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Microphones / Miking

Microphones & Miking Techniques: An Introduction

When you enter the world of audio recording, one of the first tools you'll encounter is the Microphone. But with the variety available and the myriad ways to use them, it can be a daunting journey. This explainer aims to simplify that process for you.

1. What is a Microphone?

A microphone is a device that converts sound waves into electrical signals. At its core, it captures vibrations (from voices, instruments, or any other sounds) and translates them so they can be amplified, recorded, or transmitted. Different microphones are designed to capture sound in various ways and have distinct characteristics that make them ideal for specific tasks.

2. Types of Microphones

  • Dynamic Microphones - These mics are rugged, moisture-resistant, and can handle high sound pressure levels (SPL), making them perfect for live sound environments and studio applications. They use a diaphragm attached to a coil of wire, placed within the magnetic field of a magnet, which means they don't need a power source.
  • Condenser Microphones - These are more sensitive and offer a higher frequency response and louder output than dynamic mics. They're commonly used in studio recording settings. They require power (from batteries or phantom power) to charge their internal electronics.
  • Ribbon Microphones - Known for their high quality and smooth character, ribbon mics capture sound with a thin strip of metal suspended in a magnetic field. They're fragile and typically used in studio environments.
  • Lavalier Microphones - These are small clip-on mics often seen in broadcasting for interviews and presentations.
  • Shotgun Microphones - With a very narrow area of sensitivity, or "polar pattern," these mics are used to pick up sound from a specific direction. They're commonly used in film and TV production.

3. Miking Techniques

  • Close Miking - Placing the microphone close to the sound source. This technique captures the direct sound and reduces the amount of ambient noise. It's commonly used in both live sound and studio recording.
  • Ambient Miking - Mics are placed at a distance from the sound source. This captures more of the room's acoustics and ambient noise, providing a more "natural" or "live" sound.
  • Stereo Miking - Uses two microphones to capture a stereo image. Common techniques include X/Y (where two cardioid mics are placed close together at a 90-degree angle) and spaced pair (where two mics are several feet apart).
  • Miking Drums - Each drum or cymbal can be miked individually (close miking) or a few overhead mics can be used to capture the entire kit (ambient miking).
  • Miking Guitars - For acoustic guitars, placing a mic near the 12th fret captures a balanced sound. Electric guitars are often miked by placing a microphone close to the amplifier's speaker.

4. Polar Patterns

This term refers to the sensitivity of a microphone to sounds arriving from different directions:

  • Cardioid Picks up sound best from the front.
  • Omnidirectional Picks up sound equally from all directions.
  • Bidirectional (or figure-of-eight) Picks up sound best from the front and back.
  • Supercardioid and Hypercardioid Have a narrower front pickup area but a small rear pickup area.

Explore Further

Choosing the right microphone and employing the best miking technique can dramatically impact the quality of your recordings. Whether you're capturing vocals, instruments, podcasts, or on-field sounds, understanding the basics outlined above can set you on the path to producing professional-level audio. Remember, experimentation is key: try different mics and techniques to find what works best for your unique situation! And check out all of the Sound On Sound articles listed below for plenty of buying advice and 'how to' techniques.

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    The Art Of Miking Acoustic Instruments

    Tips & Techniques

    With MIDI playing an ever greater part in music production, there's a danger that the art of using microphones will be lost. Paul White describes the valuable techniques of miking acoustic instruments — something he recommends every studio user should learn.

    Techniques Sep 1995
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    Samson S11

    Dynamic Microphone

    Paul White puts his exotic mic collection back in the cupboard to try out Samson's budget dynamic vocal model.

    Reviews Sep 1995
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    Peavey PVM480

    Back-electret Capacitor Mic

    Though not new, Peavey's PVM480 back-electret mic is an ideal first capacitor mic. Sound Engineer Steve Brodie explains why.

    Reviews Aug 1995
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    Byetone VM95 & VM97

    Dynamic Microphones

    If you've ever wondered what happened to the Iron Curtain, Paul White's theory is that it was melted down to make budget Russian mics! Here he takes a look at the latest two to defect to the West.

    Reviews Aug 1995
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    Rode NT2

    Capacitor Microphone

    Just when you thought all the bargain mics came from the former Eastern Bloc countries, the Australians turn up a bargain of their own. Paul White decides whether it's as good as their wine or merely as good as Neighbours.

    Reviews Jun 1995
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    Soundfield ST250

    Stereo Microphone

    Paul White takes a SoundField ST250 Stereo Microphone to a live recording session to see if the reality lives up to the legend.

    Reviews Jun 1995
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    Microtech Gefell UMT70S

    Capacitor Microphone

    Microtech's original UM70 set the affordable capacitor mic ball rolling, but now there's a transformerless version featuring a new housing. Paul White took it for a test drive.

    Reviews May 1995
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    Nevaton MC51

    Capacitor Microphone

    Paul White intercepts another incoming Russian microphone, this time from Nevaton Ltd in St Petersburg.

    Reviews May 1995
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    Langevin CR3A

    Capacitor Microphone

    A new bargain capacitor mic threatens to stop the drain of hard currency into the coffers of ailing ex-Eastern Bloc states. Paul White checks out the American-made CR3A.

    Reviews Mar 1995
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    Audio Technica Midnight Blues

    Dynamic Microphones

    Audio Technica's stylish new Midnight Blues range of microphones represent the company's latest foray into the budget dynamic mic market. Paul White gets the Blues... but is cheered up by the mics!

    Reviews Feb 1995
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    CAD88 & CAD89

    Dynamic Microphones

    Paul White checks out these American mics and finds they compare very favourably to other popular dynamics.

    Reviews Nov 1994
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    Oktava MK011

    Capacitor Microphone

    Paul White takes the necessary Steppes to check out this innocuous looking mic and discovers a competent all-rounder.

    Reviews Oct 1994
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    Oktava MK012 microphone

    Oktava MK012

    Capacitor Microphone

    Oktava have created a storm in the microphone marketplace with the MK219. Now they hope to follow up their initial success with the MK012, designed for both studio and broadcast use.

    Reviews Jul 1994
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    Drum Miking

    Techniques & Tips

    Paul White explains that although we may do most of our work using samplers and sequencers, the art of drum miking is just as important as it ever was.

    Techniques Apr 1994
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    Oktava MK219

    Capacitor Microphone

    Manufactured in Russia under the auspices of the state plan for 'work creation regardless of demand', the MK219 cardioid microphone is styled with all the panache of an Aeroflot tea trolley — but plug it in and you hear quite a different story, as Paul White discovers...

    Reviews Apr 1994
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    Separation Without A Vocal Booth

    Quick Tips

    Bob Thomas offers a quick tip to achieve vocal separation.

    Techniques Feb 1994
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    AKG C3000 V1 condenser mic

    AKG C3000

    Large-diaphragm Capacitor Microphone

    Paul White checks out AKG's elegant newcomer and finds that it combines styling with an ability to deliver the goods.

    Reviews Jan 1994

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