V-Cert Music Technology Microphone techniques in Music UNIT 9 NAME………………………………………………………….. YOU WILL: Be working independently to research and complete this task – Zero teacher input = Independent research (Complete the PowerPoint). 1.4 = Practical task (Complete the PowerPoint). 1.5 = Independent research (Complete the PowerPoint). 1.6 = Questioning (Complete the PowerPoint).

CriteriaPassMeritDistinction 1.1 Describe the key properties of commonly used microphones in music/sound production Candidates describe the key properties of commonly used microphones in music/sound production Candidates provide a detailed description of the key properties of commonly used microphones in music/sound production using appropriate technical terminology Candidates demonstrate critical judgement in their exploration of key properties in a wide range of microphones 1.2 Describe the factors affecting the choice of microphone with regard to typical sound sources Candidates describe the factors affecting the choice of microphone with regard to typical sound sources Candidates provide a detailed description of the factors affecting the choice of microphone with regard to typical sound sources, giving examples appropriate to the given context Candidates explore and evaluate a wide range of factors and choices of microphone appropriate to a variety of contexts 1.3 Select appropriate microphones for specified sound sources Candidates select appropriate microphones for specified sound sources Candidates demonstrate critical understanding of their selection of the appropriate microphone for a specific sound source Candidates explore a wide range of microphones and demonstrate critical judgement in their choice 1.4 Position microphones appropriately for good-quality recordings of typical sound sources Candidates position microphones appropriately for good-quality recordings of typical sound sources Candidates demonstrate critical understanding of the positioning of microphones based on artistic and technical criteria Candidates position microphones with insight, reflection and experimentation, based on meeting given artistic and technical criteria 1.5 Connect microphones to appropriate audio amplification or recording equipment Candidates connect microphones to appropriate audio amplification or recording equipment No MeritNo Distinction 1.6 Assess sound quality and microphone set-up Candidates assess sound quality and microphone set-up Candidates demonstrate critical understanding of sound quality and microphone set-up Candidates demonstrate critical judgement in assessing sound quality and explore a range of methods in setting up microphones UNIT 9: Marking

Operate a digital audio workstation 1.1 Describe the key properties of commonly used microphones in music/sound production Key Properties Definition & Instrument Use Advantages Disadvantages Condenser Microphone Must be powered by a +48v charge (phantom power) to work. Phantom can be supplied by the mixing desk or external power supply. Uses a capacitor which is moved by the sound wave to create an electrical current..Good for - Vocal/Piano/Drum Overheads/Strings. High quality sound. Good choice for studio recording. Wide frequency response. Different / switchable polar patterns. Not a good choice for live/stage use. Prone to feedback at high gain levels. Delicate construction & should not be handled excessively. Expensive Dynamic Microphone Uses a moving coil within a magnetic field, this is vibrated by the sound waves to create an electrical current. Guitar amp/Snare Drum/Bass Drum. Good choice for live/stage use. Low handling noise. Cheap to make - Does not require external power.. Limited frequency response. Low output / not very sensitive.. Fixed polar patterns TASK : Complete the table below – You may use more than one page and expand with pictures.

Key Properties Definition & Instrument Use Advantages Disadvantages Polar Patterns / Directional response in Microphones Cardioid Figure 8 Omni Directional. The most directional polar pattern. Rejects sound from the rear & stops sound “bleed”. Can be used for recording 2 sound sources at the same time. Rejects sound from the sides Most natural sounding polar pattern.. Can handle high SPL’s ”Proximity effect” – low frequency response is increased when too close to the sound source Sensitive from two points/directions.. Hard to place effectively Might pick up unwanted “ambient” noise No “Proximity Effect”

