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Mics: The Sonic Lens

Mics: The Sonic Lens. Recording Chain. A system or “ecosystem” for recording and playback. 3 Main Considerations for Mic Choice. 1) Transduction: how a mic turns sound to audio 2) Polar pattern: the directivity of a mic or the direction at which it picks up sound

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Mics: The Sonic Lens

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  1. Mics: The Sonic Lens

  2. Recording Chain • A system or “ecosystem” for recording and playback

  3. 3 Main Considerations for Mic Choice • 1) Transduction: how a mic turns sound to audio • 2) Polar pattern: the directivity of a mic or the direction at which it picks up sound • 3) Type: the shape of the body of the mic

  4. Transduction • Transduction w/ mic= turning sound to audio; vibrations to electricity • Speaker is a transducer, but works in opposite way • 2 main mic types: • 1) dynamic • 2) condenser • 3) also ribbon (for string instruments; super sensitive, figure 8 polar pattern...don't worry about these)

  5. Dynamic • Do not require external power • Rugged: drums, explosions • Can handle loud noises with less distortion • Does not pick up sound, esp. high frequencies as accurately because diaphragm moves slowly • Great for beginning recordists, news reporting, etc.

  6. Condenser • Always require phantom power (+48 volts or some rarely want +24v/+12v) • More “faithful” sound reproduction • Cannot handle loud sounds for a long time • Most used in sfx, Foley, broadcast/reality TV/film production recording (of mainly dialog), and studio

  7. Phantom Power • All condenser mics require power • Some you can put a battery in (i.e. NTG-2) • Many you cannot, thus they require Phantom Power, usually +48v • This uses the power on your camcorder, audio recorder, or mixing board and will use such a device's batter

  8. Polar Patterns • Pickup pattern • How a capsule (the sensitive transducer part of mic) “sees” sound from the front of a microphone

  9. Omnidirectional • Picks up sound at 360 degrees equally • Except high frequencies (short wavelengths) • Have nice natural sound • Good for recording atmos (if a room/atmos has a nice tone) • Least susceptible to wind induced noise • Can also be good for the voice if you want natural reverb

  10. Cardiod • Unidirectional, heart-shaped pattern • Rejects some sound on sides / back of mic • Susceptible to wind-induced noise • Point at sound source • Used for dialog, sfx, and specific sounds to add to atmos (good for most applications)

  11. Hypercardiod • Unidirectional • Some sensitivity in the back of the mic • Susceptible to wind-induced noise • Mostly used in sfx, music, and Foley

  12. Supercardiod • Rejects most side sound and ALL on the back of mic (Rode NTG-2) • Unidirectional • Use when sound source is far from mic or lots of ambient noise • Susceptible to wind-induced noise • Mostly used in tv/film dialog, but fine for sfx/Foley

  13. Shotgun • Aka “boom” mic • Focus on sound in front of mic • Pulls sound closer like zoom lens • Best mic dialog on TV/film captured with this, SFX that you have to capture from a long distance (i.e. bird sound in a tree)

  14. Type • Shotgun • Handheld • Lav • Binaural

  15. Accessories • Air diffusion • Vibration dampening • Why?

  16. Cables and Connectors • Balanced vs. Unbalanced • Unbalanced: more susceptible to hum • Most consumer audio: RCA, 1/4”, 1/8” • Work at short distance • Balanced: rejects hum, AC and RFI noise and other low frequency interference • Can only use phantom power (+48v) • ALWAYS use in professional audio production • Can work at long and short distances • Avoid using unbalanced outputs w/ balanced inputs • 1/4” and 1/8”, but must be TRS to be balanced

  17. Line Level vs. Mic Level • Line Level=a higher level signal • Line input for: audio mixer, iPod, computer, CD player, etc. • Mic Level=lower level signal • Mic input: has a mic preamplifier to boost the signal (some mics also require +48v) • If you plug a line device into the mic input will get a loud, distorted signal

  18. Other Factors • SPL= sound pressure level • Frequency response: range of frequency a mic can reproduce accurately • Flat frequency: preferred as it doesn't “color” sound. You “equalize” this in post. • Look for a mic that is 20Hz-20KHz for flat frequency • If hiding a mic under actors' clothing, find a mic that responds/emphasizes high frequencies. Why? • HPF: high pass aka low cut filter. Reduces low frequencies (i.e. AC/fridge/traffic rumble.) • Don't use usually

  19. Proximity Effect • When mic is too close to sound source • Increases low frequencies • Make voice, sound, instrument sound more bassy or booming • Move mic away a bit to correct this

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