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��MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT $10.95 MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . .4 MICROPHONE CHARACTERISTICS . . . . . . . . . . . . . .4 MUSICAL INSTRUMENT CHARACTERISTICS . . . . . . .11 ACOUSTIC CHARACTERISTICS . . . . . . . . . . . . . . . .14 MICROPHONE PLACEMENT . . . . . . . . . . . . . . . . . .22 STEREO MICROPHONE TECHNIQUES . . . . . . . . . . .32 MICROPHONE SELECTION GUIDE . . . . . . . . . . . . .34 GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 3 I N D E X MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Introduction ties of the microphone. The two most common types are Dynamic and Condenser. Microphone techniques (the selection and place- ment of microphones) have a major influence on Dynamic microphones employ a diaphragm/ the audio quality of a sound reinforcement sys- voice coil/magnet assembly which forms a tem. For reinforcement of musical instruments, miniature sound-driven electrical generator. there are several main objectives of microphone Sound waves strike a thin plastic membrane techniques: to maximize pick-up of suitable (diaphragm) which vibrates in response. A sound from the desired instrument, to minimize small coil of wire (voice coil) is attached to the pick-up of undesired sound from instruments or rear of the diaphragm and vibrates with it. The other sound sources, and to provide sufficient voice coil itself is surrounded by a magnetic gain-before-feedback. Suitable sound from the field created by a small permanent magnet. It is desired instrument may mean either the natural the motion of the voice coil in this magnetic sound of the instrument or some particular field which generates the electrical signal corre- sound quality which is appropriate for the appli- sponding to the sound picked up by a dynamic cation. Undesired sound may mean the direct microphone. or ambient sound from other nearby instruments or just stage and background noise. Sufficient gain-before-feedback means that the desired instrument is reinforced at the required level without ringing or feedback in the sound system. Obtaining the proper balance of these factors may involve a bit of give-and-take with each. In this guide, Shure application and development engineers suggest a variety of microphone tech- niques for musical instruments to achieve these objectives. In order to provide some background for these techniques it is useful to understand some of the important characteristics of micro- phones, musical instruments and acoustics. Dynamic microphones have relatively simple construction and are therefore economical and rugged. They can provide excellent sound quali- Microphone Characteristics ty and good specifications in all areas of micro- phone performance. In particular, they can han- The most important characteristics of micro- dle extremely high sound levels: it is almost phones for live sound applications are their oper- impossible to overload a dynamic microphone. ating principle, frequency response and direc- In addition, dynamic microphones are relatively tionality. Secondary characteristics are their unaffected by extremes of temperature or humid- electrical output and actual physical design. ity. Dynamics are the type most widely used in general sound reinforcement. Operating principle - The type of transducer inside the microphone, that is, how the micro- Condenser microphones are based on an electri- phone picks up sound and converts it into an cally-charged diaphragm/backplate assembly electrical signal. which forms a sound-sensitive capacitor. Here, sound waves vibrate a very thin metal or metal- A transducer is a device that changes energy coated-plastic diaphragm. The diaphragm is from one form into another, in this case, acoustic mounted just in front of a rigid metal or metal- energy into electrical energy. The operating coated-ceramic backplate. In electrical terms this principle determines some of the basic capabili- assembly or element is known as a capacitor (his- 4 SOUND REINFORCEMENT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT torically called a condenser ), which has the PHANTOM POWER ability to store a charge or voltage. When the element is charged, an electric field is created Phantom power is a DC voltage (usually 12-48 between the diaphragm and the backplate, pro- volts) used to power the electronics of a con- portional to the spacing between them. It is the denser microphone. For some (non-electret) variation of this spacing, due to the motion of condensers it may also be used to provide the the diaphragm relative to the backplate, that pro- polarizing voltage for the element itself. This duces the electrical signal corresponding to the voltage is supplied through the microphone sound picked up by a condenser microphone. cable by a mixer equipped with phantom power or by some type of in-line external source. The voltage is equal on Pin 2 and Pin 3 of a typical balanced, XLR-type connector. For a 48 volt phantom source, for example, Pin 2 is 48 VDC and Pin 3 is 48 VDC, both with respect to Pin 1 which is ground (shield). Because the voltage is exactly the same on Pin 2 and Pin 3, phantom power will have no effect on balanced dynamic microphones: no current will flow since there is no voltage difference across the output. In fact, phantom power supplies have current limiting which will prevent damage The construction of a condenser microphone to a dynamic microphone even if it is shorted or must include some provision for maintaining the miswired. In general, balanced dynamic micro- electrical charge or polarizing voltage. An phones can be connected to phantom powered electret condenser microphone has a permanent mixer inputs with no problem. charge, maintained by a special material deposit- ed on the backplate or on the diaphragm. Non- electret types are charged (polarized) by means of an external power source. The majority of condenser microphones for sound reinforcement are of the electret type. All condensers contain additional active circuitry to allow the electrical output of the element to be used with typical microphone inputs. This requires that all condenser microphones be pow- Fig. 3: phantom power schematic ered: either by batteries or by phantom power (a method of supplying power to a microphone Condenser microphones are more complex than through the microphone cable itself). There are dynamics and tend to be somewhat more costly. two potential limitations of condenser micro- Also, condensers may be adversely affected by phones due to the additional circuitry: first, the extremes of temperature and humidity which can electronics produce a small amount of noise; cause them to become noisy or fail temporarily. second, there is a limit to the maximum signal However, condensers can readily be made with level that the electronics can handle. For this higher sensitivity and can provide a smoother, more reason, condenser microphone specifications natural sound, particularly at high frequencies. Flat always include a noise figure and a maximum frequency response and extended frequency range sound level. Good designs, however, have very are much easier to obtain in a condenser. In addi- low noise levels and are also capable of very tion, condenser microphones can be made very wide dynamic range. small without significant loss of performance. 5 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT TRANSIENT RESPONSE such as cymbals. It is this transient response difference that causes condenser mics to have a Transient response refers to the ability of a more crisp, detailed sound and dynamic mics to microphone to respond to a rapidly changing have a more mellow, rounded sound. sound wave. A good way to understand why dynamic and condenser mics sound different is to understand the differences in their transient response. In order for a microphone to convert sound energy into electrical energy, the sound wave must physically move the diaphragm of the microphone. The amount of time it takes for this movement to occur depends on the weight (or mass) of the diaphragm. For instance, the diaphragm and voice coil assembly of a dynamic microphone may weigh up to 1000 times more than the diaphragm of a condenser microphone. It takes longer for the heavy dynamic diaphragm to begin moving than for the lightweight condenser diaphragm. It also takes longer for the dynamic diaphragm to Condenser/dynamic scope photo stop moving in comparison to the condenser diaphragm. Thus, the dynamic transient The decision to use a condenser or dynamic response is not as good as the condenser microphone depends not only on the sound transient response. This is similar to two source and the sound reinforcement system vehicles in traffic: a truck and a sports car. but on the physical setting as well. From a They may have equal power engines but the practical standpoint, if the microphone will be truck weighs much more than the car. As used in a severe environment such as a rock traffic flow changes, the sports car can and roll club or for outdoor sound, dynamic accelerate and brake very quickly, while the types would be a good choice. In a more semi accelerates and brakes very slowly due controlled environment such as a concert hall to its greater weight. Both vehicles follow or theatrical setting, a condenser microphone the overall traffic flow but the sports car might be preferred for many sound sources, responds better to sudden changes. especially when the highest sound quality is desired. Pictured here are two studio microphones responding to the sound impulse produced Frequency response - The output level or by an electric spark: condenser mic on top, sensitivity of the microphone over its operating dynamic mic on bottom. It is evident that it range from lowest to highest frequency. takes almost twice as long for the dynamic microphone to respond to the sound. It also Virtually all microphone manufacturers list takes longer for the dynamic to stop moving the frequency response of their microphones after the impulse has passed (notice the ripple over a range, for example 50 - 15,000 Hz. on the second half of the graph). Since con- This usually corresponds with a graph that denser microphones generally have better indicates output level relative to frequency. transient response then dynamics, they are The graph has frequency in Hertz (Hz) on the better suited for instruments that have very x-axis and relative response in decibels (dB) sharp attack or extended high frequency output on the y-axis. 6 SOUND REINFORCEMENT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT A microphone whose output is equal at all THE DECIBEL frequencies has a flat frequency response. The decibel (dB) is an expression often used in electrical and acoustic measurements. The deci- bel is a number that represents a ratio of two val- ues of a quantity such as voltage. It is actually a logarithmic ratio whose main purpose is to scale a large measurement range down to a much smaller and more useable range. The form of the decibel relationship for voltage is: dB = 20 x log(V1/V2) where 20 is a constant, V1 is one voltage, V2 is Flat frequency response the other voltage, and log is logarithm base 10. Flat response microphones typically have an extended frequency range. They reproduce a Examples: variety of sound sources without changing or coloring the original sound. What is the relationship in decibels between 100 volts and 1 volt? A microphone whose response has peaks or dips in certain frequency areas exhibits a shaped response. dB = 20 x log(100/1) dB = 20 x log(100) dB = 20 x 2 (the log of 100 is 2) dB = 40 That is, 100 volts is 40dB greater than 1 volt. What is the relationship in decibels between 0.001 volt and 1 volt? dB = 20 x log(0.001/1) dB = 20 x log(0.001) Shaped frequency response dB = 20 x (-3) (the log of .001 is -3) dB = -60 A shaped response is usually designed to enhance That is, 0.001 volt is 60dB less that 1 volt. a sound source in a particular application. Similarly: For instance, a microphone may have a peak in the 2 - 8 kHz range to increase intelligibility for if one voltage is equal to the other they live vocals. This shape is called a presence peak are 0dB different or rise. A microphone may also be designed to be less sensitive to certain other frequencies. One if one voltage is twice the other they are example is reduced low frequency response (low 6dB different end roll-off) to minimize unwanted boominess or stage rumble. if one voltage is ten times the other they are 20dB different 7 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Since the decibel is a ratio of two values, there Directionality - A microphone s sensitivity to must be an explicit or implicit reference value sound relative to the direction or angle from for any measurement given in dB. This is usual- which the sound arrives. ly indicated by a suffix on the decibel value such as: dBV (reference to 1 volt which is 0dBV) or There are a number of different directional dB SPL (reference to 0.0002 microbar which is patterns found in microphone design. These 0dB Sound Pressure Level) are typically plotted in a polar pattern to graphically display the directionality of the 1. Compare 2. Compress 3. scale (x 20) microphone. The polar pattern shows the variation in sensitivity 360 degrees around the 100=1 0 microphone, assuming that the microphone is 101=10 20 in the center and that 0 degrees represents the 102=100 40 front of the microphone. b a 103=1000 60 104=10,000 80 The three basic directional types of micro- b/a phones are omnidirectional, unidirectional, 105=100,000 100 and bidirectional. 106=1,000,000 120 Decibel scale The omnidirectional microphone has equal for dBV or dB SPL output or sensitivity at all angles. Its coverage angle is a full 360 degrees. An omnidirectional One reason that the decibel is so useful in certain microphone will pick up the maximum amount audio measurements is that this scaling function of ambient sound. In live sound situations an closely approximates the behavior of human omni should be placed very close to the sound hearing sensitivity. For example, a change of source to pick up a useable balance between 1dB SPL is about the smallest difference in loud- direct sound and ambient sound. In addition, ness that can be perceived while a 3dB SPL an omni cannot be aimed away from undesired change is generally noticeable. A 6dB SPL sources such as PA speakers which may cause change is quite noticeable and finally, a 10dB feedback. SPL change is perceived as twice as loud. The choice of flat or shaped response micro- phones again depends on the sound source, the sound system and the environment. Flat response microphones are usually desirable to reproduce instruments such as acoustic guitars or pianos, especially with high quality sound sys- tems. They are also common in stereo miking and distant pickup applications where the micro- phone is more than a few feet from the sound source: the absence of response peaks mini- mizes feedback and contributes to a more natural sound. On the other hand, shaped response micro- Omnidirectional phones are preferred for closeup vocal use and for certain instruments such as drums and guitar ampli- The unidirectional microphone is most sensitive fiers which may benefit from response enhance- to sound arriving from one particular direction ments for presence or punch. They are also useful and is less sensitive at other directions. The for reducing pickup of unwanted sound and noise most common type is a cardioid (heart-shaped) outside the frequency range of an instrument. response. This has the most sensitivity at 0 degrees (on-axis) and is least sensitive at 180 8 SOUND REINFORCEMENT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT degrees (off-axis). The effective coverage or pickup angle of a cardioid is about 130 degrees, that is up to about 65 degrees off axis at the front of the microphone. In addition, the cardioid mic picks up only about one-third as much ambient sound as an omni. Unidirectional microphones isolate the desired on-axis sound from both unwanted off-axis sound and from ambient noise. The bidirectional microphone has maximum sensitivity at both 0 degrees (front) and at 180 degrees (back). It has the least amount of out- put at 90 degree angles (sides). The coverage or pickup angle is only about 90 degrees at both the front and the rear. It has the same amount of ambient pickup as the cardioid. This mic could be used for picking up two Cardioid opposing sound sources, such as a vocal duet. Cardioid Though rarely found in sound reinforcement For example, the use of a cardioid microphone they are used in certain stereo techniques, for a guitar amplifier which is near the drum set such as M-S (mid-side). is one way to reduce bleed-through of drums into the reinforced guitar sound. Microphone Polar Patterns Compared Unidirectional microphones have several variations on the cardioid pattern. Two of these are the supercardioid and hypercardioid. Both patterns offer narrower front pickup angles than the cardioid (115 degrees for the supercar- dioid and 105 degrees for the hypercardioid) and also greater rejection of ambient sound. While the cardioid is least sensitive at the rear (180 degrees off-axis) the least sensitive direction is at 126 degrees off-axis for the supercardioid and 110 degrees for the hypercardioid. When placed properly they can provide more focused pickup and less ambient noise than the cardioid pattern, but they have some pickup directly at the rear, called a rear lobe. The rejection at the rear is -12 dB for the supercardioid and only -6 dB for the hypercardioid. A good cardioid type has at least 15-20 dB of rear rejection. Supercardioid 9 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Other directional related microphone characteristics: USING DIRECTIONAL PATTERNS TO REJECT UNWANTED SOURCES Ambient sound rejection - Since unidirectional In sound reinforcement, microphones must often microphones are less sensitive to off-axis sound be located in positions where they may pick up than omnidirectional types they pick up less unintended instrument or other sounds. Some overall ambient or stage sound. Unidirectional examples are: individual drum mics picking up mics should be used to control ambient noise adjacent drums, vocal mics picking up overall pickup to get a cleaner mix. stage noise, and vocal mics picking up monitor speakers. In each case there is a desired sound Distance factor - Because directional micro- source and one or more undesired sound sources. phones pick up less ambient sound than omni- Choosing the appropriate directional pattern can directional types they may be used at some- help to maximize the desired sound and mini- what greater distances from a sound source and mize the undesired sound. still achieve the same balance between the direct sound and background or ambient Although the direction for maximum pickup is sound. An omni should be placed closer to usually obvious (on-axis) the direction for least the sound source than a uni about half the pickup varies with microphone type. In particu- distance to pick up the same balance between lar, the cardioid is least sensitive at the rear (180 direct sound and ambient sound. degrees off-axis) while the supercardioid and hypercardioid types actually have some rear Off-axis coloration - Change in a microphone s pickup. They are least sensitive at 125 degrees frequency response that usually gets progressive- off-axis and 110 degrees off axis respectively. ly more noticeable as the arrival angle of sound increases. High frequencies tend to be lost first, For example, when using floor monitors with often resulting in muddy off-axis sound. vocal mics, the monitor should be aimed directly at the rear axis of a cardioid microphone for Proximity effect - With unidirectional micro- maximum gain-before-feedback. When using a phones, bass response increases as the mic is supercardioid, however, the monitor should be moved closer (within 2 feet) to the sound source. positioned somewhat off to the side (55 degrees With close-up unidirectional microphones (less off the rear axis) for best results. Likewise, than 1 foot), be aware of proximity effect and when using supercardioid or hypercardioid types roll off the bass until you obtain a more natural on drum kits be aware of the rear pickup of these sound. You can (1) roll off low frequencies on mics and angle them accordingly to avoid pick- the mixer, or (2) use a microphone designed to up of other drums or cymbals. minimize proximity effect, or (3) use a micro- Monitor speaker placement for phone with a bass rolloff switch, or (4) use an omnidirectional microphone (which does not exhibit proximity effect). Proximity effect graph maximum rejection: cardioid and supercardioid Unidirectional microphones can not only help 10 SOUND REINFORCEMENT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT to isolate one voice or instrument from other therefore recommended for nearly all sound singers or instruments, but can also minimize reinforcement applications. feedback, allowing higher gain. For these reasons, unidirectional microphones are preferred over omnidirectional microphones in almost all sound reinforcement applications. The electrical output of a microphone is usually specified by level, impedance and wiring configuration. Output level or sensitivity is the level of the electrical signal from the micro- phone for a given input sound level. In general, condenser microphones have higher sensitivity than dynamic types. For weak or distant sounds a high sensitivity microphone is desirable while loud or close-up sounds can be picked up well by lower-sensitivity models. The output impedance of a microphone is rough- ly equal to the electrical resistance of its output: 150-600 ohms for low impedance (low-Z) and 10,000 ohms or more for high impedance.