Mic It!: Microphones, Microphone Techniques, and Their Impact on the Final Mix
Format: PDF / Kindle (mobi) / ePub
Capture great sound in the first place, and spend less time "fixing it in the mix" with Ian Corbett’s Mic It! Microphones, Microphone Techniques, and Their Impact on the Final Mix. With his expert guidance, you’ll quickly understand essential audio concepts as they relate to microphones and mic techniques, and learn how to apply them to your recording situation. Whether you only ever buy one microphone, are equipping a studio on a budget, or have a vast selection of great mics to use, you’ll learn to better use whatever tools you have. Mic It! gives you the background to design and discover your own solutions to record the best sound possible. The information in these pages will help you record great source tracks that can be easily developed into anything from ultra-clean mixes to huge, organic soundscapes.
Beginning with essential audio theory, then discussing the desirable characteristics of good sound and the elements of a good stereo recording, the book covers microphones, mono and stereo mic techniques, the effect of the recording space or room, and large classical and jazz ensemble recording. A variety of mic techniques for vocals and instruments (both individual and groups) are presented, ranging from vital knowledge that no novice should be without, to advanced techniques that more experienced engineers can explore to benefit and vary the sound of their recordings. Corbett explains large room vs. layer-by-layer small-room recording situations, presents the best techniques for each, and shares typical production challenges and their resolutions. The book provides in depth information on how different mic techniques can be used, modified and fine-tuned to capture not only the best sound, but the best sound for the mix, as well as how to approach and set up the recording session, mixing, and avoid common recording and mixing mistakes.
male and female sexes – the male plugs and the female jacks. The genders of quarter-inch connectors are not dedicated to inputs or outputs like XLR connectors – sound can go in or out of a male plug or female jack. Line level connections commonly use quarter-inch TRS connectors. Instrument level, standard “instrument cables,” and some speaker level connections use quarter-inch TS connectors. From the outside, all female quarter-inch jack sockets – instrument, line or speaker level, TRS or TS –
pre-amps (whether they are in a console or interface, or are external outboard units) is in the control room. The drawback of this is that very long runs of mic cable are usually needed. How long mic cables can be before the audio quality degrades depends not only on the quality of the cable, but also the circuits each end of the cable plugs into. 60 m (200 ft) snakes are common in live concert sound systems, but undesirable for critical recording. High frequencies can be attenuated by poor
of frequency content below about 800 Hz. Our anatomy EQ’s the sound as it travels around different parts of the face and head to get to each ear. Put together, these three phenomena create head related transfer function (HRTF) effects. 6.2 XY COINCIDENT PAIR TECHNIQUES A coincident pair, or XY array, uses two cardioid or hyper-cardioid microphones positioned so their capsules are as close together as possible. The mics are arrayed between 90° to 130°, with their pickup patterns crossing in
In order to be able to beneficially use the widest choice of microphones and mic techniques it is necessary to make the recording room suitable for its intended purpose. 165 166 THE RECORDING ROOM O uter Wall inner Wall} A B c F i g u r e 8 . 4 Some “room within room” shapes. Rooms A and B have no parallel inner walls, and only one set of perpendicular walls. With a little more engineering, pentagonal shapes can also be used, as shown in room C. 8.9 ROOM SHAPE To avoid standing waves
frequencies. To control lower frequencies, the absorption product must be thicker, and be appropriately placed away from a boundary – ideally a quarter wavelength away, which is a realistically impossible distance from a wall for lower frequencies! Inexpensive one inch thick foam, with an overall NRC of about 0.5, is only good at absorbing mid and high frequencies (1 KHz and above) – it has little effect on the low-mid and low frequencies. Two inch thick foam is a commonly purchased broadband