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Microphones & Miking Techniques: An Introduction

When you enter the world of audio recording, one of the first tools you'll encounter is the Microphone. But with the variety available and the myriad ways to use them, it can be a daunting journey. This explainer aims to simplify that process for you.

1. What is a Microphone?

A microphone is a device that converts sound waves into electrical signals. At its core, it captures vibrations (from voices, instruments, or any other sounds) and translates them so they can be amplified, recorded, or transmitted. Different microphones are designed to capture sound in various ways and have distinct characteristics that make them ideal for specific tasks.

2. Types of Microphones

  • Dynamic Microphones - These mics are rugged, moisture-resistant, and can handle high sound pressure levels (SPL), making them perfect for live sound environments and studio applications. They use a diaphragm attached to a coil of wire, placed within the magnetic field of a magnet, which means they don't need a power source.
  • Condenser Microphones - These are more sensitive and offer a higher frequency response and louder output than dynamic mics. They're commonly used in studio recording settings. They require power (from batteries or phantom power) to charge their internal electronics.
  • Ribbon Microphones - Known for their high quality and smooth character, ribbon mics capture sound with a thin strip of metal suspended in a magnetic field. They're fragile and typically used in studio environments.
  • Lavalier Microphones - These are small clip-on mics often seen in broadcasting for interviews and presentations.
  • Shotgun Microphones - With a very narrow area of sensitivity, or "polar pattern," these mics are used to pick up sound from a specific direction. They're commonly used in film and TV production.

3. Miking Techniques

  • Close Miking - Placing the microphone close to the sound source. This technique captures the direct sound and reduces the amount of ambient noise. It's commonly used in both live sound and studio recording.
  • Ambient Miking - Mics are placed at a distance from the sound source. This captures more of the room's acoustics and ambient noise, providing a more "natural" or "live" sound.
  • Stereo Miking - Uses two microphones to capture a stereo image. Common techniques include X/Y (where two cardioid mics are placed close together at a 90-degree angle) and spaced pair (where two mics are several feet apart).
  • Miking Drums - Each drum or cymbal can be miked individually (close miking) or a few overhead mics can be used to capture the entire kit (ambient miking).
  • Miking Guitars - For acoustic guitars, placing a mic near the 12th fret captures a balanced sound. Electric guitars are often miked by placing a microphone close to the amplifier's speaker.

4. Polar Patterns

This term refers to the sensitivity of a microphone to sounds arriving from different directions:

  • Cardioid Picks up sound best from the front.
  • Omnidirectional Picks up sound equally from all directions.
  • Bidirectional (or figure-of-eight) Picks up sound best from the front and back.
  • Supercardioid and Hypercardioid Have a narrower front pickup area but a small rear pickup area.

Explore Further

Choosing the right microphone and employing the best miking technique can dramatically impact the quality of your recordings. Whether you're capturing vocals, instruments, podcasts, or on-field sounds, understanding the basics outlined above can set you on the path to producing professional-level audio. Remember, experimentation is key: try different mics and techniques to find what works best for your unique situation! And check out all of the Sound On Sound articles listed below for plenty of buying advice and 'how to' techniques.

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    Microtech Gefell UMT800

    Large-diaphragm Capacitor Microphone

    Microtech Gefell's first multi-pattern mic is graced with the kind of looks which could assure it classic status — as long as its sound lives up to its stunning appearance. Paul White lends an ear.

    Reviews Oct 1997
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    Groove Tubes 5SC & 6TM

    Capacitor Microphones

    Already well known for their valve mics and valve processors, Groove Tubes have introduced two new mics, one a valve model and the other solid-state. Paul White compares the two newcomers.

    Reviews Sep 1997
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    Audio Technica ATM89R

    Back-electret Microphone

    Paul White tries out a reincarnation of one of his favourite budget mics, and finds that the best has just got better.

    Reviews Sep 1997
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    Rode NT1

    Cardioid Capacitor Vocal Mic

    Paul White comes to the end of the Rode, and finds it pretty good to sing into.

    Reviews Aug 1997
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    CAD Equitek

    Back-electret Condenser Microphones

    Hugh Robjohns checks out a range of keenly-priced condenser mics from over there that look set to do rather well over here...

    Reviews Jun 1997
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    Elation KM201

    Capacitor Microphone

    In recent years, Russia has become known as a source of quality inexpensive microphones. Paul White investigates the latest creme de la Kremlin.

    Reviews May 1997
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    Beyer MCE84

    Back-electret Capacitor Mic

    A back-electret mic that doesn't need phantom power; Hugh Robjohns won't be calling the ghostbusters...

    Reviews Apr 1997
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    Groove Tubes A-series

    Valve Microphones

    They may look the same as their predecessors, but inside the a-version of Groove Tubes' mics is a new set of circuitry. Paul White's feelin' groovy..

    Reviews Mar 1997
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    Audio Technica 4041

    Cardioid Capacitor Microphone

    Success on a stick? Paul White studio tests a new back electret that would appear to combine strength with sensitivity.

    Reviews Jan 1997
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