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Music Notes 1 Microphones

The document discusses various types of microphones, including their characteristics and applications, such as dynamic, condenser, ribbon, and boundary microphones. It also explains concepts like proximity response and the Larsen Effect, as well as the difference between active and passive loudspeakers. Key microphone models like the SM57 and Shure Beta 52 are highlighted for their specific uses in recording scenarios.

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Carlojacksong
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9 views2 pages

Music Notes 1 Microphones

The document discusses various types of microphones, including their characteristics and applications, such as dynamic, condenser, ribbon, and boundary microphones. It also explains concepts like proximity response and the Larsen Effect, as well as the difference between active and passive loudspeakers. Key microphone models like the SM57 and Shure Beta 52 are highlighted for their specific uses in recording scenarios.

Uploaded by

Carlojacksong
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Music Notes: Microphones

Transducer – something that converts energy from one form to another

The perfect microphone would have a completely straight line of recording along the zero
line, however this is seemingly impossible and different microphones have different levels
along the zero line, usually higher in the Mids.

Types of microphones:

- Omnidirectional
- Bi-directional or ‘figure of 8’
- Subcardioid
- Hypercardioid
- Supercardioid
- Shotgun – Super directional very useful for accurate rcordings (in terms of direction)
for example on a movie set or tv show/news

- Dynamic: do not contain any internal amplifier and do not need batteries or external
power, lower fidelity, grittier, more strength (robust), higher SPL’s (Sound Pressure
Levels) which is good for recording louder things like drums up close

- Condenser Microphones: Always require power (either batteries or phantom power


from a mixer/device) due to them having an internal amplifier, they’ll have the
truest/cleanest sound in terms of frequency response, there are SDC (Small
Diaphragm which have a higher signal level and some of the best signal to noise
levels, and LDC (Large Diaphragm) which have extended HF response (overall
truer/fltter sound), consistent pick up pattern across the frequency

- Ribbon Microphone: They have a bi-directional pick-up pattern (from front and rear,
but not sides), much more fragile than other microphones, considered by some to be
the best mics in terms of sound quality (due to their ‘natural’ sound which has
similar frequency response to human ear although they do roll off the high end a
little (but a lot less than dynamic), not the flattest frequency response,

SM57 (dynamic)- low frequency roll off, flat mids, peaks at around 4-6 KHz, very high roll off;
good for vocals as for the high mids, good for taking away/avoiding high sibilences like ssss’s
Shure Beta 52- used for bass heavy instruments like kick drums

Boundary Microphone – used on the floor usually in theatre applications, this is useful for
getting rid of interference due to echos off the floor which can use phase cancellation

Proximity Response- a phenomenon that leads to an increase in low frequency response as


you move the mic closer to the source, the closer you get the more bass boost arise
Larsen Effect aka ‘Acoustic Feedback’- A sound loop between an audio input (mic) and an
audio (loudspeaker), signal received by the mic is amplified and played through the
loudspeaker

Loudpeakers

Active- contain their own amplifier,


Passive- requires an external amplifier, e.g. Hi-Fi, you can upgrade your amp and speakers
separately

Clipping – If the input signal is amplified such that the output is larger

The higher the sensitivity rating of a speaker the

Impedence –

11th of Janurary – Test and course work

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