Microphone Types and Specific Microphone Techniques

Microphone types and specific microphone techniques
Dimitrios Mylis
The first microphone (mic) was known as Carbon, and it was invented in 1877 by David Edward
Hughes (Hughes, 2007, Concertinist and Inventor). This microphone had pieces of loosely
packed carbon grains and it was very similar to the one used in the present day. Microphones
were first used in telephones and assisted on the development of broadcasting and recordings
(Columbia Electronic Encyclopedia, 2013, p1). Between numerous microphone types, there are
three that should be mentioned because of their characteristics; Condenser or Capacitor mic,
Dynamic mic and Ribbon mic (Shure, n.d, Microphones Transducer Types).
In 1916, E. C. Wente invented the Condenser mic, which is also known as Electrostatic
microphone. This device converts the acoustic energy into electrical energy through a
transducer, resulting in the creation of electric signals, which drive the sound information to the
end of the cable (Hughes, 2007, Concertinist and Inventor). Condenser mics have two ways in
order to extract sound signals, known as DC biased and radio frequency (RF). In the DC biased
method, the voltage variations in the capsule are further amplified because it passes through a
resistor but the charge within the capsule remains constant. On the other hand in RF method,
sometimes the capsule modulates the frequency of the output, but sometimes the change of the
capacitance, modulates the amplitude of the output (Engineers, Condenser Microphone).
Condenser mics can pick up high frequencies and quiet sounds, because of the thin diagrams.
Moreover, condenser mics produce a high quality audio, have a faster/flatter frequency
response and are more sensitive to sound, typically in the region of 3 to 20 mV/Pa., unless they
are the RF type, because of the pad switch that they have (Mascrey, 2006, Introduction).
Counter to the condenser mic, in a dynamic mic, the vibrations of the diaphragm convert the
sound to an electrical signal, resulting to the vibration of a coil on a very small scale. Typically,
the sensitive region of low impedance dynamic mic is around 1 to 3 mV/Pa (Paformusic, n.d,
Microphones). The dynamic microphones are suitable for small distance recordings and they
have no need of an amplifier or batteries. On the other hand, the dynamic mics cannot pick up
high frequencies that well, because of the thick diaphragm that is attached to a wire coil
(Mascrey, 2006, Introduction). Ribbon mic belongs to the "family'' of dynamic microphones.
Between of the magnet poles of the Ribbon mic, there is a thin electrical ribbon, which is
typically bidirectional. Furthermore, Ribbon mics cannot pick up sounds from the side of the mic
but they pick up sounds from both the front and rear (Shure, n.d, Microphones Transducer).
When choosing a microphone, an important aspect to consider is the polar patterns and the
frequency response of the mic. The level of the sensitivity of a mic, from the lowest to highest
frequency, is the frequency response. There are two kinds of frequency response: the flat (See
image 1, appendix 1) and the tailored (See image 2, appendix 1) frequency response (Shure,
n.d, Microphones Frequency). Flat frequency response is all the frequencies between 20 Hz
and 20 kHz and have the same output level. In contrast with the flat frequency response that
has designed in order to reproduce the original sound without any changes, the tailored
frequency response has designed to gain the sound (Prosoundweb, 2011, Microphone
Characteristics). The sensitivity to sound relative to the direction or angle from which the sound
arrive, is the polar pattern of a microphone, and the most common types are Omnidirectional
(See image 3, appendix 1), Cardioid (See image 4, appendix 1) and Supercardioid (See image
5, appendix 1) (Shure, n.d, Microphone Polar). Omnidirectional can pick up sound from every
side of the mic but its possible to cause feedback in many situations. In contrast, despite that
Cardioid mic are most sensitive on the front, they are more difficult to cause feedback, because
they isolate the unwanted sounds. Supercardioid are like Cardioids but they are better in the
rejection of unwanted sounds and for that reason they are more resistant to feedback (Mascrey,
2006, Polar).
(See image1, appendix 1)
(See image 2, appendix 1)
Humans use three specific methods in order to localize the sound, which are the Interaural
Intensity Differences (IID), the Interaural Timing Differences (ITD) and the Head Related
Transfer Function (HRTF). In the IDD method, humans can localize the sound by the difference
in loudness between the left and right ear. In ITD method, the localization of the sound is
achieved by the difference in timing between left and right ear and last in HRTF method,
humans can localize the direction of the sound by the tonal difference between the ears
(Thomson, n.d, Introduction to studio). According to Dr.Rosse these methods belong to the