Operate a digital audio workstation 1.1 Describe the key properties of commonly used microphones in music/sound production Key Properties Definition & Instrument Use Advantages Disadvantages Microphones with Phantom Power Phantom Power is a direct current of 48 volts supplied through a microphone cable (XLR), it is used to power condenser microphones and sometimes other pieces of equipment. Condenser microphones generally have a more flat frequency response, require less gain & can record quieter sound sources. You might need to use a separate power supply if the mixing desk or preamp does not have it’s own phantom power supply. Proximity effect of Microphones Low Frequency (bass) response is increased when a microphone with a directional polar patter (Cardioid, Figure 8). Does not occur on microphones with Omni Directional polar patterns. May be flattering to some vocal styles. The low frequency boost may be unwanted, especially in vocal recording, hard to remove with EQ. Frequency response of microphones Condenser: Flatter frequency response up to around 20KHz (tails off less at either end of the frequency spectrum) Dynamic: Frequency response is limited to around 16KHz & cut at around 100Hz, microphones designed for vocals usually have a boost at around 3-5KHZ Best choice if sound quality is the most important factor. Good for use on vocals, especially in live/stage use. Flatters sound sources in the mid frequency range. Not best suited to live/stage use due to “bleed” Due to proximity effect, if a sound source is more than a few inches from the capsule it can lack bass. TASK : Complete the table below – You may use more than one page and expand with pictures.

Operate a digital audio workstation 1.2 Describe the factors affecting the choice of microphone with regard to typical sound sources Sound source How will a Microphone make life harder for the performer / Audience Frequency (Low / High frequencies or a mixture) Input signal (will the volume remain the same?) Solo Singer Condiser the vocal range of the singer, if they will hold the mic/stay still/move around. Mainly mid range frequencies, nothing below 80Hz Volume of the voice will vary throughout a performance, dynamic between talking & shouting could be huge Group of singers You want to pick up the sound of the group as a whole & not necessarily individual singers Low, Mid & High Frequencies depending on makeup of the group. Mainly male, more Low & Mid. Mainly women & or children, more Mid & High. You would expect some dynamic changes depending on if everyone is singing at the same time. There may be a crescendo (gradual increase in loudness). Amplifier (Gtr / Keys) Where the mic is placed will determine the sound you get, there could be bleed from other sound sources?. Mid from around 1-5Khz Expect some loud and soft dynamics from different styles of playing & if different effects are used. Kick Drum Low Frequency sound is required & specific placement. You might have to take the front (resonant) head off the drum to get the best sound. Mainly Low, maybe some Mid depending on the size of the drum. Should remain quite consistent & loud. Snare drum Placement of the mic may get in the way of playing the drum, source will be loud. Requires 2 mics (top & bottom). Low (around 150 Hz) for the “body” & Mid (3-5KHz) for the main “snap/crack” sound. Some dynamics (drum rolls etc) but will be consistently loud.

Operate a digital audio workstation 1.3 Select appropriate microphones for specified sound sources Sound source The best Mic Why this mic?What other Mics did you consider and why did you not use them Solo singer Condenser (Example: Neumann U87, AKG C12) Flat frequency response, will be flattering to most vocal styles. Large diaphragm dynamic mic, has a limited frequency response in comparison (Example: Shure SM7) Group of singers Condenser, preferably a matched stereo pair. (Example: AKG C1000, Shure KSM137) Flat Frequency response, does not need to be close to source to pick up a detailed recording. Individual dynamic mics, these would not be suitable as you would need too many of them & it would be hard to place them close enough to be effective. Amplifier (Guitar) Dynamic (Example: Shure SM57, Sennheiser MD421) It has a frequency response which suits the range of a guitar amp well. It can handle high SPL’s & because of it’s shape you can get it close to the speaker. Other dynamic mics such as a Shure SM58, they are similar but the shape of the grill on the SM58 means you can’t get it as close to the speaker. Kick Drum Dynamic, preferably one that is tailored for low frequencies. (AKG D112, Audix D6) The mic has been designed to pick up low frequencies & handle loud sources. A condenser mic would pick up the low frequencies but might handle the high SPL’s inside the drum very well. Snare drum Dynamic x 2, one for the top & one for underneath. (Example: Shure SM57) If you pick a model with a small size (SM57) you can get it close to the drum, it’s polar pattern helps prevent bleed A small diaphragm condenser would suit the application but would be more sensitive to bleed from other sources. TASK : Choose a Microphone for each sound source

