ADRETEC Week 2 PDF

ADRETEC WEEK 2 TJ Martinez  AGENDA RECAP ON MICCROPHONE SPECIFICATIONS STEREO MIKING FOR ACOUSTIC GUITAR DEMO Dynamic vs Condenser vs Ribbon Microphones Dynamic Microphone Less sensitive microphones by design Passive Requires user to be up close to get best quality of sound Less sensi...

ADRETEC WEEK 2 TJ Martinez  AGENDA RECAP ON MICCROPHONE SPECIFICATIONS STEREO MIKING FOR ACOUSTIC GUITAR DEMO Dynamic vs Condenser vs Ribbon Microphones Dynamic Microphone Less sensitive microphones by design Passive Requires user to be up close to get best quality of sound Less sensitive = better noise rejection and isolating your voice or sound Gain should be higher to match levels of condenser microphones  DYNAMIC MICROPHONES Vocal Microphones commonly used for live events (Shure SM57/58), Close Drum Microphones, Guitar amplifiers Shure SM58 Shure SM57 Shure SM7B Sennheiser e602 DYNAMIC MICROPHONES Condenser Microphone More sensitive microphone No need to be right up close to have good sound quality Requires phantom power // active More sensitive = background noise can be heard Gain doesn’t need to be high to record nice quality Condenser Microphone Has self-noise Two types: Large and Small Diaphragm CONDENSER MICROPHONES Examples: Vocal Microphones commonly used for vocal recording (AKG 414), Drum Overhead Microphones, Foley/SFX recording AKG 414 AKG P170 Samson C02 AT2035 CONDENSER MICROPHONES Ribbon Microphone Technically a form of dynamic microphone but treated as a separate design Can be used both active or passive Poor sensitivity when passive, high sensitivity when active Has self-noise if active Ribbon Microphone Closely mimics human hearing Not as bright as on condensers or dynamics Produces more of a warm or natural tone Primarily used in recording studios  RIBBON MICROPHONES Examples: Vocal recording, Guitar Amplifiers AEA R84 Royer R-121 sE Electronics Voodoo VR1 AEA A440 RIBBON MICROPHONES CARDIOID SUPERCARDIOID HYPERCARDIOID Wide Cardioid POLAR PATTERNS OMNIDIRECTIONAL FIGURE-8 SHOTGUN FREQUENCY RESPONSE Frequency Response Microphone’s frequency-specific sensitivity Which sound frequencies a microphone will reproduce Which sound frequencies the mic is more sensitive to relative to other frequencies How well a mic responds to frequencies Some respond well to infrasound (20k Hz) Frequency Response Range Frequency A to Frequency B (20 Hz - 20k Hz) a general idea of the lowest frequency a microphone will reproduce accurately to the highest frequency response a microphone will reproduce accurately. Frequency Response Graph Has 2 axes X-axis: Frequencies from 20-20k Hz Image from Shure SM58 Data Sheet Y-axis: Relative sensitivity given in dB Flat Response Reproduce all sound frequencies at the same relative sensitivity Coloured Microphones Have certain characters and made for specific applications (ex. kick drum microphones, instrument microphones) TRANSIENT RESPONSE Transient Response Measure of how quickly a microphone’s diaphragm can respond to changes in waveform Can lead to wide differences in the resulting sound between microphones SENSITIVITY LEVEL Sensitivity Level Measures microphone’s output signal level at a given acoustic input How effective the mic is as a transducer of acoustic energy to electrical energy Rated in mV (millivolt) or dBV (decibel Volt) per 1 Pascal or 94 dB SPL MAX. SENSITIVITY LEVEL Max Sensitivity Level Max SPL rating is the sound pressure level at which the microphone’s output signal starts to distort A mic's max SPL is often measured by projecting a 1 kHz tone from a loudspeaker directly into a mic's capsule (as close as possible). The tone's volume is increased until the mic shows signs of distortion (usually 0.5% T.H.D). The dB SPL of the tone is then calculated, and a max SPL rating is given. EQUIVALENT LEVEL Equivalent Level or Self-noise Indicates the SPL that will create the same voltage as the self-noise from the microphone will produce Good results are generally considered to be below 15 dB Ideally measured by placing the mic in an absolutely soundproof container and recording its output level STEREO MIKING FOR ACOUSTIC GUITAR Spaced Pair 1 1 large diaphragm and 1 pencil condenser Approx. same height Follow the 3:1 rule — distance between the 2 mics is at least 3 times the distance between each mic and guitar Example: Mic A is 6” away from 12th fret, mic B should be at least 18” away from Mic A Spaced Pair 2 Large diaphragm condenser is positioned around performer’s ear level, pointing down either at bridge or at the strings. right hand performer, mic is over the right shoulder 3:1 rule X-Y Pair a.k.a coincident pair position one mic above the other, nearly touching should split apart at roughly 90-120 degrees forming a “V” shape Usually focused on the 12th fret. experiment position for better placement and sound  Links https://www.gearank.com/articles/types-of-mics https://mynewmicrophone.com/differences-between-dynamic-condenser-ribbon-microphones/ https://www.neumann.com/en-en/homestudio-academy/difference-between-large-and-small- diaphragm- microphones/#:~:text=Apart%20from%20vocals%20and%20spoken,natural%20sound%2C%20without%20add ed%20flavors. https://www.lewitt-audio.com/blog/polar- patterns#:~:text=The%20polar%20pattern%20of%20a,the%20microphone%20from%20different%20directions. https://www.synapticsound.com/what-is-a-monitor-speaker/ https://www.soundguys.com/studio-headphones-why-you-should-get-a-pair-20978/ https://danielmiessler.com/p/the-difference-between-studio-headphones-and-regular-headphones/ https://www.mi.edu/in-the-know/do-you-need-audio-interface/ https://www.soundguys.com/what-are-in-ear-monitors-90955/ https://www.cablematters.com/Blog/Audio/audio-cable-types-a-complete-guide https://sweetwater.com/insync/analog-vs-digital-live-sound-mixers/