Binaural cues (Ross, n.d., A place theory, p35-39). Furthermore, humans use three stereo
microphone techniques in order to record these sounds. Firstly, is the Coincident category type
where microphones are positioned close to each other. This category includes the X-Y pair type
(See image 6, appendix 1), the Blumen pair type (See image 7, appendix 1) and the Mid side
type (See image 8, appendix 1). In X-Y type, there is good mono compatibility and there are not
tonal problems because of the close proximity of the mics. It is possible to increase the angle
but 135 is the maximum, because going past that creates centre hole problems. (Thomson, n.d,
Introduction to studio). Additionally, there must be two Cardioid microphones of the same type,
in order to complete the X-Y technique (Shure, n.d, Microphone Stereo). The Blumen pair type
has good stereo imaging, but because of the Bi Directional polar patterns it is not so good in
some types of room. The Mid side type has good mono compatibility and good stereo imaging
too like the X-Y. Also there are two Near Coincident pair types, the Faulkner Array (See image 9,
appendix 1) and the Near Coincident pair (ORTF) (See image 10, appendix 1). Faulkner Array
type has two groups of eight mics pointing directly at the sound source and the Near Coincident
pair was invented in order to emulate the distance between left and right ear. Secondly, the
Spaced or A-B category type, where there is a distance between the two microphones. This
category includes the Spaced Cardioid (See image 11, appendix 1), the Spaced Omni (See
image 12, appendix 1) and Decca Tree (See image 13, appendix 1). Because of the
directionality of the cardioid patterns, the Spaced Cardioid type is really useful in a difficult
sounding space. Despite that the Spaced Omni works like Spaced Cardioid, has to be close to
the sound source and requires a good and quiet sounding place. Also, the Decca Tree style has
a good stereo image and produces a sound recording in a high quality. Thirdly, the Baffled
category type is where there mics are positioned either side of a diaphragm in order to emulate
the head. This category includes Jeklin Disk Technique (See image 14, appendix 1) and The
Wedge Technique (See image 15, appendix 1). The Jeklin Disk Technique is emulating the
separation between left and right ear by a coincident pair with a thick circular diaphragm. This is
the AKA Oprimum stereo signal technique. The Wedge Technique has good mono compatibility,
good stereo image and is pretty similar to the Jeklin Disk, with the only difference being that it
uses a wedge diaphragm through PZM microphones on the surface (Thomson, n.d, Introduction
to studio).
Furthermore, there are specific microphone techniques in order to record a grand piano. The
quality and the "feeling" of a sound depend on the position of the microphone. In the following
image we can see the most known positions of a microphone in order to record a grand piano
(See image 16, appendix 1).
In the first position, the microphone is 12 inches above the middle strings and 8 inches
horizontally from hammers, resulting to a natural well-balanced sound. In the second position,
the microphone is 8 inches above the treble strings but it is not shown in the image above. This
gives the same results with the first position, but with a slightly brighter sound. In the third
position, the results are different. By positioning the microphone, in order to aim the sound holes,
the sound becomes thinner, duller, and harder. Moreover, in the fourth position, microphone is 6
inches over the middle strings and 8 inches from the hammers, resulting to a muddy and boomy
sound. In the fifth and sixth positions, despite that in the fifth position the microphone is next to
the underside of the lid and in the sixth position the microphone is underneath the piano, we
have as a result a bassy and full sound. Furthermore, in the seventh position, the microphone is
mounted on underside of lid and around of the treble strings, close to hammers for brighter
sound. This has as a result, a brighter and well-balanced sound. In the eighth position, there are
two surface-mount microphones positioned under the edge of the closed lid, and at its keyboard
edge, resulting on, a bright, well balanced but strong sound. In the ninth and last position, the
microphone is placed vertically on the inside of the frame, near the apex of the pianos curved
wall, giving an excellent isolation, and a natural, full sound (Shure, n.d, Microphone Positioning).
APPENDIX
1: Images
Image 1 source: Shure Legendary Performance, n.d, Microphones Polar Patterns. Retrieved
from
http://www.shure.co.uk/support_download/educational_content/microphonesbasics/microphone_polar_patterns
from
from
from
from
Image 6 source: Thomson P., n.d, Introduction to studio techniques, Topic 2, Stereo
Microphones Powerpoint File. Retrieved from
http://moodle.port.ac.uk/course/view.php?id=264
10
Image 8 source:Thomson P., n.d, Introduction to studio techniques, Topic 2, Stereo
11