1.4 Position microphones appropriately for good-quality recordings of typical sound sources What 2 sources are you going to record? I recorded a snare drum and a guitar Operate a digital audio workstation TASK 1: TASK 2: Head to the studio and set up the mics ready to record. TAKE PHOTOS!!! For the snare drum I decided to use 2 microphones (top and bottom) to capture the best sound. I positioned the mics very close as to avoid bleed / spill

1.5 Connect microphones to appropriate audio amplification or recording equipment Operate a digital audio workstation TASK: Add arrows to connect the microphone to the amp Dynamic Mic XLR Lead Powered amplifier

1.5 Connect microphones to appropriate audio amplification or recording equipment Operate a digital audio workstation TASK: Add arrows to connect the microphone to the mixer XLR Lead Condenser Mic Mixer with phantom power QUESTION: What needs to be on to power this mic ………………………………………………… Phantom Power

1.5 Connect microphones to appropriate audio amplification or recording equipment Operate a digital audio workstation TASK: Add arrows to connect the Wireless Mic to the amp Wireless Mic Front XLR Lead Powered amplifier Wireless Mic Back QUESTION: What is meant by Matching the mic channels between Mic & Unit? …………………………………………………………………………… Wireless units are like walkie-talkies in that the mic channel must match the channel on the unit otherwise other mics could be coming down the same unit.

1.6 Assess sound quality and microphone set-up SOUND QUALITY Operate a digital audio workstation QUESTION: What is ‘Spill’ or sometimes called ‘Bleed’ and why is it an important factor with Microphones? Spill (also known as bleed) is the occurrence in sound recording and live sound mixing whereby sound is picked up by a microphone from a source other than that which is intended. Spill is usually seen as a problem. QUESTION: Explain Microphone sound compared with source sound Source sound is the actual singer / drum kit / guitarists etc. When things are recorded they sound different. Sometimes it is hard for an engineer, whether it be in the studio or live to recreate a true sound. Sometimes it can work to the performers advantage. Another example is seeing a live band may have a great sound but actually recording them and capturing the ambiance of the venue and audience won’t be the same. QUESTION: What is a pop shield? When should we use one and why? A pop filter or pop shield is an anti-pop noise protection filter for microphones, typically used in a recording studio. It serves to reduce or eliminate 'popping' sounds caused by the mechanical impact of fast moving air on the microphone during recorded speech and singing.

1.6 Assess sound quality and microphone set-up SOUND QUALITY Operate a digital audio workstation QUESTION: Research how to best prevent wind when recording outside. The ‘Wind-screen’ or ‘windmuff’ type of microphone windscreens block out outdoor wind noise. They create a dead air space around the suspended microphone, taking a lot more wind noise out than a foamy could QUESTION: Use the options on the mixer (right) to explain the following Frequency balance: Frequency means HIGH, MID and LOW. This changes the colour / tone of the input. Different instruments will require additional or cutting some EQ Distortion: Distortion is a bad thing with capturing sound. If it’s not an intended effect it means for EQ is too high in a certain area or your Input signal is too high / loud

1.6 Assess sound quality and microphone set-up Operate a digital audio workstation MICROPHONE SET-UP QUESTION: What are Boom stands? Boom stands are microphone stands with extra arms. They are vital when reaching into places like drum kits. QUESTION: When completing 1.4 did you carry out any checks to ensure cables were fully working? CHECK 1: Yes. CHECK 2: For positioning of stands please refer to 1.4 Boom stand Normal stand Yes. Leads were directly checked into amplifier make sure they were working.

Unit PositiveImprovementsCurrent grade UNIT 1: TEACHER FEEDBACK Set up and operate a digital audio workstation Name: ……………………… Tutor: ………………

UNIT 1: QUESTION & ANSWER Set up and operate a digital audio workstation Candidate Name Candidate Signature Assessor Name Assessor Signature QuestionResponseAssessment CriteriaDate