microphones

Omnidirectional Microphones

  • Definition: Omnidirectional microphones capture sound equally from all directions.
  • Importance of Microphone Placement:
    • Introduced the relationship between microphones (A and B) and sound sources (1 and 2).
    • Emphasizes the significance of the three to one ratio in microphone setup.
    • Explanation of the ratio: For every one foot from the sound source, microphones should be three feet apart.
    • Example Context: Miking an orchestra on stage.
    • Diagrammatic Representation:
    • Mention of the front of the stage relevant for placement.
    • Consequences of Incorrect Placement:
    • If microphones are closer or at a different ratio, it may lead to phase cancellation.
    • Phase Cancellation: A phenomenon where sound waves interfere with each other, leading to decreased audio quality.
    • Anatomical Consideration:
    • Mimics the relative distance between our ears, enhancing sound perception.

Sound Capture Dynamics

  • Sound Coverage:
    • A microphone should cover approximately a nine-degree arc for effective sound capture.
    • Distance Consideration: It’s necessary to back away enough to capture diverse sound sources, such as multiple ensemble members.
    • Risk of Poor Signal: Being too far can result in insufficient sound signal for clarity.

Microphone Types and Recommendations

  • Recommendations for Vocal Microphones:
    • Shure SM58:
    • Description: Cost-effective (around $100), robust, durable.
    • Performance: Performs well under rough conditions (e.g., being thrown into the audience).
  • Considerations for Wireless Microphones:
    • Potential drawbacks of wireless mics (e.g., vulnerable to getting lost on stage).
    • Important to consider proximity to stage monitors which may cause audio issues.

Stage Dynamics and Performance Challenges

  • Challenges in Live Presentations:
    • Mention of stage divers and the associated risks during live performances.
    • Observational insights from the soundboard regarding microphone sensitivity issues.
  • Microphone Sensitivity Levels:
    • References to the types of microphones: ribbons and condensers might be overly sensitive in live settings.
    • Suggestion: Utilizing a cardioid condenser microphone which may be less sensitive.
  • Microphone Proximity:
    • Emphasizes that mics should ideally be close (less than a fourth from the source) to avoid poor quality sound capture.

Equalization and Compression in Sound Engineering

  • Equalization (EQ):
    • Discussion on the significance of EQ when applying changes to the sound.
    • Caution advised when making adjustments to voices; avoid diminishing natural sound quality.
  • Compression:
    • Function: Compression manages dynamics in sound, enabling soft sounds (piano) and loud sounds (forte) to balance within the mix.
    • Describes musical dynamics in terms of volume levels: tenor (loud) to piano (soft).

Handling Backup Singers in Performance Settings

  • Scenario Discussion:
    • Reference to experiences in a church, issues with hearing backup singers amidst a powerful vocal performance by lead singers.
    • Problem: Difficulty in distinguishing the voices of backup singers when overshadowed by lead instruments and vocals.
  • Recommendations:
    • Options for addressing balance issues include amplifying backup singers or potentially removing them if not contributing significantly to the sound.
    • Ensuring live performance dynamics reflect accurate and engaging sound for the audience.