Chapter 5
Specific Miking Applications
Now that we ve covered some basics, it s time to look at some time-honored guidelines for
common recording situations.While experimentation is definitely encouraged, these techniques will
get you in the ballpark and, more importantly, provide additional understanding about microphones
and placement techniques so that you can find what works in any given situation.
Vocals
Vocals are perhaps the most difficult subject to mic. Each vocalist
is different and there can be a tremendous amount of dynamic
range within a single performance. Vocalists also tend to move
when they sing, providing yet another challenge.
A large diaphragm capsule is traditionally desired on vocal
tracks. Large diaphragms are generally better equipped to
accommodate a vocalist s potentially high dynamic levels.
The proximity effect tends to add fullness to the voice, as
well.That same proximity effect can be overwhelming when
used on a performer that already has an extremely deep
voice. In this event, a medium capsule can be more
appropriate because of the reduced proximity effect.
Tube mics and preamps are highly recommended for
vocals, as vocals tend to be the featured element.
Cardioids are typically used when close-miking a vocalist,
especially when the acoustic space is not necessarily
something you want featured in the track. On the other
hand, omni can yield excellent results when you do want to
feature the room s natural ambience. In the case of
recording multiple vocalists, there may not be enough
resources for separate mics or tracks. For a duet, placing
the performers on either side of a figure-8 capsule works
well. For background vocalists or an entire singing group,
place the singers in a semicircle around a cardioid. Position
the individual vocalists closer to or further from the mic in
order to achieve the desired balance in their levels.
In all cases, the distance between the vocalist and the
microphone will determine how present or intimate the
sound is, as well how much reflected sound is picked up.
Note also that the law of inverse squares dictates that
slight movements on the part of the singer will have much
less effect on the mic output level if he or she is not
eating the mic.A good starting distance is 12 to 18 inches
away from the vocalist.
Vocal mics are usually placed at the same level as the
performer s mouth. Raising the mic produces a more nasal
sound, while lowering it yields a more chesty sound. Avoid
extremes, as they tend to stretch or constrict the subject s
throat enemies of a good vocal performance.You can also
Choosing & Using Microphones
25
Angling the mic downward can reduce unwanted
vocal energy from reaching the diaphragm
W
A
L
L
In order to avoid primary sonic reflection,
vocalists and mics should not be positioned
directly in front of a hard surface
A pop filter is often used to reduce vocal plosives
Summary of Contents for Microphone
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