(high- Z). The practical concern is that low impedance The physical design of a microphone is its microphones can be used with cable lengths of mechanical and operational design. Types used 1000 feet or more with no loss of quality while in sound reinforcement include: handheld, head- high impedance types exhibit noticeable high worn, lavaliere, overhead, stand-mounted, instru- frequency loss with cable lengths greater than ment-mounted and surface-mounted designs. about 20 feet. Most of these are available in a choice of operat- ing principle, frequency response, directional Finally, the wiring configuration of a microphone pattern and electrical output. Often the physical may be balanced or unbalanced. A balanced design is the first choice made for an application. output carries the signal on two conductors (plus Understanding and choosing the other character- shield). The signals on each conductor are the istics can assist in producing the maximum qual- same level but opposite polarity (one signal is ity microphone signal and delivering it to the positive when the other is negative). A balanced sound system with the highest fidelity. microphone input amplifies only the difference between the two signals and rejects any part of the signal which is the same in each conductor. Any Musical Instrument Characteristics electrical noise or hum picked up by a balanced (two-conductor) cable tends to be identical in the Some background information on characteris- two conductors and is therefore rejected by the tics of musical instruments may be helpful. balanced input while the equal but opposite Instruments and other sound sources are char- polarity original signals are amplified. On the acterized by their frequency output, by their other hand, an unbalanced microphone output directional output and by their dynamic range. carries its signal on a single conductor (plus shield) and an unbalanced microphone input Frequency output - the span of fundamental amplifies any signal on that conductor. Such a and harmonic frequencies produced by an combination will be unable to reject any electrical instrument, and the balance or relative level of noise which has been picked up by the cable. those frequencies. Balanced, low-impedance microphones are Musical instruments have overall frequency 11 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT ranges as found in the chart below. The dark level of the harmonics is noticeably different section of each line indicates the range of between these two instruments and provides fundamental frequencies and the shaded each instrument with its own unique sound. section represents the range of the highest harmonics or overtones of the instrument. A microphone which responds evenly to the full The fundamental frequency establishes the range of an instrument will reproduce the most basic pitch of a note played by an instrument natural sound from an instrument. A microphone while the harmonics produce the timbre or which responds unevenly or to less than the full characteristic tone. range will alter the sound of the instrument, Instrument frequency ranges though this effect may be desirable in some cases. Directional output - the three-dimensional pat- tern of sound waves radiated by an instrument. A musical instrument radiates a different tone quality (timbre) in every direction, and each part of the instrument produces a different timbre. Most musical instruments are designed to sound best at a distance, typically two or more feet away. At this distance, the sounds of the various parts of the instrument combine into a pleasing composite. In addition, many instruments pro- duce this balanced sound only in a particular direction. A microphone placed at such distance and direction tends to pick up a natural or well- balanced tone quality. On the other hand, a microphone placed close to the instrument tends to emphasize the part of the instrument that the microphone is near. The result- It is this timbre that distinguishes the sound ing sound may not be representative of the instru- of one instrument from another. In this man- ment as a whole. Thus, the reinforced tonal bal- ner, we can tell whether a piano or a trumpet ance of an instrument is strongly affected by the just played that C note. The following graphs microphone position relative to the instrument. show the levels of the fundamental and harmonics associated with a trumpet and an Unfortunately, it is difficult, if not impossible, to oboe each playing the same note. place a microphone at the natural sounding distance from an instrument in a sound rein- forcement situation without picking up other Instrument spectra comparison (undesired) sounds and/or acoustic feedback. Close microphone placement is usually the only practical way to achieve sufficient isolation and oboe gain-before-feedback. But since the sound picked up close to a source can vary significantly trumpet in Bb with small changes in microphone position, it is very useful to experiment with microphone loca- tion and orientation. In some cases more than 200 500 1000 2000 3000 4000 5000 one microphone may be required to get a good frequency sound from a large instrument such as a piano. The number of harmonics along with the relative 12 SOUND REINFORCEMENT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Dynamic range - the range of volume of an INSTRUMENT LOUDSPEAKERS instrument from its softest to its loudest level. Another instrument with a wide range of charac- teristics is the loudspeaker. Anytime you are The dynamic range of an instrument determines placing microphones to pick up the sound of a the specifications for sensitivity and maximum guitar or bass cabinet you are confronted with input capability of the intended microphone. the acoustic nature of loudspeakers. Each indi- Loud instruments such as drums, brass and vidual loudspeaker type is directional and dis- amplified guitars are handled well by dynamic plays different frequency characteristics at differ- microphones which can withstand high sound ent angles and distances. The sound from a loud- levels and have moderate sensitivity. Softer speaker tends to be almost omnidirectional at instruments such as flutes and harpsichords can low frequencies but becomes very directional at benefit from the higher sensitivity of condensers. high frequencies. Thus, the sound on-axis at the Of course, the farther the microphone is placed center of a speaker usually has the most bite or from the instrument the lower the level of sound high-end, while the sound produced off-axis or reaching the microphone. at the edge of the speaker is more mellow or bassy. A cabinet with multiple loudspeakers has In the context of a live performance, the relative an even more complex output, especially if it has dynamic range of each instrument determines how different speakers for bass and treble. As with much sound reinforcement may be required. If all most acoustic instruments the desired sound only of the instruments are fairly loud, and the venue is develops at some distance from the speaker. of moderate size with good acoustics, no reinforce- ment may be necessary. On the other hand, if the Sound reinforcement situations typically require performance is in a very large hall or outdoors, a close-mic approach. A unidirectional dynamic even amplified instruments may need to be further microphone is a good first choice here: it can reinforced. Finally, if there is a substantial differ- handle the high level and provide good sound ence in dynamic range among the instruments, and isolation. Keep in mind the proximity effect such as an acoustic VIOLIN when using a uni close to the speaker: some guitar in a loud rock bass boost will be likely. If the cabinet has only band, the micro- PIA NO one speaker a single microphone should pick up phone techniques GUI TAR a suitable sound with a little experimentation. If (and the sound sys- SAX OPHONE the cabinet has multiple speakers of the same tem) must accom- HAR MONICA type it is typically easiest to place the micro- modate those differ- TRUMPET phone to pick up just one speaker. Placing the ences. Often, the microphone between speakers can result in maximum MALE VOICE strong phase effects though this may be desirable volume of the FEMALE VOICE to achieve a particular tone. However, if the overall sound BASS DRUM cabinet is stereo or has separate bass and treble system is limited SNARE DRUM speakers multiple microphones may be required. by the maximum CYM BAL gain-before-feed- Placement of loudspeaker cabinets can also have a back of the softest 0 20 40 60 80 100 120 significant effect on their sound. Putting cabinets instrument. on carpets can reduce brightness, while raising Intensity Level in Decibels them off the floor can reduce low end. Open-back An understanding (at distance of 10 feet) cabinets can be miked from behind as well as from of the frequency the front. The distance from the cabinet to walls or output, directional output, and dynamic range other objects can also vary the sound. Again, characteristics of musical instruments can help experiment with the microphone(s) and placement significantly in choosing suitable microphones, until you have the sound that you like! placing them for best pickup of the desired sound and minimizing feedback or other unde- sired sounds. 13 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Acoustic Characteristics Approximate wavelengths of common frequencies: Sound Waves 100 Hz: about 10 feet Sound moves through the air like waves in water. 1000 Hz: about 1 foot Sound waves consist of pressure variations travel- 10,000 Hz: about 1 inch ing through the air. When the sound wave travels, it compresses air molecules together at one point. This is called the high pressure zone or positive Loudness component(+). After the compression, an expan- 140 sion of molecules occurs. This is the low pressure The fluctuation of 130 zone or negative component(-). This process con- air pressure created 120 110 tinues along the path of the sound wave until its by sound is a change 100 energy becomes too weak to hear. The sound above and below 90 wave of a pure tone traveling through air would normal atmospheric 80 70 appear as a smooth, regular variation of pressure pressure. This is 60 that could be drawn as a sine wave. what the human ear 50 responds to. The 40 30 Frequency, wavelength and the speed of sound varying amount of 20 pressure of the air 10 1 CYCLE The frequency molecules compress- 0 1 / CYCLE 2 of a sound wave ing and expanding is indicates the rate related to the appar- of pressure vari- ent loudness at the Ambient sounds + ations or cycles. human ear. The 0 AMPLITUDE _ One cycle is a greater the pressure change, the louder the change from DISTANCE WAVELENGTH sound. Under ideal conditions the human ear high pressure to can sense a pressure change as small as 0.0002 Schematic of sound wave low pressure microbars (1 microbar = 1/1,000,000 atmospher- and back to high pressure. The number of cycles ic pressure). The threshold of pain is about 200 per second is called Hertz, abbreviated Hz. microbars, one million times greater! Obviously So, a 1,000 Hz tone has 1,000 cycles per second. the human ear responds to a wide range of amplitude of sound. This amplitude range is The wavelength of a sound is the physical distance more commonly measured in decibels Sound from the start of one cycle to the start of the next Pressure Level (dB SPL), relative to 0.0002 cycle. Wavelength is related to frequency by the microbars (0 dB SPL). 0 dB SPL is the threshold speed of sound. The speed of sound in air is about of hearing L and 120 dB SPL is the threshold of p 1130 feet per second or 344 meters/second. The pain. 1dB is about the smallest change in SPL speed of sound is constant no matter what the fre- that can be heard. A 3dB change is generally quency. The wavelength of a sound wave of any noticeable while a 6dB change is very notice- frequency can be determined by these relationships: able. A 10dB SPL increase is perceived to be twice as loud! The Wave Equation: c = f " l speed of sound = frequency " wavelength Sound Propagation or speed of sound There are four basic ways in which sound can wavelength = frequency be altered by its environment as it travels or propagates: reflection, absorption, diffraction for a 500Hz sound wave: and refraction. wavelength = 1,130 feet per second 500Hz wavelength = 4.4 feet 14 SOUND REINFORCEMENT PRESSURE MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT 1. Reflection - A sound wave can be reflected quency sound wave is much longer than a high by a surface or other object if the object is physi- frequency wave, low frequencies will bend cally as large or larger than the wavelength of around objects that high frequencies cannot. the sound. Because low frequency sounds have The effect is that high frequencies tend to have a long wavelengths they can only be reflected by higher directivity and are more easily blocked large objects. Higher frequencies can be reflect- while low frequencies are essentially omnidirec- ed by smaller objects and surfaces as well as tional. In sound reinforcement, it is difficult to large. The reflected sound will have a different get good directional control at low frequencies frequency characteristic than the direct sound if for both microphones and loudspeakers. all frequencies are not reflected equally. 