Microphone types, placements & Scenarios. Polar Patterns For any given scenario you must think; What type of microphone to use? What polar pattern? Where.

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