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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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    AKG C1000S

    Back-electret Microphone

    Paul White tries the latest incarnation of an old friend and discovers that beneath the new paint job, little has really changed.

    Reviews Dec 1998
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    Audio Technica AT4060

    Valve Microphone

    Paul White tests a new valve mic that captures the essence of a good vintage design at a realistic price.

    Reviews Nov 1998
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    Peavey PVM T9000

    Valve Microphone

    The battle for low-cost valve mic supremacy warms up as Paul White encounters Peavey's new PVM T9000.

    Reviews Oct 1998
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    Beyer MCE7

    Miniature Microphone

    Though they're usually not specifically designed for recording, miniature mics can be real problem solvers in certain situations.

    Reviews Sep 1998
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    Sennheiser Evolution Series

    Vocal Microphones

    Paul White studio-tests Sennheiser's new range of affordable vocal microphones to see if they really can give the established models a run for their money.

    Reviews Aug 1998
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    Earthworks QTC1 & Z30X

    Omni-directional Microphones

    Still looking for the best mic/preamp money can buy? Hugh Robjohns unearths some real gems from the USA.

    Reviews Jul 1998
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    Neumann TLM103

    Cardioid Condenser Microphone

    The TLM103 is, of course, a complete impossibility — it has supposedly been designed to a project studio price whilst retaining the qualities of Neumann's top-flight, large diaphragm U87.

    Reviews Jun 1998
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    Audio Technica 30 Series

    AT3525 / AT3527 / AT3528 Microphones

    Paul White gets an earful of a new range of quality mics that goes easy on the pocket but doesn't compromise on sound.

    Reviews May 1998
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    Beyer MCD100

    Digital Condenser Microphone

    Beyerdynamic have become the first mainstream manufacturer to offer the audio industry a practical digital microphone. Hugh Robjohns investigates the MCD100 to see if it represents the future of recording technology.

    Reviews May 1998
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    DPA 4060

    Miniature Microphone

    Paul White dons his reading glasses and sets out to test a miniature mic with a big sound.

    Reviews Mar 1998
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    Electrovoice RE500

    Capacitor Microphone

    Paul White Studio tests EV's new capacitor model, designed for use both on stage and in the studio.

    Reviews Mar 1998
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    Neumann TLM50

    Capacitor Microphone

    Neumann's versatile TLM50 omni-pattern mic combines transparency with a subtle high-end lift.

    Reviews Feb 1998
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    AKG Solidtube

    Valve Capacitor Microphone

    Paul White tests AKG's new budget studio valve mic to see whether it's really possible to build a quality tube capacitor mic for under £1000.

    Reviews Jan 1998
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