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Microphones / Miking

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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    Q. Can measurement mics be used for recording music?

    Can you tell me if it's common practice to use measurement microphones for recording? I have access to a good selection of...

    Sound Advice Dec 2004
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    Q. Is a pop shield better than a wind shield?

    I recently bought a large-diaphragm condenser mic which came with a foam wind shield (the kind that fits over the top of the mic). Will this do a good enough job of stopping plosive blasts?

    Sound Advice Dec 2004
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    Q. Can I use acoustic screens to prevent drum spill?

    I'm wanting to record a band all at the same time in the same room, and my main problem is that the drummer is much too loud...

    Sound Advice Nov 2004
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    Q. What are the correct input impedances for Guitars and Mics?

    I bought a Boss guitar effects processor the other day and noticed that the guitar sounds a lot better through it than it does just straight into my mixer. Also, could the sound from my mic be similarly improved by getting a stand-alone voice channel for it, rather than just putting it through the mixer?

    Sound Advice Oct 2004
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    Q. Can dust affect microphone performance?

    If I left my Neumann TLM103 mic out on its stand when not in use for long periods of time, would its performance be affected, by dust in particular?

    Sound Advice Oct 2004
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    Q. What mics should I use on a snare drum?

    I am looking at buying a matched pair of SE Electronics SE1 mics for drum miking. Would the SE1s be suitable for 'over and under' miking of the snare? If not, could you offer any alternatives for this kind of configuration?

    Sound Advice Oct 2004
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    Q. How do I take care of my valve mic?

    I've just got hold of an Oktava valve mic. Having not used one before, I was wondering if there are any general rules or guidelines I should be aware of when using valve mics?

    Sound Advice Jul 2004
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    Q. How can I tell if a pair of mics is well matched?

    I bought a Rode NT1A a few months ago and I'm now considering buying a second one. How can I tell whether the two mics are closely matched enough for use as a stereo pair?

    Sound Advice Feb 2004
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    Q. Is it safe to apply phantom power to dynamic mics?

    I did a recording session recently using a mixture of dynamic and condenser mics, and realised my desk does not have switchable phantom power for each channel — they're either all on or all off. Luckily, I had some external channel strips which I ran the condensers through, but is it safe to apply phantom power to dynamic mics?

    Sound Advice Jan 2004
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