microphone types, placements & scenarios. polar patterns for any given scenario you must think;...
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Microphone types, placements & Scenarios
Music Technology Revision
Polar Patterns
For any given scenario you must think;
What type of microphone to use?What polar pattern?Where are you going to place it?
Coincident Pair (XY)• Level different gives
stereo effect
• Cardoid patterns used
• 90° to each other
• Few metres from performers
• Raised High
• Mono Compatible
AMBIENT RECORDING
Spaced Pair• Time differences gives
stereo effect
• Omni-directional pattern used
• Not mono compatible
Near Coincident pair• Level and time
differences give stereo effect
• Cardoid pattern
• Spaced a few inches apart horizontally
• Not mono compatible
Grand Piano• Condenser Microphone
• Stereo/coincident pair
• One for bass, one for treble
• 15-60cm from strings
• With lid open
Micophone Placement
Upright Piano• Condenser Microphone
• Stereo/coincident pair
• Three octaves apart
• 15-60cm from strings
• Not pointing directly at hammers – avoid this noise
• Lid open
Acoustic Guitar• Close Mic
• Condenser Microphone
• Cardoid pickup
• Point where neck joins body• OR – fretboard and sound
hole
• OR – Stereo XY pair
• 20cm away
• Avoid noise from guitar being played
Micophone Placement
Electric Guitar• Close Mic
• Dynamic microphone
• Cardoid pattern
• Close to speaker grille few inches away
• Avoid proximity effect
• Take amp off the ground
Bass Guitar• Close Mic
• Dynamic microphone
• Cardoid pattern
• Close to speaker grille few inches away
• Avoid proximity effect
• Take amp off the ground
• OR use DI Box
Micophone Placement
Drumkit• Close mic each drum with
clip dynamic microphones and 2 condenser overheads
• Cardoid pattern
• Close to each skin (15cm)
• OR – stereo recording using 2 condenser microphones
• OR – same as above but with dynamic microphone on the snare
Brass/Saxophone• Close Mic
• Condenser Microphone
• Cardoid pattern
• 30cm – 1.5m
• Front of instrument to pick up heard sound
Micophone Placement
Vocals• Close Mic
• Large Diaphraghm - Condenser microphone
• Cardoid pattern
• 14 – 45 cm away from mouth
• A little above/below mouth
• Use pop shield & sprung cradle
Orchestral Instrument• Close Mic
• Condenser microphone
• Cardoid pattern
• 30cm – 1.5m
• Front of instrument to pick up heard sound
Micophone Placement
Percussion instrument• Close Mic
• Condenser microphone – small diaphragm
• Cardoid pattern
• Up to 12 incles from skin/sound
• Carefull for overload
• Loud instruments such as trumpets and trombones sound best when recorded slightly off-axis from the bell.
• Tuned Percussion can be recorded in the same way as the piano with 2 microphones for higher and lower pitches
• Brass instruments produce very high levels of sound and dynamic microphones should be used.
• Large diaphragm cardoid condenser microphones suit many instruments such as strings – place 1 – 2 feet away
• Woodwind suit a smaller microphone diaphragm.
Tips on close micing
• Stereo pair to pick up ensemble
• 8 – 20 feet away
• Musicians placed naturally
• Condensers for detail & sensitivity
• Omni directional – large diaphragm microphones
• Ambience – louder instruments further back
• May want to spot mic soloists
Recording Ensembles
Solving Problems
DISTORTION/WIDE DYNAMIC RANGE• Use a compressor to control dynamics
• Adjust levels when sound-checking
• Turn down the gain
• Move microphone further from sound source PROXIMITY EFFECT• This accents bass frequencies (could happen
with vocals if microphone not placed properly)
• Move away from microphone
Solving Problems
NO STEREO FIELD/MONO RECORDING• Mix to stereo master
• Place tracks in stereo field using panning
POOR BALANCE BETWEEN PARTS• Multitrack the recording
• Use faders to adjust individual track volumes
• (in exam state which instrument needs turned up or down in the mix)
Solving Problems
MUDDY PARTS/DULL SOUNDING• Use EQ to give each track a different frequency
• Position microphones correctly
• Use appropriate microphones – check frequency response
LITTLE DEPTH OF FIELD• Use reverb to add depth
• Use EQ to change position in mix
PLOSIVE SOUNDS (popping & blasting)• Use pop sheild
• Move away from microphone
Solving Problems
HISS OR NOISE ON THE TRACK• Check cables
• Use noise gate effect
MIDI TRACK IS OUT OF TIME• Quantise the track
• Re-record with metronome or guide track
Specimen Paper
Question 5b) 3 marks
Listen to this excerpt of a saxophone quartet and describe in detail a stereo
mic’ing technique you would use to achieve a similar recording. Justify your
choice.
………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….
EXAM STYLE QUESTIONS
Specimen Paper – Answer 5b)
A matched/stereo pair of cardioid
condensers in XY/ORTF.
or
Stereo pair of omni-directional
condensers in AB/spaced pair.
Microphones should be placed at a
metre or more from the source
ensuring good stereo separation and
a good balance of direct sound and
room ambience.
EXAM STYLE QUESTIONS
1 mark for microphones/array.
1 mark for placement.
1 mark for justification.
Exam Style Questions
See Specimen paper Question 3