Basic Techniques of Microphones

 Several classes of microphone placement for recording and amplification.

  • In close miking, a microphone is placed relatively close to an instrument or sound source, within three to twelve inches, producing a dry or non-reverberant sound. This serves to reduce extraneous noise, including room reverberation, and is commonly used when attempting to record a number of separate instruments while keeping the signals separate, or when trying to avoid feedback in an amplified performance. Close miking often affects the frequency response of the microphone, especially for directional mics which exhibit bass boost from the proximity effect. Ubiquitous in the tracking of instruments used in pop and popular music, examples of close-mic vocal tracks include many songs on Elliott Smith’s Elliott Smith and Either/Or, Lily Allen’s “The Fear”, the chorus of Fergie’s “Glamorous”, Imogen Heap’s lead on “Hide and Seek”, and Madonna’s spoken verses on “Erotica”.
  • In ambient or distant miking, a microphone — typically a sensitive one — is placed at some distance from the sound source. The goal of this technique is to get a broader, natural mix of the sound source or sources, along with ambient sound, including reverberation from the room or hall. Example include The Jesus and Mary Chain’s Psychocandy (excepting the vocals), Robert Plant’s vocals on songs from Physical Graffiti, Tom Waits’s lead vocals on his “junkyard” records, and Mick Jagger’s lead-vocals on songs from Exile On Main Street.
  • In room miking a distant mic, referred to as the room mic, is used in conjunction with a close mic, “typically placed far enough past the critical distance in a room that the room’s ambience and reverberations transduce at an equivalent, if not greater, volume than the sound source itself.” Ubiquitous in pop, it is the industry standard for tracking rhythm guitars in rock. A “celebrated” example is the rhythm guitar on Led Zeppelin’s “Communication Breakdown” while other examples include John Frusciante’s electric guitar parts on BloodSugarSexMagik, Noel Gallagher’s lead-guitar on “Champagne Supernova”, and Billy Corgan’s guitar on “Cherub Rock”, “Today”, “Bullet With Butterfly Wings”, “Zero”, and “Fuck You (An Ode To No One)”.
  • Accent (or Spot) Microphone Placement. Often, the tonal and ambient qualities will sound very different between a distant- and close-miked pickup. Under certain circumstances, it’s difficult to obtain a naturally recorded balance when mixing the two together. For example, if a solo instrument within an orchestra needs an extra mic for added volume and presence, placing the mic too close would result in a pickup that sounds overly present, unnatural and out of context with the distant, overall orchestral pickup. To avoid this pitfall, a compromise in distance should be struck. A microphone that has been placed within a reasonably close range to an instrument or section within a larger ensemble (but not so close as to have an unnatural sound) is known as an accent (or spot) pickup . Whenever accent miking is used, care should be exercised in placement and pickup choices. The amount of accent signal that’s introduced into the mix should sound natural relative to the overall pickup, and a good accent mic should only add presence to a solo passage and not stick out as separate, identifiable pickup.
  • Instrumental use of microphones has been developed by many experimental composers, musicians and sound artists. They use microphones in unconventional ways, for example by preparing them with objects, moving them around or using contact microphones to color the sound and be able to amplify otherwise very silent sounds. Karlheinz Stockhausen used microphone movements by musicians in Microphone I to discover the diverse sounds of a big tam-tam  and Pauline Oliveros amplified apple boxes with contact microphones. Andrea Neumann uses a complex combination of microphones to amplify a uniquely designed piano soundboard.

BM-800 condenser Microphone professional recording microphone music create broadcast and studio microphone

ISK BM-800 is a professional condenser microphone, which utilizes a 34mm diameter gold plated diaphragm capsule.
The microphone consisting of a good cardioids polar pickup pattern, high output and, low self-noise, and the accurate reproduction of even the most subtle sound makes the BM-800 ideal for studios, recording studios, broadcasting stations, stage performances and for home. It will absolutely fulfill the requirement for high quality broadcasting and recording.
Styled in a grey metallic body and a capsule grille, the iSK BM-800 Applications range from vocals to pianos and acoustic instruments in the recording studio and broadcast vocals.

Specifications:

Application :recording special
Radio head :capacitance
Pointing:characteristics of single point
The sensitivity :34dB + 2dB
Frequency range:Hz-kHz
Channel stereo
The signal to noise ratio: 78dB
Maximum sound pressure:132dB
Body Dimension: 46x150mm
Net Weight: 346g

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