4. Refraction - The bending of a sound wave Reflection is also the source of echo, reverb, and as it passes through some change in the density standing waves: of the environment. This effect is primarily noticeable outdoors at large distances from loud- Echo occurs when a reflected sound is delayed speakers due to atmospheric effects such as wind long enough (by a distant reflective surface) to or temperature gradients. The sound will appear be heard by the listener as a distinct repetition of to bend in a certain direction due to these effects. the direct sound. Direct vs. Ambient Sound Reverberation consists of many reflections of a sound, maintaining the sound in a reflective space A very important property of direct sound is that it for a time even after the direct sound has stopped. becomes weaker as it travels away from the sound source. The amount of change is controlled by Standing waves in a room occur for certain fre- the inverse-square law which states that the level quencies related to the distance between parallel change is inversely proportional to the square of walls. The original sound and the reflected sound the distance change. When the distance from a will begin to reinforce each other when the dis- sound source doubles, the sound level decreases tance between two opposite walls is equal to a by 6dB. This is a noticeable decrease. For exam- multiple of half the wavelength of the sound. This ple, if the sound from a guitar amplifier is 100 dB happens primarily at low frequencies due to their SPL at 1 ft. from the cabinet it will be 94 dB at 2 longer wavelengths and relatively high energy. ft., 88 dB at 4 ft., 82 dB at 8 ft., etc. Conversely, when the distance is cut in half the sound level 2. Absorption - Some materials absorb sound increases by 6dB: It will be 106 dB at 6 inches rather than reflect it. Again, the efficiency of and 112 dB at 3 inches! absorption is dependent on the wavelength. Thin absorbers like carpet and acoustic ceiling On the other hand, the ambient sound in a room tiles can affect high frequencies only, while thick is at nearly the same level throughout the room. absorbers such as drapes, padded furniture and This is because the ambient sound has been specially designed bass traps are required to reflected many times within the room until it is attenuate low frequencies. Reverberation in a essentially non-directional. Reverberation is an room can be controlled by adding absorption: example of non-directional sound. the more absorption the less reverberation. Clothed humans absorb mid and high frequen- For this reason the ambient sound of the room cies well, so the presence or absence of an audi- will become increasingly apparent as a micro- ence has a significant effect on the sound in an phone is placed further away from the direct otherwise reverberant venue. sound source. In every room, there is a distance (measured from the sound source) where the 3. Diffraction - A sound wave will typically direct sound and the reflected (or reverberant) bend around obstacles in its path which are sound become equal in intensity. In acoustics, smaller than its wavelength. Because a low fre- this is known as the Critical Distance. If a micro- 15 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT phone is placed at the Critical Distance or farther, phase shift or an +1 +2 the sound quality picked up may be very poor. apparent starting 0 -1 This sound is often described as echoey , rever- point somewhere 0 in-phase + = +1 berant, or bottom of the barrel . The reflected between the origi- 0 sound overlaps and blurs the direct sound. nal starting points. -1 -2 a This new wave Critical distance may be estimated by listening will have the same +1 to a sound source at a very short distance, then frequency as the 0 -1 moving away until the sound level no longer original waves but 1800 out 0 + = of phase +1 decreases but seems to be constant. That dis- will have 0 tance is critical distance. increased or -1 b decreased ampli- A unidirectional microphone should be positioned tude depending on +1 +2 no farther than 50% of the Critical Distance, e.g. the degree of 0 +1 -1 if the Critical Distance is 10 feet, a unidirectional phase difference. 0 phase shifts + = mic may be placed up to 5 feet from the sound Phase shift, in this +1 -1 0 source. Highly reverberant rooms may require case, indicates that -1 -2 c very close microphone placement. The amount of the 0 degree direct sound relative to ambient sound is con- points of two trolled primarily by the distance of the micro- identical waves Phase relationships phone to the sound source and to a lesser degree are not the same. by the directional pattern of the mic. Most soundwaves are not a single frequency but Phase relationships and interference effects are made up of many frequencies. When identical multiple-frequency soundwaves combine there one cycle or one period The phase of a are three possibilities for the resulting wave: a single frequency sound doubling of amplitude at all frequencies if the wave is always described waves are in phase, a complete cancellation at all relative to the starting frequencies if the waves are 180 degrees out of point of the wave phase, or partial cancellation and partial reinforce- 00 900 1800 2700 3600 or 0 degrees. The ment at various frequencies if the waves have pressure change is also intermediate phase relationship. The results may Sound pressure wave zero at this point. The be heard as interference effects. peak of the high pressure zone is at 90 degrees, the pressure change falls to zero again at 180 The first case is the basis for the increased sensi- degrees, the peak of the low pressure zone is at tivity of boundary or surface-mount micro- 270 degrees, and the pressure change rises to zero phones. When a microphone element is placed at 360 degrees for the start of the next cycle. very close to an acoustically reflective surface both the incident and reflected sound waves are in Two identical sound waves starting at the same phase at the microphone. This results in a 6dB point in time are called in-phase and will sum increase (doubling) in sensitivity, compared to the together creating a single wave with double the same microphone in free space. This occurs for amplitude but otherwise identical to the original reflected frequencies whose wavelength is greater waves. Two identical sound waves with one than the distance from the microphone to the sur- wave s starting point occurring at the 180 degree face: if the distance is less than one-quarter inch point of the other wave are said to be out of this will be the case for frequencies up to at least phase and the two waves will cancel each other 18 kHz. However, this 6dB increase will not completely. When two sound waves of the same occur for frequencies that are not reflected, that is, single frequency but different starting points are frequencies that are either absorbed by the surface combined the resulting wave is said to have or that diffract around the surface. High frequen- 16 SOUND REINFORCEMENT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT cies may be absorbed by surface materials such as (electrically) in the mixer. The resulting comb carpeting or other acoustic treatments. Low fre- filtering depends on the sound arrival time quencies will diffract around the surface if their difference between the microphones: a large wavelength is much greater than the dimensions time difference (long distance) causes comb of the surface: the boundary must be at least 5 ft. filtering to begin at low frequencies, while a square to reflect frequencies down to 100 Hz. small time difference (short distance) moves the comb filtering to higher frequencies. The second case occurs when two closely spaced microphones are wired out of phase, that is, with The second way reverse polarity. This usually only happens by for this effect to accident, due to miswired microphones or cables occur is when a but the effect is also used as the basis for certain single micro- noise-canceling microphones. In this technique, phone picks up a two identical microphones are placed very close direct sound and to each other (sometimes within the same hous- also a delayed ing) and wired with opposite polarity. Sound version of the waves from distant sources which arrive equally same sound. at the two microphones are effectively canceled The delay may when the outputs are mixed. However, sound Multi-mic comb filtering be due to an from a source which is much closer to one ele- acoustic reflec- ment than to other will be heard. Such close-talk tion of the original sound or to multiple sources microphones, which must literally have the lips of of the original sound. A guitar cabinet with the talker touching more than one speaker or multiple loudspeaker the grille, are used cabinets for a single instrument would be in high-noise examples. The delayed sound travels a longer environments distance (longer time) to the mic and thus has a such as aircraft phase difference relative to the direct sound. and industrial pag- When these sounds combine (acoustically) at the ing but rarely with microphone, comb filtering results. This time musical instru- the effect of the comb filtering depends on the ments due to their distance between the microphone and the source limited frequency of the reflection or the distance between the response. multiple sources. Polarity reversal It is the last case which is most likely in musical sound reinforcement, and the audible result is a degraded frequency response called comb filter- ing. The pattern of peaks and dips resembles the teeth of a comb and the depth and location of these notches depend on the degree of phase shift. With microphones this effect can occur in two ways. The first is when two (or more) mics pick up the same sound source at different dis- tances. Because it takes longer for the sound to arrive at the more distant microphone there is effectively a phase difference between the sig- nals from the mics when they are combined Reflection comb filtering 17 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT The 3-to-1 Rule MICROPHONE PHASE EFFECTS When it is necessary to use multiple micro- One effect often heard in sound reinforcement phones or to use microphones near reflective occurs when two microphones are placed in close surfaces the resulting interference effects proximity to the same sound source, such as a drum may be minimized by using the 3-to-1 rule. kit or instrument amplifier. Many times this is due to For multiple microphones the rule states the phase relationship of the sounds arriving at the that the distance between microphones microphones. If two microphones are picking up the should be at least three times the distance same sound source from different locations, some from each microphone to its intended sound phase cancellation or summing may be occurring. source. The sound picked up by the more Phase cancellation happens when two microphones distant microphone is then at least 12dB less are receiving the same soundwave but with opposite than the sound picked up by the closer one. pressure zones (that is,180 degrees out of phase). This insures that the audible effects of comb This is usually not desired. A mic with a different filtering are reduced by at least that much. polar pattern may reduce the pickup of unwanted For reflective surfaces, the microphone sound and reduce the effect or physical isolation can 1 should be at least 1 / times as far from be used. With a drum kit, physical isolation of the 2 that surface as it is from its intended sound individual drums is not possible. In this situation the source. Again, this insures minimum choice of microphones may be more dependent on audibility of interference effects. the off-axis rejection characteristic of the mic. Another possibility is phase reversal. If there is cancellation occurring, a 180 degree phase flip will create phase summing of the same frequencies. A common approach to the snare drum is to place one mic on the top head and one on the bottom head. Because the mics are picking up relatively similar sound sources at different points in the sound wave, you may experience some phase cancellations. Inverting the phase of one mic will sum any frequen- cies being canceled. This may sometimes achieve a fatter snare drum sound. This effect will change dependent on mic locations. The phase inversion can be done with an in-line phase reverse adapter or by a phase invert switch found on many mixers inputs. 