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Microphone Techniques
TOP 5
MICROPHONE HANDLING TIPS
by Marc Lesonsky, LSC Microphone Technician
1. DO NOT
disassemble your mic in the field. Microphone parts are incredibly delicate, so
unless you know what you're doing, leave it to service technicians to inspect
it. You'll appreciate the savings.
2. Shotgun mics
are aptly named because of their design, not because they can pick-up gun shot
sounds. High sound pressure levels, unless recorded from a distance of at least
25' away, can damage a microphone's diaphragm, distort its membranes, and wreak
havoc with its frequency response.
3. And while
we're on the subject, shotgun mishaps aren't limited to the artillery kind. When
removing a shotgun mic (namely Neumann KMR 81 types) from a suspension mount
clip, lift the mic vertically. DO NOT slide the mic from the clip or you could
pull out the mic's internal screen asembly… it can happen to the best of us!
4. Microphones,
not just humans, need readings too. Okay, we're not talking about what the
future holds for your mic but rather precise readings of frequency response and
dB levels. This can be done thanks to our Audio Precision audio analyzer and
anechoic microphone chamber.
5. For some
mics, phantom power works even when batteries are removed. Try this with the
Sennheiser K6 preamp, Sony ECM lavs 55 through 77, and Sonotrim power supplies.
Microphone Selection and
Placement
by Andrew Lock
There are few rules with regard
to microphone selection and placement. Just as each person has preferences
about music, likewise engineers have different views on what sounds good.
With that in mind, the following are some suggestions that are known to work
reasonably well in most circumstances.
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VOCALS |
For
studio recording, use a condenser mic, placed around 6-8 inches away from
the mouth, with a popper stopper (fine mesh) in front of the mic. For
live vocals use a dynamic mic such as the Shure SM58 |
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THEATER, DRAMA, OPERA, MUSICALS |
Use a
number (at least three) boundary mics, placed in a lineon the edge of the
stage floor, about 1 or 2 feet from the edge of the stage. |
AMBIENCE
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Boundary
mics are ideal for recording ambient sound in a room or on location, as they
have a wide pick up pattern, and they eliminate most of the reflected sound. |
AUDIENCE
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Use two
boundary mics on the front of the stage (one each side), facing the
audience. Alternatively use stand mounted cardiod microphones either
side of the audience.
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ACOUSTIC GUITAR |
Attach a
small microphone to the guitar soundboard, halfway between the bridge and
the hole, about 1/2" from the low 'E' string, but not under the strings. |
SAX |
Place a
dynamic mic 12-18 inches to the side of the bell of the sax, and a few
inches above it. Don't try and mic a sax directly in front of the
bell, as the air pressure that is released will adversely affect the sound.
Many saxophonists are used to placing their own mic, so consult with them
too as to their preference.
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ELECTRIC GUITAR AMPLIFIER
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Position
a dynamic mic between 2 to 10 inches
from one of the speaker cones, and angle it across the speaker rather than
90 degrees to it. The closer you place the mic, the more bass
you will record. Most music stores sell low mic stands for this
purpose.
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DRUM KIT
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For the
snare drum and tom-toms, place a dynamic mic slightly above the head, 1 to 2
inches in from the rim, angled down about 45 degrees toward the head.
For cymbals, use two stand mounted condenser
mics about 2ft above the cymbals. The two mics, panned left and right
will give pickup the cymbals nicely and add to the stereo imagery of the
rest of the kit.
The hi-hat should also be recorded with a
condenser mic, placed about 6 inches above the outside edge of the top
cymbal, aiming down and slightly inwards. Don't mic from the side
because the release of air will result in a poor sound reproduction.
The bass or kick drum requires a dynamic
mic, placed around 6 inches from the surface of the front of the drum, or
inside the drum, facing the inside skin, mounted on a pillow or cushion. |
BONGOS OR CONGAS
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Use a
dynamic mic, positioned 12 inches above the drums, between the two heads.
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GRAND PIANO
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Lift the
lid and place a boundary mic underneath the lid in the middle of it.
You may need to use some tape to keep it fixed in that position.
Alternatively you could place one or two boundary mics underneath the piano,
on the floor. Another approach is to
place two condenser mics on a stand, about 12 inches apart, at a 90 degree
angle to each other, about 18 inches over the soundboard, and 10 inches
horizontally from the hammers.
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VIOLIN
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Use a
condenser mic, stand mounted around 12 or more inches over the top of the
violin.
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BRASS
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Use a
dynamic mic about 12 inches or more in front of the bell, and angle the mic
across the bell rather than directly in to it.
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WOODWINDS
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Use a
condenser mic, placed around 12 inches from the tone holes.
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