MALIK ARSHAQ
BEGINNERS GUIDE TO MICROPHONES
While considering any kind of recording set up, microphones play an indispensable role in determining the quality and texture of sound that you will ultimately have to work with. Considering the fact that microphones are as diverse as the various purposes that they ' re used to serve, it is crucial to understand what exactly you will be needing to fulfil your requirements. In this month ' s edition of " Beginner ' s Guide ", we ' ll be looking into the different kinds of microphones, their workings and how you can decide on which microphone to pick based on your requirements as well as budget.
Microphones can be broadly classified into condenser mics, dynamic mics, ribbon mics and USB mics based on their working. Condenser mics, unlike dynamic mics, need to be powered by phantom power( 48V). Based on the size of their diaphragms, they can be classified into large diaphragm and small diaphragm microphones. Large diaphragm mics are ideal for recording vocals in a studio environment while small diaphragm mics specialize in recording instruments that are rich high frequency detail like cymbals and acoustic guitars. Dynamic mics on the other hand employ the use of heavier diaphragms. As a result, condenser mics are preferred to capture the low intensity high frequency sounds because the heavier diaphragms of dynamic mics are far less responsive to them. But in the case of high Sound Pressure Level( SPL) sources( such as drums), dynamics mics are ideal as their diaphragms are way more durable. Dynamic microphones are generally preferred over condensers for on-stage purposes because they allow for higher gain before feedback since they ' re less sensitive, they have a pretty high resistance to moisture and humidity and their overall design and build allows them to be handled more roughly.
Ribbon microphones are distinctly different from condenser and dynamic mics because rather than using a diaphragm, they use a thin aluminium ribbon to capture sound. These microphones have a " figure of 8 " polar pattern which basically means that they only pick up sound information from the front and the back of the mic. These mics are usually pretty expensive because of their unique sound and isn ' t a very common accessory in most home studios. Maintaining a ribbon mic is also very important because the ribbon is quite fragile and can get damaged quite easily if not handled with care.
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With the rise of bedroom studios and podcasting, USB microphones have become extremely popular. Unlike the rest of the microphones mentioned above, USB microphones do not function through an XLR connection but are powered by a USB connection. Since they do not need pre-amps, an interface or any other equipment other than the laptop to record, they have become an ideal option for anyone looking to dabble in home recording without having to invest in a lot of equipment. Most sound engineers though will frown upon the use of USB mics because the digitizing of the signal happens in the microphone itself, which isn ' t as good when compared to the quality of digitizing done by an audio interface.
We will also be addressing a few microphones that cater to a more specific purpose. Shotgun microphones are known for their unique ability to isolate sound. They do so, using a design known as an interference tube, which features a series of slots designed to reject off-axis noise which results in a narrow pickup angle. Using these mics, you can record further from the sound source, in much noisier environments. These mics are often used for outdoor tasks such as news reporting and wildlife documentation. Boundary mics, rather than using a mic stand, mount against a flat surface in the room, such as the floor or wall. While other mics suffer from comb filtering( occurs when direct and reflected sound combines out-of-phase to amplify or attenuate the signal), boundary mics are less susceptible because of their design. Outside the studio, they’ re used in conference rooms or theatre performances by laying it on the stage or on a table. They’ re also used as room mics by mounting it on a wall and most as a kick drum " in " mic by laying it inside the shell in studios as well as on stage. While an average dynamic mic does okay on bass instruments, to capture those sub frequencies most engineers prefer a specific kind of mic designed for just that purpose, known as a bass or a kick drum mic. These microphones work beautifully in capturing the full weight of a kick drum ' s sound as they have a low end boost, a small scoop in the mids and usually a presence boost around 4k. They can be used just as well on bass cabinets as well as other instruments that have a lot of low end information.
After you get more accustomed to using each of these microphones for different purposes and get more familiar with polar patterns, you might be interested in getting your hands on a multi-pattern mic. " Polar pattern " refers to a microphone ' s directionality or pickup pattern, i. e the three