3-to-1 rule Potential Acoustic Gain vs. Needed Strictly speaking, the 3-to-1 rule is based on Acoustic Gain the behavior of omnidirectional microphones. It can be relaxed slightly if unidirectional The basic purpose of a sound reinforcement sys- microphones are used and they are aimed tem is to deliver sufficient sound level to the appropriately, but should still be regarded as a audience so that they can hear and enjoy the per- basic rule of thumb for worst case situations. formance throughout the listening area. As men- tioned earlier, the amount of reinforcement need- ed depends on the loudness of the instruments or performers themselves and the size and acoustic nature of the venue. This Needed Acoustic Gain (NAG) is the amplification factor necessary so that the furthest listeners can hear as if they were close enough to hear the performers directly. 18 SOUND REINFORCEMENT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT To calculate NAG: NAG = 20 x log (Df/Dn) The simplified PAG equation is: Where: Df = distance from sound source to PAG = 20 (log D1 - log D2 + log D0 - log Ds) furthest listener -10 log NOM -6 Dn = distance from sound source to Where: PAG = Potential Acoustic Gain (in dB) nearest listener Ds = distance from sound source to log = logarithm to base 10 microphone Note: the sound source may be a musical instru- D0 = distance from sound source to ment, a vocalist or perhaps a loudspeaker listener The equation for NAG is based on the inverse- D1 = distance from microphone to square law, which says that the sound level loudspeaker decreases by 6dB each time the distance to the source doubles. For example, the sound level D2 = distance from loudspeaker to (without a sound system) at the first row of the listener audience (10 feet from the stage) might be a com- fortable 85dB. At the last row of the audience (80 NOM = the number of open feet from the stage) the level will be 18dB less or microphones 67dB. In this case the sound system needs to pro- vide 18dB of gain so that the last row can hear at -6 = a 6 dB feedback stability margin the same level as the first row. The limitation in real-world sound systems is not how loud the sys- log = logarithm to base 10 tem can get with a recorded sound source but rather how loud it can get with a microphone as In order to make PAG as large as possible, that its input. The maximum loudness is ultimately is, to provide the maximum gain-before-feed- limited by acoustic feedback. back, the following rules should be observed: The amount of gain-before-feedback that a sound 1) Place the microphone as close to the reinforcement system can provide may be estimated sound source as practical. mathematically. This Potential Acoustic Gain involves the distances between sound system com- 2) Keep the microphone as far away ponents, the number of open mics, and other vari- from the loudspeaker as practical. ables. The system will be sufficient if the calculated Potential Acoustic Gain (PAG) is equal to or greater 3) Place the loudspeaker as close to the than the Needed Acoustic Gain (NAG). Below is audience as practical. an illustration showing the key distances. 4) Keep the number of microphones to a minimum. D1 D2 In particular, the logarithmic relationship means that to make a 6dB change in the value of PAG the corresponding distance must be doubled or halved. For example, if a microphone is 1 ft. Ds from an instrument, moving it to 2 ft. away will decrease the gain-before-feedback by 6dB while D0 moving it to 4 ft. away will decrease it by 12dB. PAG On the other hand, moving it to 6 in. away 19 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT increases gain-before-feedback by 6dB while create your desired sound. However, the desired moving it to only 3 in. away will increase it by sound can often be achieved more quickly and 12dB. This is why the single most significant consistently by understanding basic microphone factor in maximizing gain-before-feedback is to characteristics, sound-radiation properties of place the microphone as close as practical to the musical instruments, and acoustic fundamentals sound source. as presented above. The NOM term in the PAG equation reflects the Here are some suggestions to follow when mik- fact that gain-before-feedback decreases by 3dB ing musical instruments for sound reinforcement. every time the number of open (active) micro- phones doubles. For example, if a system has a " Try to get the sound source (instrument, voice, PAG of 20dB with a single microphone, adding or amplifier) to sound good acoustically a second microphone will decrease PAG to 17dB ( live ) before miking it. and adding a third and fourth mic will decrease PAG to 14dB. This is why the number of micro- " Use a microphone with a frequency response phones should be kept to a minimum and why that is limited to the frequency range of the unused microphones should be turned off or instrument, if possible, or filter out frequencies attenuated. Essentially, the gain-before-feed- below the lowest fundamental frequency of the back of a sound system can be evaluated strictly instrument. on the relative location of sources, microphones, loudspeakers, and audience, as well as the num- " To determine a good starting microphone posi- ber of microphones, but without regard to the tion, try closing one ear with your finger. actual type of component. Though quite simple, Listen to the sound source with the other ear the results are very useful as a best case estimate. and move around until you find a spot that sounds good. Put the microphone there. However, this may not be practical (or healthy) Understanding principles of basic acoustics can for extremely close placement near loud help to create an awareness of potential influ- sources. ences on reinforced sound and to provide some insight into controlling them. When effects of " The closer a microphone is to a sound source, this sort are encountered and are undesirable, it the louder the sound source is compared to may be possible to adjust the sound source, use a reverberation and ambient noise. Also, the microphone with a different directional charac- Potential Acoustic Gain is increased that is, teristic, reposition the microphone or use fewer the system can produce more level before feed- microphones, or possibly use acoustic treatment back occurs. Each time the distance between to improve the situation. Keep in mind that in the microphone and sound source is halved, the most cases, acoustic problems can best be solved sound pressure level at the microphone (and acoustically, not strictly by electronic devices. hence the system) will increase by 6 dB. (Inverse Square Law) General Rules " Place the microphone only as close as neces- Microphone technique is largely a matter of per- sary. Too close a placement can color the sonal taste whatever method sounds right for sound source s tone quality (timbre), by pick- the particular instrument, musician, and song ing up only one part of the instrument. Be is right. There is no one ideal microphone to use aware of Proximity Effect with unidirectional on any particular instrument. There is also no microphones and use bass rolloff if necessary. one ideal way to place a microphone. Choose and place the microphone to get the sound you " Use as few microphones as are necessary to get want. We recommend experimenting with a a good sound. To do that, you can often pick variety of microphones and positions until you up two or more sound sources with one micro- 20 SOUND REINFORCEMENT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT phone. Remember: every time the number of " To reduce pop (explosive breath sounds microphones doubles, the Potential Acoustic occurring with the letters p, b, and t ): Gain of the sound system decreases by 3 dB. This means that the volume level of the system 1) mic either closer or farther than 3 must be turned down for every extra mic added inches from the mouth (because the in order to prevent feedback. In addition, the 3-inch distance is worst) amount of noise picked up increases as does the likelihood of interference effects such as 2) place the microphone out of the path comb-filtering. of pop travel (to the side, above, or below the mouth) " When multiple microphones are used, the dis- tance between microphones should be at least 3) use an omnidirectional microphone three times the distance from each microphone to its intended sound source. This will help 4) use a microphone with a pop filter. eliminate phase cancellation. For example, if This pop filter can be a ball-type grille two microphones are each placed one foot or an external foam windscreen from their sound sources, the distance between the microphones should be at least three feet. " If the sound from your loudspeakers is distort- (3 to 1 Rule) ed even though you did not exceed a normal mixer level, the microphone signal may be " To reduce feedback and pickup of unwanted overloading your mixer s input. To correct this sounds: situation, use an in-line attenuator (such as the Shure A15AS), or use the input attenuator on 1) place microphone as close as practical your mixer to reduce the signal level from the to desired sound source microphone. 2) place microphone as far as practical from unwanted sound sources such as Seasoned sound engineers have developed loudspeakers and other instruments favorite microphone techniques through years of experience. If you lack this experience, the sug- 3) aim unidirectional microphone toward gestions listed on the following pages should desired sound source (on-axis) help you find a good starting point. These sug- gestions are not the only possibilities; other 4) aim unidirectional microphone away microphones and positions may work as well or from undesired sound source (180 better for your intended application. degrees off-axis for cardioid, 126 Remember Experiment and Listen! degrees off-axis for supercardioid) 5) use minimum number of microphones " To reduce handling noise and stand thumps: 1) use an accessory shock mount (such as the Shure A55M) 2) use an omnidirectional microphone 3) use a unidirectional microphone with a specially designed internal shock mount 21 S O U N D R E I N F O R C E M E N T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments Lead vocal: Handheld or on stand, microphone Bassy, robust Minimizes feedback and leakage. windscreen touching lips or just a (unless an omni Roll off bass if desired for more few inches away is used) natural sound. Backup vocals: One microphone per singer. Bassy, robust Minimizes feedback and leakage. Allows Handheld near chin or stand-mounted. (unless an omni is engineer control of voice balances. Roll Touching lips or a few inches away used) off bass if necessary for more natural sound when using cardioids. Choral groups: 1 to 3 feet above and 2 to 4 feet in Full range, Use flat-response unidirectional micro- front of the first row of the choir, good blend, phones, Use minimum number of aimed toward the middle row(s) of semi-distant microphones needed to avoid overlap- the choir, approximately 1 micro- ping pickup areas. phone per 15-20 people Miniature microphone clipped Natural, Good isolation. Allows freedom of outside of sound hole well-balanced movement. Miniature microphone clipped Bassy, less Reduces feedback. inside sound hole string noise Acoustic guitar: 8 inches from sound hole Bassy Good starting placement when leakage or feedback is a problem. Roll off bass for a more natural sound (more for a uni than an omni). 