PRESONUS Revelator Dynamic, Руководство пользователя

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of your Revelator Dynamic:
When looking at the shape of this polar pattern, it quickly becomes
apparent why holding a microphone too close to the capsule will
create problematic handling noise. While this is fine for a stage per-
formance where the sheer volume of the instruments on stage will
mask this noise, in an audio recording made from a quiet location,
handling noise becomes a distraction from the primary sound
source. And in this case, that source is you.
Revelator Dynamic’s included desktop stand is designed to reduce
handling noise by holding the microphone for you, so use it!
11.2.2 How Close is Too Close?
Microphones are designed to pick up sound; that’s their job. When folks are first learning to use a micro-
phone, there is a natural tendency to speak too softly or too loudly. We’ve designed Revelator Dynamic
to just let you be you, so speak in your normal voice and adjust your seating position until your voice
sounds natural and reproduces well. This is where monitoring yourself through headphones is espe-
cially helpful. As a general rule, if it sounds good in your headphones, it will sound good in your record-
ing.
A good starting point is to position your mouth about four inches from the microphone. If you project
your voice naturally, you may need to sit a little further back. The good news is that good microphone
technique quickly becomes muscle memory once you get the hang of it, so the more you practice, the
less awkward it becomes.
11.2.3 Problematic Pronunciation
Depending on your natural speaking style, additional adjustments may be necessary:
l
Plosives. Plosives are bursts of air that are picked up by the microphone that sound like a sort of
low thump or booming sound when recorded. They can occur with any consonant, but occur most
commonly when you say ‘P’ or ‘B’ sounds. The audio industry has battled these natural speech
events for so long that there is a specialized hardware tool to combat them: pop filters! A pop filter
sits between your mouth and microphone and slows down and disperses these bursts of air, shield-
ing the microphone from picking them up. The other advantage of a pop filter is that it they can be
used for maintaining a fixed position in front of your microphone, and are especially useful when
recording with a condenser microphone.
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Sibilance. Sibilance occurs when you make a consonant sound by directing your breath to the
back of your teeth using your tongue. The most common examples of problematic sibilants are ‘S’
and ‘Z’ sounds. Depending on your speech pattern, you may naturally exaggerate these sounds
without noticing—and this may be a habit that you wish to alter while you’re recording. Luckily, if
this is a habit you cannot or do not want to break, you can fix most sibilance issues in post-pro-
duction as long as you are multi-tracking your podcast using a dynamics effect called a de-esser,
which your Revelator Dynamic microphone happens to have onboard! See the
Fat Channel and
Voice Effects section for more information. Professional DAW applications, like PreSonus Studio
One, are also equipped with a de-esser plug-in especially for this purpose.
11.2.2 How Close is Too Close? 102