M-Audio Microphone, Руководство пользователя

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Choosing & Using Microphones
a proximity effect where the low-mid frequencies increase as the distance between the source and
mic decreases. (The proximity effect is not a big issue with omni patterns or medium-sized capsules
of any pattern.) With large diaphragms, then, the placement of the mic affects volume, room
ambiance and tonality.
Large Capsules vs. Medium Capsules
You can achieve excellent results in most situations using our large-capsule mics.
As a rule of thumb, the large-capsule mics like ours will have more sensitivity in the low end than the medium
capsules simply because the diaphragms are larger. As previously mentioned, they also exhibit more proximity
effect in cardioid patterns (which can be a plus or a minus depending on the circumstances). Further, they take
up more physical space so they are less adaptable in tight situations. Conversely, medium capsules tend to
exhibit flatter frequency response regardless of distance and are more flexible when space is a consideration.
You ll eventually want to have both large- and medium-capsule models in your mic locker.
Dealing with Unwanted Low-Frequencies
Extraneous low-frequency content such as that induced by passing trucks or standing waves in the
room can present a problem during recording. Low frequencies are harder to compensate for with
acoustic treatment than are higher frequencies. Most condenser mics have a switch that introduces
a high-pass filter rolling off low frequencies starting at around 75Hz. This feature should be used
with care, since sound sources such as the male voice have content in this range. On the other
hand, low frequency roll-off can sometimes be used intentionally, like in a situation where you want
to reduce the boomy quality of an acoustic guitar. It is best to induce as little electronic circuitry
as possible. Use critical listening to determine if low-frequency roll-off is truly beneficial.
The Mic Preamp
Before the low-level signal from a mic can be used in the recording and mixing process, it must be
run through a preamp in order to boost the gain.Therefore, most pro recording engineers will tell
you that next most critical piece of gear after the microphone is the mic preamp.
Even the best microphone inputs on an affordable mixing board, sound card or all-in-one recorder
don t hold a candle to a dedicated mic preamp. Pro studios routinely pay thousands of dollars per
channel for dedicated outboard preamps. While that s not realistic for most project studios and
home recordists, it is indicative of the fact that good quality mic preamps are an important thing
to consider in your studio budget. If you re looking for a good preamp at budget prices, check out
M-Audio s DMP3. And if you re interested in a high-end preamp that won t break the bank, see the
inset which follows, containing information about our revolutionary TAMPA preamp featuring
Temporal Harmonic Alignment.
Use of Processing During Recording
Engineers have varying opinions about the amount of processing to use during the actual recording process.
Part of it comes down to how much processing gear you have at your disposal for the subsequent mix session.
The predominant wisdom is to process as little as possible at any stage period. That s a major reason why
having a good mic is essential to high-quality recordings.The more EQ and compression you have to apply, the
further you get away from a natural sound.
Nonetheless, many engineers like to record with basic EQ and compression for two re a s o n s t o
overcome major deficiencies in the sound, and to achieve the hottest possible levels before clipping
for the highest signal-to-noise ratios. In other words, processing during recording is typically used
to ensure that the signal is technically optimal. On the other hand, processing more specialized
effects such as reverb, chorus and delay are usually reserved for the mixing process, to yield
maximum flexibility in these more subjective and creative areas.
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