3 inches from sound hole Very bassy, boomy, Very good isolation. Bass rolloff muddy, full needed for a natural sound. 4 to 8 inches from bridge Woody, warm, Reduces pick and string noise. mellow. Midbasy, lacks detail 6 inches above the side, over the Natural, well- Less pickup of ambience and leakage bridge, and even with the front balanced, than 3 feet from sound hole. soundboard slightly bright miniature microphone clipped Natural, well- Good isolation. Allows freedom of outside of sound hole balanced movement. miniature microphone clipped Bassy, less Reduces feedback. inside sound hole string noise 22 VOCALS " STRINGS MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments Banjo: 3 inches from center of head Bassy, thumpy Rejects feedback and leakage. Roll off bass for natural sound. 3 inches from edge of head Bright Rejects feedback and leakage. Miniature microphone clipped to Natural Rejects feedback and leakage. Allows tailpiece aiming at bridge freedom of movement. Violin (fiddle): A few inches from side Natural Well-balanced sound. Cello: 1 foot from bridge Well-defined Well-balanced sound, but little isolation. General string instruments (mandolin, dobro and dulcimer): Miniature microphone attached to Bright Minimizes feedback and leakage. strings between bridge and tailpiece Allows freedom of movement. Acoustic bass (upright bass, string bass, bass violin): 6 inches to 1 foot out front, just Well-defined Natural sound. above bridge A few inches from f-hole Full Roll off bass if sound is too boomy. Wrap microphone in foam padding Full, tight Minimizes feedback and leakage. (except for grille) and put behind bridge or between tailpiece and body Harp: Aiming toward player at part of Natural See Stereo Microphone Techniques soundboard, about 2 feet away section for other possibilities. Tape miniature microphone to Somewhat Minimizes feedback and leakage. soundboard constricted 23 S T R I N G S MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments Grand piano: 12 inches above middle strings, 8 Natural, Less pickup of ambience and inches horizontally from hammers well-balanced leakage. Move microphone(s) far- with lid off or at full stick ther from hammers to reduce attack and mechanical noises. Good coinci- dent-stereo placement. See Stereo Microphone Techniques section. 8 inches above treble strings, as Natural, well- Place one microphone over bass above balanced, strings and one over treble strings for slightly bright stereo. Phase cancellations may occur if the recording is heard in mono. Aiming into sound holes Thin, dull, hard, Very good isolation. Sometimes constricted sounds good for rock music. Boost mid-bass and treble for more natural sound. 6 inches over middle strings, Muddy, boomy, Improves isolation. Bass rolloff and 8 inches from hammers, with lid on dull, lacks attack some treble boost required for more short stick natural sound. Next to the underside of raised lid, Bassy, full Unobtrusive placement. centered on lid Underneath the piano, aiming up at Bassy, dull, full Unobtrusive placement. the soundboard Surface-mount microphone mounted Bright, well- Excellent isolation. Experiment on underside of lid over lower treble balanced with lid height and microphone strings, horizontally close to ham- placement on piano lid for desired mers for brighter sound, further from sounds. hammers for more mellow sound Two surface-mount microphones Bright, well- Excellent isolation. Moving low positioned on the closed lid, under the balanced, strong mic away from keyboard six inches edge at its keyboard edge, approxi- attack provides truer reproduction of the mately 2/3 of the distance from mid- bass strings while reducing damper dle A to each end of the keyboard noise. By splaying these two mics outward slightly, the overlap in the middle registers can be minimized. Surface-mount microphone placed Full, natural Excellent isolation. Minimizes vertically on the inside of the frame, hammer and damper noise. Best if or rim, of the piano, at or near the used in conjunction with two sur- apex of the piano s curved wall face-mount microphones mounted to closed lid, as above. 24 STRINGS MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments Upright piano: Just over open top, above treble Natural (but Good placement when only one strings lacks deep bass), microphone is used. picks up ham- mer attack Just over open top, above bass Slightly full or Mike bass and treble strings for strings tubby, picks up stereo. hammer attack Inside top near the bass and Natural, picks up Minimizes feedback and leakage. treble stings hammer attack Use two microphones for stereo. 8 inches from bass side of Full, slightly Use this placement with the soundboard tubby, no following placement for stereo. hammer attack 8 inches from treble side of Thin, constricted, Use this placement with the soundboard no hammer attack preceding placement for stereo. 1 foot from center of soundboard on Natural, good Minimize pickup of floor vibrations hard floor or one-foot-square plate presence by mounting microphone in low- on carpeted floor, aiming at piano. profile shock-mounted microphone Soundboard should face into room stand. Aiming at hammers from front, sever- Bright, picks up Mike bass and treble strings for al inches away (remove front panel) hammer attack stereo. Brass (trumpet, cornet, trombone, tuba): The sound from these instruments is very directional. Placing the mic off axis with the bell of the instrument will result in less pickup of high frequencies. 1 to 2 feet from bell. A couple of On-axis to bell Close miking sounds tight and instruments can play into one sounds bright; to minimizes feedback and leakage. microphone one side sounds More distant placement gives fuller, natural or mellow more dramatic sound. Miniature microphone mounted Bright Maximum isolation. on bell 25 S T R I N G S " W I N D I N S T R U M E N T S MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments French horn: Microphone aiming toward bell Natural Watch out for extreme fluctuations on VU meter. Saxophone: With the saxophone, the sound is fairly well distributed between the finger holes and the bell. Miking close to the finger holes will result in key noise. The soprano sax must be considered separately because its bell does not curve upward. This means that, unlike all other saxo- phones, placing a microphone toward the middle of the instrument will not pick-up the sound from the key holes and the bell simultaneously. The saxophone has sound characteristics sim- ilar to the human voice. Thus, a shaped response microphone designed for voice works well. A few inches from and aiming into bell Bright Minimizes feedback and leakage. A few inches from sound holes Warm, full Picks up fingering noise. A few inches above bell and aiming Natural Good recording technique. at sound holes Miniature microphone mounted on bell Bright, punchy Maximum isolation, up-front sound. Flute: The sound energy from a flute is projected both by the embouchure and by the first open fingerhole. For good pickup, place the mic as close as possible to the instrument. However, if the mic is too close to the mouth, breath noise will be apparent. Use a windscreen on the mic to overcome this difficulty. A few inches from area between Natural, breathy Pop filter or windscreen may be mouthpiece and first set of finger holes required on microphone. A few inches behind player s head, aiming at finger holes Natural Reduces breath noise. Woodwinds (Oboe, bassoon, etc): About 1 foot from sound holes Natural Provides well-balanced sound. A few inches from bell Bright Minimizes feedback and leakage. 26 WIND INSTRUMENTS MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments Harmonica: Very close to instrument Full, bright Minimizes feedback and leakage. Microphone may be cupped in hands. Accordion: Miniature microphone mounted Emphasized Minimizes feedback and leakage. internally midrange Allows freedom of movement. Electric guitar amplifier/speaker: The electric guitar has sound characteristics similar to the human voice. Thus, a shaped response microphone designed for voice works well. 4 inches from grille cloth at center Natural, well- Small microphone desk stand may be of speaker cone balanced used if loudspeaker is close to floor. 1 inch from grille cloth at center of Bassy Minimizes feedback and leakage. speaker cone Off-center with respect to speaker Dull or mellow Microphone closer to edge of cone speaker cone results in duller sound. Reduces amplifier hiss noise. 3 feet from center of speaker cone Thin, reduced Picks up more room ambience and bass leakage. Miniature microphone draped over Emphasized Easy setup, minimizes leakage. amp in front of speaker midrange Microphone placed behind open Depends on Can be combined with mic in front back cabinet position of cabinet, but be careful of phase cancellation. Bass guitar amplifier/speaker: Mike speaker as described in Depends on Improve clarity by cutting Electric Guitar Amplifier section placement frequencies around 250 Hz and boosting around 1,500 Hz. Electric keyboard amplifier/speakers: Mike speaker as described in Depends on Roll off bass for clarity, roll off Electric Guitar Amplifier section brand of piano highs to reduce hiss. 27 W I N D " E L E C T R I C I N S T R U M E N T S MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments Leslie organ speaker: Aim one microphone into top Natural, lacks Good one-mike pickup. louvers 3 inches to 1 foot away deep bass Mike top louvers and bottom bass Natural, well- Excellent overall sound. speaker 3 inches to 1 foot away balanced Mike top louvers with two micro- Natural, Stereo effect. phones, one close to each side. Pan well-balanced to left and right. Mike bottom bass speaker 3 inches to 1 foot away and pan its signal to center Front View Top View Drum kit: In most sound reinforcement systems, the drum set is miked with each drum having its own mic. Using microphones with tight polar patterns on toms helps to isolate the sound from each drum. It is possible to share one mic with two toms, but then, a microphone with a wider polar pattern should be used. The snare requires a mic that can handle very high SPL, so a dynamic mic is usually chosen. To avoid picking up the hi-hat in the snare mic, aim the null of the snare mic towards the hi-hat. The brilliance and high frequencies of cymbals are picked up best by a flat response condenser mic. 1. Overhead-Cymbals: One microphone over center of drum Natural; sounds Picks up ambience and leakage. For set, about 1 foot above drummer s like drummer cymbal pickup only, roll off low fre- head (Position A); or use two spaced hears set quencies. Boost at 10,000 Hz for or crossed microphones for stereo added sizzle. To reduce excessive (Positions A or B). See Stereo cymbal ringing, apply masking tape Microphone Techniques section in radial strips from bell to rim. 28 DRUM KIT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments 2. Snare drum: Just above top head at edge of Full, smooth Tape gauze pad or handkerchief on drum, aiming at top head. Coming top head to tighten sound. Boost at in from front of set on boom 5,000 Hz for attack, if necessary. (Position C); or miniature micro- phone mounted directly on drum 3. Bass drum (kick drum): Placing a pad of paper towels where the beater hits the drum will lessen boominess. If you get rattling or buzzing problems with the drum, put masking tape across the drum head to damp out these nuisances. Placing the mic off center will pick up more overtones. Remove front head if necessary. Full, good Put pillow or blanket on bottom of Mount microphone on boom arm impact drum against beater head to tighten inside drum a few inches from beater beat. Use wooden beater, or loosen head, about 1/3 of way in from edge head, or boost around 2,500 Hz for of head (Position D); or place sur- more impact and punch. face-mount microphone inside drum, on damping material, with micro- phone element facing beater head 4. Tom-toms: One microphone between every two Full, good Inside drum gives best isolation. tom-toms, close to top heads (Position impact Boost at 5,000 Hz for attack, if E); or one microphone just above necessary. each tom-tom rim, aiming at top head (Position F); or one microphone inside each tom-tom with bottom head removed; or miniature micro- phone mounted directly on drum 5. Hi-hat: Aim microphone down towards the Natural, bright Place microphone or adjust cymbal cymbals, a few inches over edge height so that puff of air from closing away from drummer (Position G). hi-hat cymbals misses mike. Roll off Or angle snare drum microphone bass to reduce low-frequency leak- slightly toward hi-hat to pick up age. To reduce hi-hate leakage into both snare and hi-hat snare-drum microphone, use small cymbals vertically spaced 1/2 apart. 