Microphone Basics

Intro to Music Production; Loudon Stearns:
Assignment 1

© 2013 Amor Songs
Michael A. Michnya, MEd, LPC 3/7/2013 1

I started playing piano, guitar and singing when I was 13 or 14, but since I took the
Allen Iverson approach to practice (“Practice? We‟re talkin‟ „bout practice???”),
consider myself to be average musically. I wrote my first (really bad) song when I was
15, and it wasn‟t until my mid-30‟s that I started writing what I considered decent
songs. I wish I had discovered songwriting TEACHERS sooner, so I‟m making up for
lost time.

I co-coordinate the Atlantic County NJ NSAI chapter and as co-founder of the Garden
State Songwriters, hosted a monthly open mic for most of the last 12 years. I am either
writing, re-writing or thinking up song ideas every day, and recording when I can
squeeze in some quiet time. Recently, I discovered the power of songwriting with
children, and plan to make that my next career.

I‟ve also been a TAXI member for several years now, and have had a few “forwards.” I
aim to improve my music production skills so that recordings of my original songs
reach the “broadcast quality – excellent home recordings” standard for most listings.

My day job: professional counselor and coach specializing in parenting, relationships,
and creativity. I‟m available for Skype, telephone or email creativity coaching.
~ Michael A. Michnya, Somers Point, NJ

© 2013 Amor Songs

 Acoustic to electric “transducers” that convert
acoustic “sound” (a mechanical wave or
“oscillation” through a solid, liquid or
gaseous medium - metal, water, air, etc. –
that produces pressure variations) into an
audio signal commonly in the frequency
range from 20 to 20,000 Hz (the outer
boundaries of human hearing)
 Use a variety of methods to produce
variations in electrical voltage from
mechanical vibrations

© 2013 Amor Songs

 Main Mics
◦ Dynamic (electromagnetic induction)
◦ Condenser (capacitance change)
 Specialty Mics
◦ Ribbon (magnetic induction)
◦ Piezoelectric (structure-born sound)
◦ Lavalier (may be condenser or dynamic)
◦ Pressure Zone (PZM or “boundary”)

© 2013 Amor Songs

 Designed to be used on-stage in a loud
environment
◦ Rugged
◦ Relatively inexpensive and moisture-resistant
◦ Much less sensitive than condenser mics
◦ Does not require external power
 Frequency response usually ideal for vocals or
specific instruments (i.e., drum mics)
 Ex: Shure SM58 (vocal), SM57 (instrument)

© 2013 Amor Songs

 Designed for studio use
◦ Very sensitive
◦ Picks up the widest range of frequencies
◦ Picks up sound from all directions
◦ Requires “phantom” power
◦ May be used for vocals and instruments
 Best all-around choice for home studios is a
medium to large diaphragm condenser mic
 Ex: AKG 414, Sterling St55, Rode NT-1A

© 2013 Amor Songs

 Microphones are often designed for specific
applications (vocals, instruments, all-around,
frequencies, uses, spaces, etc.):
◦ Piezoelectric: contact mics used for recording
acoustic instruments or drums
◦ Lavalier: small, “hands free” mics worn on the body
(may be wired or wireless)
◦ Pressure Zone (PZM or “boundary”): used in acoustic
spaces which suffer from excessive reflections from
the “boundary” surfaces
◦ Ribbon: used to capture high-end frequencies or in
a “Blumlein Pair” array for a high degree of stereo
separation as well as room ambience

© 2013 Amor Songs

 Microphone diagrams graph sensitivity
in decibels over a range of frequencies, generally
for sound arriving directly (at 0°) to the capsule.
 Frequency response statements such as "30 Hz–
16 kHz, “±3 dB“:
◦ Describe the range of frequencies,
◦ Mean a nearly flat, linear, plot between with variations in
amplitude of no more than plus or minus 3 dB.
◦ Do not describe variations in smoothness, nor the
frequencies at which they occur.
 Common statements such as "20 Hz–20 kHz" are
meaningless without a decibel measure of
tolerance.

© 2013 Amor Songs

 Knowing the frequency response capability of
the available mics can help you choose the
right mic for the application (e.g., vocal or
instrument mic, stage or studio, etc.)
 The “polar pattern” of a particular mic is a
function of:
◦ Its frequency responsiveness
◦ The direction from which it is sensitive to sound
◦ Various elements of the mic’s design and
construction

© 2013 Amor Songs

 Graphically describes the areas the mic picks up
well and the areas it rejects:
◦ Unidirectional mics pick up sound from one primary
direction, with varying degrees of environmental “color”
from other sides/rear
 Common unidirectional patterns include cardioid,
subcardiod, supercardioid and hypercardioid
◦ Omnidirectional mics: pick up sound from all areas
◦ Bi-directional (figure 8) mics: pick up sound from front
and rear
◦ Shotgun mics: pick up sound from front, sides and rear
◦ Switchable mics: pick up sound from a variety of
selectable patterns, which also alters the mic’s
frequency response

© 2013 Amor Songs

 Intro to Music Production, Loudon Stearns,
Berklee Music:
https://class.coursera.org/musicproduction
 Wikipedia:
http://en.wikipedia.org/wiki/Microphone

© 2013 Amor Songs

Microphone Basics

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