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Polar Pattern - continued
While omni and bidirectional microphones are very useful for a variety of
applications, a majority of “miking” situations in recording and live sound require
unidirectional or cardioid microphones. The unidirectional pick up pattern allows
for better separation of instruments in the studio and more control over feedback
in live sound reinforcement. The G Track’s pick-up pattern is super-cardioid, which
offers even more side-to-side rejection. When positioned correctly, the super-
cardioid pick-up pattern allows you to pick up more of the sound you want and less
of the sound you don’t want.
Microphone Placement
In order to maximize the sound quality, you must pay careful attention to the
placement of your G Track and how it is positioned for the instrument or vocalist
that you are miking. All microphones, especially unidirectional or cardioid
microphones, exhibit a phenomenon known as “proximity effect.” Very simply put,
proximity effect is a resulting change in the frequency response of a microphone
based on the position of the mic capsule relative to the sound source. Specifically,
when you point a cardioid mic directly at the sound source (on axis) you will get
the best frequency response, however when you start pointing the microphone
slightly away (off axis) you will notice the high frequency response dropping off
and the microphone will start to sound like it has more bass and less highs.
For most vocal applications you’ll want to position the microphone directly in front
of the artist. The same may be true for miking instruments, however, you can make
some pretty amazing equalization adjustments by slightly changing the angle of
the capsule to the sound source. This can be a very useful technique in capturing
the optimum sound of drum set, acoustic guitar, piano or other instruments in a
live room or sound stage. Experimentation and experience are the best teachers in
getting good sounds, so plug in!
P-Popping
P-popping is that annoying pop that you can get when the microphone diaphragm
gets a blast of air from a vocalist pronouncing words with the letter “P” included.
There are a few ways to deal with the problem including using an external pop
filter. Some famous engineers have relied on an old nylon stocking over a bent
clothes hanger, which actually works very well. You can also try placing the
microphone slightly off axis (on a slight angle) from the vocalist. This can often
solve the problem without using an external pop filter. However, the simplest, most
reliable way to reduce P-popping (without the bad smell of old nylons) is to use a
pop filter attached the microphone stand like the Samson PS-01. Using a pop filter
also makes it easy to maintain a good level by keeping the vocalist at a constant
distance from the microphone.
Operating the G Track
Содержание G Track
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