1. Mics: The Sonic Lens 1

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

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 3

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) 4

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. 5

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 6

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
Never double power (i.e. use a battery and +48v on mixer/recorder, or on both mixer/recorder) 7

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

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 9

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) 10

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

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 12

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)
Longer the mic=narrower pickup pattern 13

14. Type
Shotgun
Handheld
Lav
Binaural 14

15. Accessories
Air diffusion
Vibration dampening
Why? 15

16. Cables and Connectors Balanced vs. Unbalanced
Unbalanced: more susceptible to hum
Most consumer audio: RCA, 1/4”, 1/8”
Work at short distance 16

17. Cables and Connectors Cont’d
Balanced: rejects hum, AC and RFI noise and other low frequency interference
Can only use phantom power (+48v)
ALWAYS used 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 17

18. 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 18

19. 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 19

20. 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
Inverse Square Law: signal level is doubled when distance is halved.
Get close but not too close; reduce noise 20

21. Line Level vs. Mic Level Line Level=a higher level signal output
Line input for: audio mixer, iPod, computer, CD player, etc.
Mic Level=lower level signal output
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

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

23. XY Stereo Recording