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added volume and presence, placing the mic too close would result in a pickup that sounds overly present, unnatural and out of context with the distant, overall orchestral pickup. To avoid this pitfall, a compromise in distance should be struck. A microphone that has been placed within a reasonably close range to an instrument or section within a larger ensemble (but not so close as to have an unnatural sound) is known as an accent (or spot) pickup . Whenever accent miking is used, care should be exercised in placement and pickup choices. The amount of accent signal that's introduced into the mix should sound natural relative to the overall pickup, and a good accent mic should only add presence to a solo passage and not stick out as separate, identifiable pickup.
127:
153:, a microphone is placed relatively close to an instrument or sound source, within three to twelve inches, producing a dry or non-reverberant sound. This serves to reduce extraneous noise, including room reverberation, and is commonly used when attempting to record a number of separate instruments while keeping the signals separate, or when trying to avoid feedback in an amplified performance. Close miking often affects the
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time delay for a signal reaching first one and then the other microphone from the side is approximately 1.5 ms (1 to 2 ms). If the distance is increased between the microphones it effectively decreases the pickup angle. At 70 cm distance it is about equivalent to the pickup angle of the near-coincident
53:
Degree of directionality of pickup: in some settings, such as a home video of a birthday party, the person may wish to pick up all the sounds in the room, which would make an omnidirectional mic desirable. However, if a TV news crew is filming a reporter at a noisy protest, they may only wish to pick
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The equipment for the techniques also varies from the bulky to the small and convenient. A-B techniques generally use two separate microphone units, often mounted on a bar to define the separation. X-Y microphone capsules can be mounted in one unit, or even on the top of a handheld digital recorder.
539:
This technique uses two parallel microphones, typically omnidirectional, some distance apart, capturing time-of-arrival stereo information as well as some level (amplitude) difference information, especially if employed close to the sound source(s). At a distance of about 50 cm (0.5 m) the
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at the same place, and typically placed at 90° or more to each other. A stereo effect is achieved through differences in sound pressure level between two microphones. Due to the lack of differences in time-of-arrival and phase ambiguities, the sonic characteristic of X-Y recordings is generally less
611:
Jecklin disk has a relatively small distance between the mics. Frequencies coming in sideways can reach only one microphone and will not interfere. Therefore, Jecklin disk works reasonably well when converted to mono. Jecklin disk also gives phase shifts and amplitude differences matching well with
594:
technique is similar to A/B recording, with 2 omnidirectional microphones at 36 cm apart from each other. A sound-absorbing
Jecklin disk of 35 cm is placed in the middle between the two microphones. The disk makes the apparent separation between the mics much larger than an equivalent A/B
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In the X-Y techniques, the microphones would ideally be in exactly the same place, which is not possible – if they are slightly separated left to right, there may be some loss of high frequencies when played back in mono, so they are often separated vertically. This only causes problems with sound
581:
The left and right channels are produced through a simple matrix: Left = Mid + Side, Right = Mid − Side ("minus" means you add the side signal with the polarity reversed). This configuration produces a completely mono-compatible signal and, if the Mid and Side signals are recorded (rather than the
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Often, the tonal and ambient qualities will sound very different between a distant- and close-miked pickup. Under certain circumstances, it's difficult to obtain a naturally recorded balance when mixing the two together. For example, if a solo instrument within an orchestra needs an extra mic for
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has been developed by many experimental composers, musicians and sound artists. They use microphones in unconventional ways, for example by preparing them with objects, moving them around or using contact microphones to colour the sound and be able to amplify otherwise very silent sounds.
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Situational circumstances: Sometimes a microphone should not be visible, or having a microphone nearby is not appropriate. In scenes for a movie the microphone may be held above the picture frame, just out of sight. In this way there is always a certain distance between the actor and the
228:, a microphone — typically a sensitive one — is placed at some distance from the sound source. The goal of this technique is to get a broader, natural mix of the sound source or sources, along with ambient sound, including reverberation from the room or hall. Example include
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in a room that the room's ambience and reverberations transduce at an equivalent, if not greater, volume than the sound source itself." Ubiquitous in pop, it is the industry standard for tracking rhythm guitars in rock. A celebrated example is the rhythm guitar on
412:
are added to each recorded channel, and different levels sent to left and right final channels to position the artist in the stereo sound-stage. Microphones may also be used to record the overall effect, or just the effect of the performance room.
603:
If a stereo signal is to be reproduced in mono, out-of-phase parts of the signal will cancel, which may cause the unwanted reduction or loss of some parts of the signal. This can be an important factor in choosing which technique to use.
