584 Chapter 16
It would seem that the condenser microphone would
always be the best choice, but other factors must be
considered. Condenser microphones are generally less
rugged than dynamic ones, and since they are usually
more expensive, the decision to place a valuable micro-
phone in a position where it could be hit or knocked
over must be weighed against the possible benefit of
improved sound. Also, condenser microphones contain
internal active electronics, which can be overloaded by
high sound levels. Many condenser microphones contain
switchable or insertional pads, but long before the over-
load distortion becomes apparent, clipping of the tran-
sient peaks may muddy the sound in a subtle way.
Ribbon microphones are somewhat fragile. They can
be especially vulnerable to blasts of air that can occur
when closely micing vocals, inside a bass drum, or even
when a door is slammed in an airtight studio.
In each type of microphone, there are many other
factors that can affect the sound. The design of the
mounting for the microphone components, the internal
obstacles in the sound path, and the effect of the body of
the microphone, all can have a major effect on the ulti-
mate sound reproduction.
16.13.3.1 Directional Pattern
It might at first seem that the unidirectional micro-
phone would be the universal choice for all applica-
tions, since picking up the intended source is the goal. It
is true that unidirectional microphones (see Section
16.2.3) have the greatest application, but there are situa-
tions that require the use of omnidirectional micro-
phones, which are designed to pick up sound from all
directions as nearly equally as possible (see Section
16.2.1), or bidirectional microphones, which are sensi-
tive to the front and back, but insensitive to the sides
(see Section 16.2.2). But it is possible, in some situa-
tions, to obtain greater rejection of unwanted sound
with an omni- or bidirectional microphone than would
be possible with a unidirectional pattern.
Unidirectional and bidirectional microphones often
exhibit a proximity effect, in which the response to
lower frequencies (generally below 150 Hz) is empha-
sized when the microphone is placed close to the sound
source (Section 16.2.3). Close may be a couple of inches
or a couple of feet, depending on the microphone.
Various designs have been developed to minimize or
eliminate this effect. A switchable high-pass filter may
be included on the microphone to roll off the bass in
close micing positions. Proximity effect must be consid-
ered when choosing and placing a microphone. Some-
times the effect can be used to advantage (i.e., when
additional bass response is desirable, perhaps on a snare
drum or on certain vocals). But often the proximity
effect emphasizes the (unrelated) tendency of some
sound sources to sound more bassy when close mic’ed.
Directional microphones do not have the same
frequency response off-axis as they do on-axis. This can
cause increased apparent sound leakage from other
sources, tonal aberrations of the reproduced sound, or
unexpected phase cancellations. For example, many
directional microphones exhibit less directionality at
both higher frequencies and lower frequencies. If such a
microphone were used to close mic a snare drum, the
amount of pickup of the nearby bass drum and cymbals
might be excessive.16.13.4 Specific Micing TechniquesThere are probably as many methods of using micro-
phones as there are engineers. Contrary to popular
opinion, there does not seem to be any special micro-
phone or magical technique for recording any particular
sound. What is right is what sounds best. The following
discussion is merely a review of some common tech-
niques widely employed and likely to work well in
many circumstances.16.13.4.1 MusiciansThe first requirement for obtaining a good sound from
any instrument is a superior player. An experienced
studio musician can make almost any studio or engineer
sound good. Unfortunately, the engineer usually has
very little to say about the musicians who are hired for
the session. When inexperienced players record, they
may often expect to be made to sound like whoever
their idols may be. They probably don’t want to know
that their idol spent the last 10 years or more learning
how to use the studio, and they may be likely to blame
the engineer for their inability to play properly for
recording. There isn’t much that can be done in such a
circumstance.16.13.4.2 DrumsStudios involved in music recording are more often
judged by their drum sound than by anything else. It is
true that much contemporary music relies heavily on
drums and that getting the best possible sound is a goal
worth pursuing. There are any number of ways to record
drums, but the most commonly used technique utilizes
close micing.