Microphones & Recording

A thin diaphragm and backplate form a capacitor. Sound moves the diaphragm, changing capacitance. Requires phantom power (48V). More detailed and sensitive than dynamic.

A thin metal ribbon suspended in a magnetic field. Movement generates current. Warm, smooth high-frequency response. Fragile—never use phantom power on vintage ribbons!

Each type has strengths. Dynamic = rugged + forgiving. Condenser = detailed + sensitive. Ribbon = warm + smooth. Choose based on source and desired character.

Tighter than cardioid with MORE front focus, but has a small rear lobe. Maximum rejection at 125-150° instead of 180°. Monitor placement matters!

Equal pickup from front AND back, complete rejection of sides. Natural pattern of ribbon mics. Used for recording two sources facing each other, or for M-S stereo.

Equal sensitivity in ALL directions. No proximity effect. Most accurate frequency response because no rear rejection mechanism. Picks up room sound.

Radio announcers work proximity for warmth ('broadcast voice'). Singers can use it for intimacy or back off for clarity. The choice is artistic, but must be intentional.

Proximity can add weight to thin sources or mud up balanced sources. Acoustic guitar too thin? Move closer. Kick drum boomy? Back off or use omni.

Sometimes you don't want the bass boost. Use omni pattern (no proximity effect), increase distance, or use EQ to compensate.

On-axis (pointing directly at source) captures the brightest sound. Off-axis mellows the tone due to the mic's natural frequency response roll-off at angles.

Different heights capture different frequency balances, especially with instruments that radiate sound unevenly (drums, guitar amps, vocalists).

Room boundaries affect low frequencies. Corners boost bass (three surfaces). Walls boost bass (one surface). Center of room = flattest low end.

Plosives (P, B) create low-frequency bursts that overload the diaphragm. Pop filters diffuse the air blast. Alternative: angle mic above or below mouth.

Slight position changes affect tone significantly. Above mouth = clearer. Below mouth = more chest. On-axis = brightest. Experiment to find the sweet spot.

Untreated rooms add flutter echo and muddy reflections. Absorption behind the vocalist catches sound that would bounce back into the mic.

Grand piano radiates from the soundboard under the lid. Lid position affects brightness. Close miking = direct, distant = blended with room.

Violins, cellos, violas radiate differently from each part. Close miking gets detail but misses the instrument's designed projection.

Brass projects from the bell but the sound is often harsh up close. Backing off captures a more natural, blended tone.

Touching the grille = maximum direct sound. Backing off = more room. Many engineers use both close and room mics.

Using two or more mics captures different characters you can blend. Common: SM57 + ribbon. Watch for phase issues—align the capsules or check polarity.

Bass amps often use DI + mic for flexibility. The DI provides clean, defined low end while the mic adds amp character and grit.

Top mic captures the crack and body. Bottom mic (optional) captures snare wire sizzle. Watch phase between top and bottom.

Overheads capture the kit as a whole, especially cymbals. They provide stereo image and glue. Position affects phase with close mics.

Room mics capture ambience and the sound of the kit in the space. Compressed room mics are a secret weapon for big drum sounds.