29 D R U M K I T MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments 6. Snare, hi-hat and high tom: Place single microphone a few inch- Natural In combination with Placements 3 es from snare drum edge, next to and 7, provides good pickup with high tom, just above top head of tom. minimum number of microphones. Microphone comes in from front of Tight sound with little leakage. the set on a boom (Position H) 7. Cymbals, floor tom and high tom: Using single microphone, place its Natural In combination with Placements 3 grille just above floor tom, aiming and 6, provides good pickup with up toward cymbals and one of high minimum number of microphones. tomes (Position I) Tight sound with little leakage. One microphone: Use Placement 1. Placement 6 may work if the drummer limits playing to one side of the drum set. Two microphones: Placements 1 and 3; or 3 and 6. Three microphones: Placements 1, 2, and 3; or 3, 6, and 7. Four microphones: Placements 1, 2, 3, and 4. Five microphones: Placements 1, 2, 3, 4, and 5. More microphones: Increase number of tom-tom microphones as needed. Use a small micro- phone mixer (such as the Shure M268) to submix multiple drum microphones into one channel. Timbales, congas, bongos: One microphone aiming down Natural Provides full sound with good between pair of drums, just above attack. top heads Tambourine: One microphone placed 6 to 12 Natural Experiment with distance and inches from instrument angles if sound is too bright. 30 DRUM KIT MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Microphone Placement Tonal Balance Comments Steel Drums: Tenor, Second Pan, Guitar One microphone placed 4 inches Bright, with Allow clearance for movement of pan. above each pan plenty of attack Microphone placed underneath pan Decent if used for tenor or second pans. Too boomy with lower voiced pans. Cello, Bass One microphone placed 4 - 6 Natural Can double up pans to a single inches above each pan microphone. Xylophone, marimba, vibraphone: Two microphones aiming down Natural Pan two microphones to left and right toward instrument, about 1 1/2 feet for stereo. See Stereo Microphone above it, spaced 2 feet apart, or angled Techniques section. 135� apart with grilles touching Glockenspiel: One microphone placed 4 - 6 inches Bright, with lots For less attack, use rubber mallets above bars of attack. instead of metal mallets. Plastic mallets will give a medium attack. Stage area miking Tonal Balance Comments Downstage: Surface-mount microphones along front of stage aimed upstage, one Voice range, Use flat response, unidirectional microphone center stage; use stage semi-distant microphones. Use minimum num- left and stage right mics as needed, ber of microphones needed to avoid approximately 1 per 10-15 feet overlapping pickup area. Use shock mount if needed. Upstage: Microphones suspended 8 -10 feet above stage aimed upstage, one Voice range, Use flat response, unidirectional microphone center stage; use stage semi-distant microphones. Use minimum left and stage right mics as needed, number of microphones needed to approximately 1 per 10-15 feet avoid overlapping pickup area. Spot pickup: Use wireless microphones on principal actors; mics concealed in Voice range, Multiple wireless systems must set; shotgun microphones from on mic utilize different frequencies. Use above or below lavaliere or handheld microphones as appropriate. 31 D R U M K I T / S T A G E MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Stereo Microphone Techniques These methods are recommended for pickup of For sound reinforcement, stereo mic techniques orchestras, bands, choirs, pipe organs, quartets, are only warranted for a stereo sound system and soloists. They also may work for jazz ensem- even then, they are generally only effective for bles, and are often used on overhead drums and large individual instruments, such as piano or close-miked piano. miramba, or small instrument groups, such as drum kit, string section or vocal chorus. Use two microphones mounted on a single stand Relatively close placement is necessary to with a stereo microphone stand adapter (such as achieve useable gain-before-feedback. the Shure A27M). Or mount 2 or 3 microphones on separate stands. Set the microphones in the desired stereo pickup arrangement (see below). Coincident Techniques Comments Musical Ensemble Microphone diaphragms Tends to provide a narrow close together and aligned stereo spread (the reproduced vertically; microphones ensemble does not always angled apart. Example: spread all the way between the 0 135 angling (X-Y). pair of playback loud-speak- ers). Good imaging. Mono- compatible. (Top View) MS (Mid-Side) Comments Musical Ensemble A front-facing cardioid car- Provides good stereo spread, tridge and a side-facing bidi- excellent stereo imaging and rectional cartridge are mount- localization. Some types allow ed in a single housing. Their adjustable stereo control. outputs are combined in a Mono-compatible. matrix circuit to yield discrete left and right outputs. (Top View) Near-Coincident Techniques Comments Musical Ensemble Microphones angled and Tends to provide accurate spaced apart 6 to 10 inches image localization. between grilles. Examples: 0 110 angled, 7-inch spacing. (Top View) 32 STEREO MICROPHONE TECHNIQUES MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Spaced Techniques Comments Musical Ensemble Two microphones spaced Tends to provide exaggerated several feet apart horizontal- separation unless microphone ly, both aiming straight ahead spacing is 3 feet. However, toward ensemble. Example: spacing the microphones 10 Microphones 3 to 10 feet feet apart improves overall apart. coverage. Produces vague imaging for off-center sound sources. Provides a warm (Top View) sense of ambience. Three microphones spaced Improved localization com- Musical Ensemble several feet apart horizontal- pared to two spaced micro- ly, aiming straight ahead phones. toward ensemble. Center microphone signal is split equally to both channels. Example: Microphones 5 feet apart. (Top View) 33 S T E R E O M I C R O P H O N E T E C H N I Q U E S V O C A L S PERFORMANCE PERFORMANCE HEADWORN STUDIO ENSEMBLE VOCAL (dynamic) VOCAL (condenser) VOCAL VOCAL VOCAL BETA 58A"! BETA 87� WH10XLR SM81 SM81 SM58 SM87 SM10A SM7 SM94 BETA 57A"! BG5.1 SM12A BETA 87� BG4.1 SM57 512 SM87 BG3.1 BG5.1 BG2.1 BG1.1 I N S T R U M E N T S GUITAR BASS KICK SNARE TOMS AMPLIFIER AMPLIFIER DRUM DRUM RACK & FLOOR BETA 56"! BETA 52"! BETA 52"! BETA 57A"! SM98A1 BETA 57A"! SM7 SM91A BETA 56"! BETA 57A"! SM57 BETA 57A"! BETA 57A"! SM57 BETA 56"! BG3.1 BETA 56"! SM57 BG3.1 SM57 BG2.1 SM57 BG6.1 BG6.1 OVERHEAD CONGA MALLET MARIMBA & OTHER PIANO2 CYMBALS HIGH HAT2 INSTRUMENTS2 PERCUSSION2 SM81 SM98A SM81 SM81 SM81 SM94 BETA 56"! SM94 BETA 57A"! SM91 BG4.1 BETA 57A"! BG4.1 SM57 BG4.1 SM57 STRINGS ACOUSTIC BRASS WOODWINDS SAXAPHONE BASS INSTRUMENTS SM81 BETA 52"! SM98A3 SM81 SM98A3 SM94 SM81 BETA 56"! SM98A SM7 BG4.1 SM94 BETA 57A"! BG4.1 BETA 56"! SM114 BG4.1 SM57 BETA 57A"! SM98A4 SM57 ACOUSTIC HARMONICA LESLIE ORCHESTRA2 LIVE CONCERT GUITAR SPEAKER RECORDING OR STEREO PICKUP/AMBIENCE2 SM81 520D Green Bullet BETA 57A"! SM81 SM81 (pair) SM94 SM57 BETA 56"! SM94 SM94 (pair) BG4.1 SM58 SM57 BG4.1 BG4.1 (pair) BETA 57A"! BG3.1 VP88 SM57 SM91A SM114 This guide is an aid in selecting microphones for various applications. Microphone sound quality and appearance are subject to specific, acoustic environments, application technique and personal taste. SAMPLING KARAOKE 1 With A98MK drum mount kit. SM81 SM58S 2 For single point stereo miking, use VP88 MS Stereo Microphone. 3 Bell-mounted with A98KCS clamp. SM94 565 4 With RK279 mounting kit for instrument applications. BG4.1 BG3.1 BG2.1 BG1.1 (Hi or Lo Z) 34 SHURE MICROPHONE SELECTION GUIDE MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT 3-to-1 Rule-When using multiple microphones, Close Pickup-Microphone placement within 2 the distance between microphones should be at feet of a sound source. least 3 times the distance from each microphone to its intended sound source. Comb Filtering-An interference effect in which the frequency response exhibits regular deep Absorption-The dissipation of sound energy by notches. losses due to sound absorbent materials. Condenser Microphone-A microphone that Active Circuitry-Electrical circuitry which generates an electrical signal when sound waves requires power to operate, such as transistors and vary the spacing between two charged surfaces: vacuum tubes. the diaphragm and the backplate. Ambience-Room acoustics or natural Critical Distance-In acoustics, the distance from reverberation. a sound source in a room at which the direct sound level is equal to the reverberant sound Amplitude-The strength or level of sound level. pressure or voltage. Current-Charge flowing in an electrical circuit. Audio Chain-The series of interconnected audio Analogous to the amount of a fluid flowing in a equipment used for recording or PA. pipe. Backplate-The solid conductive disk that forms Decibel (dB)-A number used to express relative the fixed half of a condenser element. output sensitivity. It is a logarithmic ratio. Balanced-A circuit that carries information by Diaphragm-The thin membrane in a microphone means of two equal but opposite polarity signals, which moves in response to sound waves. on two conductors. Diffraction-The bending of sound waves around Bidirectional Microphone-A microphone that an object which is physically smaller than the picks up equally from two opposite directions. wavelength of the sound. The angle of best rejection is 90 deg. from the front (or rear) of the microphone, that is, directly Direct Sound-Sound which travels by a straight at the sides. path from a sound source to a microphone or listener. Boundary/Surface Microphone-A microphone designed to be mounted on an acoustically reflec- Distance Factor-The equivalent operating tive surface. distance of a directional microphone compared to an omnidirectional microphone to achieve the Cardioid Microphone-A unidirectional micro- same ratio of direct to reverberant sound. phone with moderately wide front pickup (131 deg.). Angle of best rejection is 180 deg. from the Distant Pickup-Microphone placement farther front of the microphone, that is, directly at the than 2 feet from the sound source. rear. Dynamic Microphone-A microphone that Cartridge (Transducer)-The element in a generates an electrical signal when sound waves microphone that converts acoustical energy cause a conductor to vibrate in a magnetic field. (sound) into electrical energy (the signal). In a moving-coil microphone, the conductor is a coil of wire attached to the diaphragm. 