaign, where he specialized
wireless products to the global market. He has pre- in acoustics, audio synthesis and radio frequency
sented training seminars to audiences and written theory. Rick is an avid keyboardist, drummer and
instructional materials on a variety of audio subjects home theater hobbyist and has also worked as a
including Understanding Sound Reinforcement using sound engineer and disc jockey. Currently he is an
the Potential Acoustic Gain Equation. associate in the Applications Engineering Group at
He is currently Marketing Manager for Wired Shure Brothers. In this capacity Rick provides
Microphones at Shure where he is responsible for technical support to domestic and international
Music industry products including microphones and customers, writing and conducting seminars on
other products for recording and he continues to wired and wireless microphones, mixers and other
perform music professionally. audio topics.
35
A D D I T I O N A L
S H U R E P U B L I C A T I O N S
A V A I L A B L E :
O T H E R S O U R C E S
O F I N F O R M A T I O N :
There are books and courses written about acoustics and how to
mathematically determine their effects. Here are a few:
• FUNDAMENTALS OF MUSICAL ACOUSTICS
by Arthur H. Benade
• ACOUSTICS SOURCE BOOK by Sybil P. Parker
• MODERN RECORDING TECHNIQUES by Huber & Runstein
• THE MASTER HANDBOOK OF ACOUSTICS
by F. Alton Everest
• SYNERGETIC AUDIO CONCEPTS
www.synaudcom.com
O U R D E D I C A T I O N
T O Q U A L I T Y P R O D U C T S
®
THE SOUND OF PROFESSIONALS... WORLDWIDE