631:, which can be manipulated in post-production. This makes M/S a very popular stereo technique for film location recording. They are often used in small 'pencil microphones' to mount on video cameras, sometimes even coupled to the zoom.
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When using multiple microphones, respecting a 3-to-1 rule and placing microphones at least three times further from each other than they are from the source they are being used to pick up avoids cancellation and phase issues such as
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Often each instrument or vocalist is miked separately, with one or more microphones recording to separate channels (tracks). At a later stage, the channels are combined ('mixed-down') to two channels for
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M/S arrays can be very compact and fit easily into a standard blimp windscreen, which makes boom-operated stereo recordings possible. They provide a variable soundstage width to match a
408:. The artists need not perform in the same place at the same time, and individual tracks (or sections of tracks) can be re-recorded to correct errors. Generally effects such as
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can be a significant problem. Alternatively, it can be a desired outcome, in situations where ambient noise is useful (hall reverberation, audience reactions such as cheering).
19:
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Mid/side coincident technique employs a bidirectional microphone (with a figure of 8 polar pattern) facing sideways and a cardioid (generally a variety of cardioid, although
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This permits greater control over the final sound, but recording two channels (stereo recording) is simpler and cheaper, and can give a sound that is more natural.
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matrixed Left and Right), the stereo width (and with that, the perceived distance of the sound source) can be manipulated after the recording has taken place.
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Type of sound-source: Acoustic instruments produce a sound very different from amplified electric instruments, which are again different from the human voice.
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There are two features of sound that the human brain uses to place objects in the stereo sound-field between the loudspeakers. These are the relative
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Parabolic microphones are used to capture sounds on the field during football games. The parabolic dish has been compared metaphorically to a
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520:. The sonic image produced by this configuration is considered by many authorities to create a realistic, almost holographic soundstage.
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The wish to capture or avoid the collection of extraneous noise. This can be a concern, especially in amplified performances, where
531:. They added a little in-phase crosstalk above 700 Hz to better align the mid and treble phantom sources with the bass ones.
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a distant mic, referred to as the room mic, is used in conjunction with a close mic, "typically placed far enough past the
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574:) facing the sound source. The capsules are stacked vertically and brought together as closely as possible, to minimize
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466:). These signals are normally not mixed. Loudspeaker signals are different from the sound arriving at the ear. See also
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will not face high sound pressure levels, which could lead to distortion; on the other hand, a mic being used to record
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317:
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van Eck, Cathy (2017). "Between Air and
Electricity. Microphones and Loudspeakers as Musical Instruments", p. 94-98.
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Since the A-B techniques use phase differences to give the stereo image, they are the least compatible with mono.
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The M/S technique is ideal for mono compatibility, since summing Left+Right just gives the Mid signal back.
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what a real pair of ears would hear at this position and therefore is well suited for headphone playback.
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There are several established microphone configurations used in ambient or room stereo recording.
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techniques used for recording musical, film, or voice sources or picking up sounds as part of
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Sams Teach
Yourself Digital Video and DVD Authoring, Jeff Sengstack Sams, 2005. Page 88.
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Visualization AB Stereo System - Omni/Omni (Spaced) 60 cm - Time-Of-Arrival
Stereophony
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of the microphone, especially for directional mics which exhibit bass boost from the
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and placed facing ±45° with respect to the sound source, the X-Y-setup is called a
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There are several classes of microphone placement for recording and amplification.
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A parabolic microphone used to capture sounds on the field during a football game.
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Visualization XY Stereo System - Blumlein Eight/Eight 90° - Intensity
Stereophony
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42:. The choice of technique depends on a number of factors, including:
735:"DPA Microphones :: How to: Multimiking a classical orchestra"
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Processing: If the signal is destined to be heavily processed, or
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and has less depth compared to recordings employing an AB setup.
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A further refinement of the
Blumlein pair was developed by
169:, examples of close-mic vocal tracks include many songs on
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Lloyd Thayer playing
National Steel guitar on a radio show.
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described the usage of an omnidirectional transducer in
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Sound pressure levels: a mic that is recording
Baroque
385:, in the way that it can focus the capture of sound.
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to discover the diverse sounds of a big tam-tam and
161:. Ubiquitous in the tracking of instruments used in
820:. Rycote Microphone Windshields Ltd. Archived from
616:from above or below the height of the microphones.
434:(or loudness) difference between the two channels
365:when the microphone signals are mixed together.
