Study Notes on Microphones and Audio Equipment

Introduction to Microphones

Functionality: Designed for live sound, particularly vocals.
Polar Pattern: Cardioid, picks up sound predominantly from the front, minimizing background noise.
- Front Address vs. Side Address:
- Front address: microphone pointed towards the sound source.
- Side address: microphone has sensitivity towards the sides.
Application: Vocal performance in live settings.

Type: Condenser microphone.
Polar Pattern: Cardioid, enhances sound from the front.
Frequency Response: 20 Hz to 20,000 Hz (human hearing range).
- Use Cases:
- Suitable for brass and woodwind instruments, choirs, orchestras, wind ensembles.
- Effective close miking for percussion.
Settings: Includes flat response and low-frequency roll-off to cater to different audio situations.
- Example: If close miking a violinist near a cellist, the low-frequency roll-off setting can help mitigate pickup of the cello.
Price: Approximately $400, indicative of quality.

The cardioid response at 250Hz shows reduced directivity, suggesting potential pickups from behind.
Feedback Concerns: Feedback from monitors is a risk where microphones pick up sound from the rear.
- Phantom Power Requirement: Required for operation of condenser microphones.
- SPL Capacity: Can withstand high sound pressure levels (SPL), up to 170 dB; threshold of pain for SPL is around 120 dB and distortion is manageable.

Type: Dynamic microphones, cardioid.
Price: Approximately $100.
Frequency Response: From 40 Hz to 15,000 Hz.
- Implication: Slightly misses the lower end and high overtones; not as versatile for specific instruments/voices compared to KSM137.
Applications: Best for louder sources like guitar amps, drums, and other instruments that emit significant volume.
Characteristics of Feedback: Cardioid pattern may also pick unwanted sounds if placed incorrectly, necessitating strategic setup to avoid capture of undesired audio.

Observations between KSM137 and SM57/SM58 indicate variations in higher frequency capture. SM57 has less flatness in the upper frequency range affecting performance during recording of high overtone instruments.

PA Speakers: Designed primarily for live sound performance; may sacrifice frequency flatness for power and efficiency.
Studio Monitors: Aim for flat frequency response to accurately reproduce audio without coloring the sound.
- Notable Thought: Understanding the specific intended use is vital—mixing requires different characteristics compared to performance needs.

First overtone is double the frequency of the original sound.
If lower frequencies aren’t produced well, higher frequencies can enhance perceived bass (phantom bass effect).

Small speakers may create perceived bass through design choices, like using denser materials in the cone construction, which affects overall sound quality.

Placement: Proper placement and handling of microphones are essential for optimal audio fidelity and minimizing feedback.
Power Requirements: Understanding how phantom power affects microphone operation is critical for effective recording setups.
- Differences in power requirements between various microphone types illustrate the variance in technology and application, thereby informing purchase and usage decisions.

Each microphone and speaker has its unique specifications and is designed for specific uses and environments. Careful consideration of their frequency response, polar pattern, SPL capacity, and intended application will yield the best audio results in both studio and live sound settings.