Before talking about recording techniques I thought it would be beneficial to explain the different types of microphones and basic recording equipment.
MICROPHONES
There are two main types of microphones: Condensers and Dynamics.
CONDENSER
(An example Condenser microphone. A Neewer NW-700, a cheap thing I got off Amazon.)
A Condenser microphone is best for capturing high frequencies. But also picking up details and delicate sounds with accuracy. It requires phantom power (48v), which is/should be included in every audio interface/DI and studio mixing desk.
However, a Condenser microphone would not be practical for live performances because it would pick up unwanted sounds and frequencies such as a crowd.
Good for:
Capturing high frequencies
Delicate vocals
In-studio use
Not Good for:
Live performances
Example microphones:
Neumann U87
AKG C414
Telefunken U47
DYNAMIC
(An example Dynamic microphone. A Shure SM57)
A Dynamic microphone is best used for capturing strong signals and its ability to handle loud sounds. Because of this Dynamic microphones are preferred for live performances as it doesn’t pick up unwanted sounds as easily as a Condenser microphone.
Good for:
Powerful vocals
Capturing strong signals
Live performances
Not good for:
Capturing details
Example microphones:
Shure SM57
Shure SM58
Electrovoice RE20
Sennheiser 421 II
Here is a useful video on the difference between Condenser and Dynamic microphones.
Noticeably Condenser and Dynamic aren’t the only types of microphones about. Here are the subcategories of microphones:
Large Diaphragm Condenser Microphone
This the standard microphone for recording vocals and many instruments because it produces a vibrant, rich and ‘larger than life’ sound.
Small Diaphragm Condenser Microphone
Also known as a ‘pencil microphone’, this mic specialises in recording instruments rich with high frequency detail, such as cymbals and acoustic guitar. From experience they are also good as room mics because they capture detail well.
Bass Microphone
This is quite self explanatory as it captures low-end frequencies and sound. The best use for them is to record low-end frequency instruments such as a bass and kick drum.
Ribbon Microphone
This microphone is neither Dynamic or Condenser. “Rather than using a diaphragm, they use a thin aluminum ribbon to capture sound.” (Recording Studio, n.d.) They specialise in capturing high-frequency sensitivity comparable to condenser mics.
Multi-Pattern Microphone
These microphones are versatile as they allow you to switch between 3 polar patterns (will explain later on). This is particularly good for stereo recording.
USB Microphone
These microphones are good for beginners and to purchase as the start of building a home studio. This is because they are cheap and easy to use - just plug straight into a PC or Laptop.
However, if you are looking for quality a USB mic would not be advised.
Boundary Microphone
Boundary microphones can mount against a flat surface in a room, such as a floor or wall. “While other mics suffer from comb filtering, (when direct and reflected sound combines out-of-phase)…Boundary mics are immune…because up against a wall, the two automatically align” (Recording Studio, n.d.) This makes them good room mics but also good for recording a kick drum.
Shotgun Microphone
You’ve probably seen these on the tv, more specifically on the news or on wildlife shows. This is because they can isolate sound.
After working with specific microphones you’ll find that you will have preferences for some and dislike others. For example my preference when setting up a kick drum is to use a Beyerdynamic MG 88 because it gives a punchy low-end to the kick. However, much like most areas in music, it’s all about experimentation.
POLAR PATTERN SHAPES
What are polar patterns ?
Every microphone has what is called a Polar Pattern. This, in essence, is how well a microphone hears sound from different directions. Not all patterns are the same and have different strengths and weaknesses.
(An image of the different polar patterns)
Cardioid
Cardioid has the most sensitivity when sound comes from in front of it and has least sensitivity at the back. This isolates it from unwanted ambient sounds and gives much more resistance to feedback. This makes a cardioid microphone particularly suitable for loud stages.
Omni-directional
Picks up sound evenly from all directions. A disadvantage is that this pattern is that it cannot be aimed away from any undesired sound sources such as speakers and crowds. This can result in a lot of unwanted feedback.
Super-cardioid
This pattern has a narrower pickup than cardioid and has a great rejection of ambient sounds. But they also have some pickup directly at the rear, hence it is important to place monitor speakers correctly otherwise feedback and delay will be heard.
Hyper-cardioid
Hyper-cardioid has an even narrower pickup than Super-cardioid and has a greater rejection of ambient sound. Hyper-cardioids are most suitable when single sound sources are needed to be picked up in loud environments.
Bi-directional
Also known as the ‘Figure 8 Pattern’. This allows sound to be picked up from the front and rear. This is the typical pattern for ribbon mics.
This website gives better picture examples of the patterns:
EQUIPMENT TO USE MICS
AUDIO INTERFACE
An Audio Interface is a piece of hardware that enables you to connect microphones and other audio gear to your PC/Laptop. An interface is fairly easy to use and just plugs into a PC/Laptop using a USB; some require you to install the device driver off their website.
DAW
With music making in this day and age having a DAW (Digital Audio Workstation) is crucial as it enables you to record and save all your music. The top DAW brands: Albeton, Logic and Reaper etc.
POP FILTER
A misconception about pop filters is that they reduce background noise. It DOES NOT reduce background noise ! Its main purpose is to eliminate ‘popping’ noises when you sing or speak into a microphone.These are known as ‘plosives’, when saying words beginning with ‘P’ it causes a sudden air pressure causing the microphone to overload. Lastly, it catches saliva helping prolong the life of microphones.
Bibliography:
Paul Bothner Music | Musical instrument stores. 2018. Dynamic Vs Condenser Mics: A Basic Introduction | Paul Bothner Music | Musical Instrument Stores. [online] Available at: <https://bothners.co.za/dynamic-vs-condenser-mics-a-basic-introduction/> [Accessed 5 May 2020].
Henshall, M., 2015. Microphone Directionality & Polar Pattern Basics. [online] Shure.eu. Available at: <https://www.shure.eu/musicians/discover/educational/microphone-directionality-polar-pattern-basics> [Accessed 5 May 2020].
Recording Studio, E., n.d. Recording Studio Microphones: The Ultimate Beginner's Guide. [online] E-Home Recording Studio. Available at: <https://ehomerecordingstudio.com/types-of-microphones/> [Accessed 5 May 2020].