356:amplified apple boxes with contact microphones.
133:with a tenor saxophone and two microphones (a
16:Microphone techniques used for recording audio
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98:, a different type of input may be required.
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847:(2nd ed.). Focal Press. p. 170.
346:used microphone movements by musicians in
722:Modern Recording Techniques 8th Edition
709:Modern Recording Techniques 7th Edition
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578:caused by differences in arrival time.
87:may face extreme sound pressure levels.
332:Accent (or spot) microphone placement.
426:Stereophonic § Recording methods
101:The use of a windshield as well as a
34:There are a number of well-developed
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23:A didgeridoo miked with a small
339:Instrumental use of microphones
286:" while other examples include
30:that clips onto the instrument.
1:
260:'s lead-vocals on songs from
290:'s electric guitar parts on
720:Huber, David Miles (2013).
707:Huber, David Miles (2009).
420:Stereo recording techniques
326:Fuck You (An Ode to No One)
318:Bullet With Butterfly Wings
105:, designed to reduce vocal
40:sound reinforcement systems
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559:
423:
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512:When the microphones are
61:Choice of a signal type:
677:Hodgson (2010), p.35-36.
242:'s vocals on songs from
238:(excepting the vocals),
230:The Jesus and Mary Chain
815:"The Stereophonic Zoom"
527:in 1958, who called it
284:Communication Breakdown
54:up her voice, making a
773:van Eck (2017), p. 110
739:www.dpamicrophones.com
586:Jecklin disk technique
557:
509:
486:
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252:'s lead vocals on his
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123:
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873:The Stereophonic Zoom
784:"Pro Audio Reference"
698:Hodgson (2010), p.40.
689:Hodgson (2010), p.39.
668:Hodgson (2010), p.34.
649:Understanding Records
647:Hodgson, Jay (2010).
555:
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389:Multi-track recording
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344:Karlheinz Stockhausen
213:'s spoken verses on "
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900:Microphone practices
599:Choosing a technique
508:Blumlein pair stereo
395:Multitrack recording
263:Exile On Main Street
81:heavy metal drumming
28:condenser microphone
844:The Microphone Book
572:his original patent
562:Double MS recording
489:Here there are two
302:Champagne Supernova
300:'s lead-guitar on "
58:mic more desirable.
871:Michael Williams,
813:Michael Williams.
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468:Binaural recording
446:signals (binaural
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293:BloodSugarSexMagik
155:frequency response
143:
139:Electro-Voice RE20
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763:978-1-5013-2760-5
657:978-1-4411-5607-5
275:critical distance
245:Physical Graffiti
193:", the chorus of
137:for the bell, an
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159:proximity effect
114:Basic techniques
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131:Peter Brötzmann
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25:phantom powered
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827:on 2011-11-28.
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424:Main article:
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393:Main article:
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383:telephoto lens
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363:comb filtering
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308:'s guitar on "
298:Noel Gallagher
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788:. Retrieved
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742:. Retrieved
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306:Billy Corgan
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280:Led Zeppelin
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240:Robert Plant
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205:'s lead on "
180:
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151:close miking
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135:Neumann U 87
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33:
595:recording.
529:Stereosonic
494:microphones
491:directional
310:Cherub Rock
271:room miking
258:Mick Jagger
235:Psychocandy
203:Imogen Heap
91:microphone.
894:Categories
790:2024-08-08
744:2015-09-22
635:References
560:See also:
444:interaural
187:Lily Allen
103:pop shield
96:mixed down
36:microphone
629:zoom lens
485:XY stereo
458:signals (
250:Tom Waits
199:Glamorous
182:Either/Or
85:low brass
841:(2004).
651:, p.32.
464:Δ t
460:Δ L
440:Δ t
436:Δ L
324:", and "
254:junkyard
191:The Fear
107:plosives
56:cardioid
544:setup.
304:", and
222:ambient
215:Erotica
211:Madonna
209:", and
851:
761:
724:p.141.
711:p.141.
655:
499:spacey
442:. The
402:stereo
195:Fergie
67:stereo
825:(PDF)
818:(PDF)
432:level
314:Today
849:ISBN
759:ISBN
653:ISBN
590:The
542:ORTF
462:and
450:and
322:Zero
320:", "
316:", "
312:", "
282:'s "
197:'s "
189:'s "
179:and
165:and
77:lute
63:Mono
525:EMI
452:ITD
448:ILD
269:In
232:'s
224:or
220:In
201:",
173:'s
163:pop
149:In
83:or
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109:.
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