1. Mics: The Sonic Lens

2. Recording Chain A system or “ecosystem” for recording and playback

3. 3 Main Considerations for Mic Choice 1) Transduction: how a mic turns sound to audio 2) Polar pattern: the directivity of a mic or the direction at which it picks up sound 3) Type: the shape of the body of the mic

4. Transduction Transduction w/ mic= turning sound to audio; vibrations to electricity – Speaker is a transducer, but works in opposite way 2 main mic types: – 1) dynamic – 2) condenser – 3) also ribbon (for string instruments; super sensitive, figure 8 polar pattern...don't worry about these)

5. Dynamic Do not require external power Rugged: drums, explosions Can handle loud noises with less distortion Does not pick up sound, esp. high frequencies as accurately because diaphragm moves slowly Great for beginning recordists, news reporting, etc.

6. Condenser Always require phantom power (+48 volts or some rarely want +24v/+12v) More “faithful” sound reproduction Cannot handle loud sounds for a long time Most used in sfx, Foley, broadcast/reality TV/film production recording (of mainly dialog), and studio

7. Phantom Power All condenser mics require power Some you can put a battery in (i.e. NTG-2) Many you cannot, thus they require Phantom Power, usually +48v This uses the power on your camcorder, audio recorder, or mixing board and will use such a device's battery

8. Polar Patterns Pickup pattern How a capsule (the sensitive transducer part of mic) “sees” sound from the front of a microphone

9. Omnidirectional Picks up sound at 360 degrees equally – Except high frequencies (short wavelengths) Have nice natural sound Good for recording atmos (if a room/atmos has a nice tone) Least susceptible to wind induced noise Can also be good for the voice if you want natural reverb

10. Cardiod Unidirectional, heart-shaped pattern Rejects some sound on sides / back of mic Susceptible to wind-induced noise Point at sound source Used for dialog, sfx, and specific sounds to add to atmos (good for most applications)

11. Hypercardiod Unidirectional Some sensitivity in the back of the mic Susceptible to wind-induced noise Mostly used in sfx, music, and Foley

12. Supercardiod Rejects most side sound and ALL on the back of mic (Rode NTG-2) Unidirectional Use when sound source is far from mic or lots of ambient noise Susceptible to wind-induced noise Mostly used in tv/film dialog, but fine for sfx/Foley

13. Shotgun Aka “boom” mic Focus on sound in front of mic Pulls sound closer like zoom lens Best mic dialog on TV/film captured with this, SFX that you have to capture from a long distance (i.e. bird sound in a tree)

14. Spaced Pair Stereo 3:1 rule (place the mics 3 times as far from each other as they are from the sound source).

15. XY Stereo Recording

16. Type Shotgun Handheld Lav Binaural

17. Accessories Air diffusion Vibration dampening Why?

18. Cables and Connectors Balanced vs. Unbalanced Unbalanced: more susceptible to hum – Most consumer audio: RCA, 1/4”, 1/8” – Work at short distance

19. Cables and Connectors Cont’d Balanced: rejects hum, AC and RFI noise and other low frequency interference – Can only use phantom power (+48v) – ALWAYS use in professional audio production – Can work at long and short distances – Avoid using unbalanced outputs w/ balanced inputs – 1/4” and 1/8”, but must be TRS to be balanced

20. Line Level vs. Mic Level Line Level=a higher level signal – Line input for: audio mixer, iPod, computer, CD player, etc. Mic Level=lower level signal – Mic input: has a mic preamplifier to boost the signal (some mics also require +48v) – If you plug a line device into the mic input will get a loud, distorted signal

21. Other Factors SPL= sound pressure level Frequency response: range of frequency a mic can reproduce accurately Flat frequency: preferred as it doesn't “color” sound. You “equalize” this in post. – Look for a mic that is 20Hz-20KHz for flat frequency

22. Other Factors Cont’d If hiding a mic under actors' clothing, find a mic that responds/emphasizes high frequencies. Why? HPF: high pass aka low cut filter. Reduces low frequencies (i.e. AC/fridge/traffic rumble.) – Don't use usually

23. Proximity Effect When mic is too close to sound source Increases low frequencies Make voice, sound, instrument sound more bassy or booming Move mic away a bit to correct this