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| Microphone Techniques |
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Microphone techniques is one of essential techniques for performing on the stage. Proper microphone technique need not be difficult or complex, but there are certain principals that help define good technique. By understanding following these basic steps, you'll find the microphone becomes an extension of your vocal instrument, enhancing your performance and helping your musical presentation be the best it can be. At least there are two important things for me to support your singing performance on the stage through microphone techniques. The first is learning what suitable microphone for us, and the second is knowing well about the miking distances. 1. Type Of Microphone Choosing the right and comfortable microphone is very essential to support your performance on the stage. Experiment with different types of vocal microphones to see how each one sounds different and reacts to your voice. There are some type of microphone that can be a consideration to choose what kind of microphone will be used : Dynamic microphonesThese are the most common general-purpose microphones. They do not require power to operate. If you have a microphone that is used for live performance, it is probably a dynamic mic. They have the advantage that they can withstand very high sound pressure levels (high volume) without damage or distortion, and tend to provide a richer, more intense sound than other types. Traditionally, these mics did not provide as good a response on the highest frequencies (particularly above 10 kHz), but some recent models have come out that attempt to overcome this limitation. In the studio, dynamic mics are often used for high sound pressure level instruments such as drums, guitar amps and brass instruments. Models that are often used in recording include the Shure SM57 and the Sennheiser MD421. Condenser microphonesThese microphones are often the most expensive microphones a studio owns. They require power to operate, either from a battery or phantom power, provided using the mic cable from an external mixer or pre-amp. These mics have a built-in pre-amplifier that uses the power. Some vintage microphones have a tube amplifier, and are referred to as tube condensers. While they cannot withstand the very high sound pressure levels that dynamic mics can, they provide a flatter frequency response, and often the best response at the highest frequencies. Not as good at conveying intensity, they are much better at providing a balanced accurate sound. Condenser mics come with a variety of sizes of transducers. They are usually grouped into smaller format condensers, which often are long cylinders about the size of a nickel coin in diameter, and larger format condensers, the transducers of which are often about an inch in diameter or slightly larger. In the studio, condenser mics are often used for instruments with a wide frequency range, such as an acoustic piano, acoustic guitar, voice, violin, cymbals, or an entire band or chorus. On louder instruments they do not use close miking with condensers. Models that are often used in recording include the Shure SM81 (small format), AKG C414 (large format) and Neuman U87 (large format). Ribbon microphonesRibbon microphones are often used as an alternative to condenser microphones. Some modern ribbon microphones do not require power, and some do. The first ribbon microphones, developed at RCA in the 1930s, required no power, were quite fragile and could be destroyed by just blowing air through them. Modern ribbon mics are much more resiliant, and can be used with the same level of caution as condenser mics. Ribbon microphones provide a warmer sound than a condenser mic, with a less brittle top end. Some vocalists (including Paul McCartney) prefer them condenser mics. In the studio they are used on vocals, violins, and even drums. Popular models for recording include the Royer R121 and the AEA R84. (Source : http://www.wikibooks.org) 2. Sound Distances The distance between source of sound with microphone really affects the resulted sound.There are some techniques of miking distance, such as : Close mikingWhen miking at a distance of 1 inch to about 1 foot from the sound source, it is considered close miking. This technique generally provides a tight, present sound quality and does an effective job of isolating the signal and excluding other sounds in the acoustic environment. BleedBleeding occurs when the signal is not properly isolated and the microphone picks up another nearby instrument. This can make the mixdown process difficult if there are multiple voices on one track. Use the following methods to prevent leakage:
A B mikingThe A B miking distance rule (ratio 3 - 1) is a general rule of thumb for close miking. To prevent phase anomalies and bleed, the microphones should be placed at least three times as far apart as the distance between the instrument and the microphone.
Distant mikingDistant miking refers to the placement of microphones at a distance of 3 feet or more from the sound source. This technique allows the full range and balance of the instrument to develop and it captures the room sound. This tends to add a live, open feeling to the recorded sound, but careful consideration needs to be given to the acoustic environment. Accent mikingAccent miking is a technique used for solo passages when miking an ensemble. A soloist needs to stand out from an ensemble, but placing a microphone too close will sound unnaturally present compared the distant miking technique used with the rest of the ensemble. Therefore, the microphone should be placed just close enough to the soloist so that the signal can be mixed effectively without sounding completely excluded from the ensemble. Ambient mikingAmbient miking is placing the microphones at such a distance that the room sound is more prominent than the direct signal. This technique is used to capture audience sound or the natural reverberation of a room or concert hall. (Source : http://www.wikibooks.org) I hope it will be helpful for us..
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