Image 16 source: Shure Legendary Performance, n.d, Microphones Positioning Piano.
Retrieved from
http://www.shure.co.uk/support_download/educational_content/microphones-basics/piano
Image 17 source: Shure Legendary Performance, n.d, Microphones Positioning Piano.
Retrieved from
12
2: Bibliography
Columbia Electronic Encyclopedia, 2013 September, 6th Edition, p1-1, 1p
Engineers Garage, n.d, Condenser Microphone. Retrieved from
http://www.engineersgarage.com/electronic-components/condenser-microphone-pinout
Hughes.D.E, 2007, Concertinist and Inventor". Retrieved from
http://www.angloconcertina.org/files/HughesforWebsite.pdf
Mascrey J. (2006), Burning Grooves, Introduction to dynamic and condenser microphones.
Retrieved from
http://www.burninggrooves.com/articles/introduction-to-dynamic-and-condenser-microphones
Mascrey J. (2006), Burning Grooves, Polar Patterns Explained. Retrieved from
http://www.burninggrooves.com/articles/polar-patterns-explained
Prosoundweb, (2011 May), Microphone Characteristics Vital To Know For Sound
Reinforcement. Retrieved from
http://www.prosoundweb.com/article/print/microphone_characteristics_for_live_sound_reinforce
ment
Paformusic, n.d, Microphones. Retrieved from
http://www.paformusic.info/mics.htm
Ross J, n.d., A place theory of sound localization. Journal of Comparative and Physiological
Psychology 41, p35-39
Shure Legendary Performance, n.d, Microphones Frequency Response. Retrieved from
http://www.shure.co.uk/support_download/educational_content/microphonesbasics/microphones_frequency_response
13
Shure Legendary Performance, n.d, Microphones Polar Patterns. Retrieved from

Shure Legendary Performance, n.d, Microphones Positioning Piano. Retrieved from
Shure Legendary Performance, n.d, Microphones Stereo Microphones Techniques. Retrieved
from
http://www.shure.co.uk/support_download/educational_content/microphonesbasics/stereo_microphone_techniques
Shure Legendary Performance, n.d, Microphones Transducer Types. Retrieved from
http://www.shure.co.uk/support_download/educational_content/microphonesbasics/microphone_transducer_types
Thomson P., n.d, Introduction to studio techniques, Topic 2, Stereo Microphones Powerpoint
File. Retrieved from
14

Microphone Types and Specific Microphone Techniques

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Microphone Types and Specific Microphone Techniques

Uploaded by

Copyright:

Available Formats

Microphone types and specific microphone techniques

(See image1, appendix 1)

(See image 2, appendix 1)

(See image 3, appendix 1)

(See image 4, appendix 1)

(See image 5, appendix 1)

(See image 6, appendix 1)

(See image 7, appendix 1)

(See image 8, appendix 1)

(See image 9, appendix 1)

(See image 10, appendix 1)

(See image 11, appendix 1)

(See image 12, appendix 1)

(See image 13, appendix 1)

(See image 14, appendix 1)

(See image 15, appendix 1)

Image 15 source:Thomson P., n.d, Introduction to studio techniques, Topic 2, Stereo

Shure Legendary Performance, n.d, Microphones Polar Patterns. Retrieved from

You might also like