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Natasha Turner
Hello, yesterday Peirce and I reviewed Lesson 4 Basic Microphone Design.
We started the lesson with discussing what examples of transducer was; the ear, microphone, speaker, guitar pick up, phonograph cartidge, an analog tape head, and bell of a horn.
Next we stated that dynamic mics are two types; moving coil and ribbon microphones.
After, we coined that most condenser microphone can be powered by phantom power supply from your audio input device or a larger profressional console.
Then we defined the "good rule" in detail; good musician + good instrument + good performance + good acoustics + good mic + good placement = good sound.
Furthermore we stated the dynamic microphone is the most common microphone used for recording a loud electric guitar speaker or a snare drum in a room with several other instruments playing at the same time.
The most common microphone used to overdub a vocal or instrument in an isolation booth; the AKG or the Marshal MXL condensor microphone.
To continue, an omni-directional microphone can be changed to a cardioid microphone by the use of the rear port.
Moving on, a bass-boosting caracteristic of a cardiod pattern microphone is known as its proximaty effect.
The front of the microphone is where the microphone captures the sound most accurately. The side and rear areas are not as accurate; these areas have a poor off axis (coloration) frequency response.
The way a microphone's output is shown as to its frequency response verus direction is known as it's polar pattern.
The softening of sounds that are not in the front of the microphone is known as the front to back discrimination.
Lastly, we discussed our studio rules of using microphones; a) close micing for drums and guitars use dynamic mics, b) for overhead drum mics use condensors and room micing and drums, and when using bright sounds use a condensor microphone.
Cheers,
Natasha Turner