35 G L O S S A R Y MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Dynamic Range-The range of amplitude of a Harmonic-Frequency components above the sound source or the range of sound level that a fundamental of a complex waveform. They are microphone can successfully pick up. generally multiples of the fundamental which establish the timbre or tone of the note. Echo-Reflection of sound that is delayed long enough (more than about 50 msec.) to be heard Hypercardioid-A unidirectional microphone as a distinct repetition of the original sound. with tighter front pickup (105 deg.) than a supercardioid, but with more rear pickup. Angle Electret-A material (such as Teflon) that can of best rejection is about 110 deg. from the front retain a permanent electric charge. of the microphone. EQ-Equalization or tone control to shape Impedance-In an electrical circuit, opposition to frequency response in some desired way. the flow of alternating current, measured in ohms. A high impedance microphone has an impedance Feedback-In a PA system consisting of a of 10,000 ohms or more. A low impedance microphone, amplifier, and loudspeaker feedback microphone has an impedance of 50 to 600 ohms. is the ringing or howling sound caused by ampli- fied sound from the loudspeaker entering the Interference-Destructive combining of sound microphone and being re-amplified. waves or electrical signals due to phase differences. Flat Response-A frequency response that is Inverse Square Law-States that direct sound uniform and equal at all frequencies. levels increase (or decrease) by an amount pro- portional to the square of the change in distance. Frequency-The rate of repetition of a cyclic phenomenon such as a sound wave. Isolation-Freedom from leakage; ability to reject unwanted sounds. Frequency Response Tailoring Switch-A switch on a microphone that affects the tone quality Leakage-Pickup of an instrument by a micro- reproduced by the microphone by means of an phone intended to pick up another instrument. equalization circuit. (Similar to a bass or treble Creative leakage is artistically favorable leakage control on a hi-fi receiver.) that adds a loose or live feel to a recording. Frequency Response-A graph showing how a NAG-Needed Acoustic Gain is the amount of microphone responds to various sound frequen- gain that a sound system must provide for a cies. It is a plot of electrical output (in decibels) distant listener to hear as if he or she was close to vs. frequency (in Hertz). the unamplified sound source. Fundamental-The lowest frequency component Noise-Unwanted electrical or acoustic interference. of a complex waveform such as musical note. It establishes the basic pitch of the note. Noise Canceling-A microphone that rejects ambient or distant sound. Gain-Amplification of sound level or voltage. NOM-Number of open microphones in a sound Gain-Before-Feedback-The amount of gain that system. Decreases gain-before-feedback by 3dB can be achieved in a sound system before everytime NOM doubles. feedback or ringing occurs. 36 GLOSSARY MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Omnidirectional Microphone-A microphone that Presence Peak-An increase in microphone output picks up sound equally well from all directions. in the presence frequency range of 2000 Hz to 10,000 Hz. A presence peak increases clarity, Overload-Exceeding the signal level capability of articulation, apparent closeness, and punch. a microphone or electrical circuit. Proximity Effect-The increase in bass occurring PAG-Potential Acoustic Gain is the calculated with most unidirectional microphones when they gain that a sound system can achieve at or just are placed close to an instrument or vocalist below the point of feedback. (within 1 ft.). Does not occur with omnidirectional microphones. Phantom Power-A method of providing power to the electronics of a condenser microphone Rear Lobe-A region of pickup at the rear of a through the microphone cable. supercardioid or hypercardioid microphone polar pattern. A bidirectional microphone has a rear Phase-The time relationship between cycles of lobe equal to its front pickup. different waves. Reflection-The bouncing of sound waves back Pickup Angle / Coverage Angle-The effective from an object or surface which is physically arc of coverage of a microphone, usually taken to larger than the wavelength of the sound. be within the 3dB down points in its directional response. Refraction-The bending of sound waves by a change in the density of the transmission medium, Pitch-The fundamental or basic frequency of a such as temperature gradients in air due to wind. musical note. Resistance-The opposition to the flow of current Polar Pattern (Directional Pattern, Polar in an electrical circuit. It is analogous to the Response)-A graph showing how the sensitivity friction of fluid flowing in a pipe. of a microphone varies with the angle of the sound source, at a particular frequency. Examples Reverberation-The reflection of a sound a of polar patterns are unidirectional and omnidirec- sufficient number of times that it becomes tional. non-directional and persists for some time after the source has stopped. The amount of Polarization-The charge or voltage on a reverberation depends on the relative amount of condenser microphone element. sound reflection and absorption in the room. Pop Filter-An acoustically transparent shield Rolloff-A gradual decrease in response below or around a microphone cartridge that reduces above some specified frequency. popping sounds. Often a ball-shaped grille, foam cover or fabric barrier. Sensitivity-The electrical output that a micro- phone produces for a given sound pressure level. Pop-A thump of explosive breath sound produced when a puff of air from the mouth strikes the Shaped Response-A frequency response that microphone diaphragm. Occurs most often with exhibits significant variation from flat within p, t, and b sounds. its range. It is usually designed to enhance the sound for a particular application. 37 G L O S S A R Y MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT Sound Chain-The series of interconnected audio Transducer-A device that converts one form of equipment used for recording or PA. energy to another. A microphone transducer (cartridge) converts acoustical energy (sound) Sound Reinforcement-Amplification of live into electrical energy (the audio signal). sound sources. Transient Response-The ability of a device to Speed of Sound-The speed of sound waves, respond to a rapidly changing input. about 1130 feet per second in air. Unbalanced-A circuit that carries information by SPL-Sound Pressure Level is the loudness of means of one signal on a single conductor. sound relative to a reference level of 0.0002 microbars. Unidirectional Microphone-A microphone that is most sensitive to sound coming from a single Standing Wave-A stationary sound wave that is direction-in front of the microphone. Cardioid, reinforced by reflection between two parallel supercardioid, and hypercardioid microphones are surfaces that are spaced a wavelength apart. examples of unidirectional microphones. Supercardioid Microphone-A unidirectional Voice Coil-Small coil of wire attached to the microphone with tighter front pickup angle (115 diaphragm of a dynamic microphone. deg.) than a cardioid , but with some rear pickup. Angle of best rejection is 126 deg. from the front Voltage-The potential difference in an electric of the microphone, that is, 54 deg. from the rear. circuit. Analogous to the pressure on fluid flow- ing in a pipe. Timbre-The characteristic tone of a voice or instrument; a function of harmonics. Wavelength-The physical distance between the start and end of one cycle of a soundwave. 38 GLOSSARY MICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT others affiliated with the field use technology RICK WALLER Now residing in the to better fulfill their artistic interpretations. Chicago area, Rick grew up near Peoria, Illinois. John continues to pursue his interests as a An interest in the technical and musical aspects live and recorded sound engineer for local of audio has led him to pursue a career as bands and venues, as well as writing and both engineer and musician. He received a recording for his own band. BS degree in Electrical Engineering from the University of Illinois at Urbana/Champaign, TIM VEAR Tim is a native of Chicago where he specialized in acoustics, audio who has come to the audio field as a way of com- synthesis and radio frequency theory. Rick is bining a lifelong interest in both entertainment an avid keyboardist, drummer and home and science. He has worked as an engineer in live theater hobbyist and has also worked as a sound, recording and broadcast, has operated his sound engineer and disc jockey. Currently he own recording studio and sound company, and has is an associate in the Applications Engineering played music professionally since high school. Group at Shure Brothers. In this capacity Rick At the University of Illinois, Urbana- provides technical support to domestic and Champaign, Tim earned a BS in Aeronautical international customers, writing and conducting and Astronautical Engineering with a minor in seminars on wired and wireless microphones, Electrical Engineering. During this time he also mixers and other audio topics. worked as chief technician for both the Speech and Hearing Science and Linguistics departments. JOHN BOUDREAU John, a life- In his tenure at Shure Brothers, Tim has long Chicago native, has had extensive served in a technical support role for the sales and experience as a musician, a recording engineer, marketing departments, providing product and and a composer. His desire to better combine applications training for Shure customers, dealers, the artistic and technical aspects of music led installers, and company staff. He has presented him to a career in the audio field. seminars for a variety of domestic and international Having received a BS degree in Music audiences, including the National Systems Business from Elmhurst College, John contractors Association, the Audio Engineering performed and composed for both a Jazz and Society and the Society of Broadcast Engineers. a Rock band prior to joining Shure Brothers Tim has authored several publications for in 1994 as an associate in the Applications Shure Brothers and his articles have appeared Engineering group. At Shure, John leads in Recording Engineer/Producer, Live Sound many audio product training seminars and Engineering, Creator, and other publications. clinics, with an eye to helping musicians and 39 A B O U T T H E A U T H O R S A D D I T I O N A L S H U R E P U B L I C A T I O N S A V A I L A B L E : " Introduction to Wireless Systems " Shure s Selection and Operation of Wireless Microphone Systems " The Shure Guide to Better Audio (for video production) " Shure s Microphone Selection and Application for Church Sound Systems " Shure s Microphone Techniques for Music Recording These booklets are all available free of charge, as are product brochures on all Shure sound reinforcement products. To request your complimentary copies, call one of the phone numbers listed below. O U R D E D I C A T I O N T O Q U A L I T Y P R O D U C T S Shure offers a complete line of microphones and wireless microphone systems for everyone from first-time users to professionals in the music industry for nearly every possible application. For over seven decades, the Shure name has been synonymous with quality audio. All Shure products are designed to provide consistent, high-quality performance under the most extreme real-life operating conditions. � Shure Brothers Incorporated 222 Hartrey Avenue, Evanston, Illinois U.S.A. 60202-3696 Phone: 800-25-SHURE Fax: 847-866-2279 In Europe, Phone 49-7131-72140 Fax: 49-7131-721414 Outside of U.S. and Europe, Phone: 847-866-2200 Fax: 847- 866-2585 http://www.shure.com Printed in the U.S.A. 4/97 20M AL1266

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