MICROPHONE INTRODUCTION

A microphone is a transducer, that converts acoustical

energy (sound) into electrical energy (the signal).
Basically the acoustical energy strikes and vibrates a
diaphragm in a magnetic field or modulates a DC voltage to produce
an electrical signal.
On the basis of Transducer property Microphone can be classified as:
1. Passive transducers: It convert acoustical energy directly into
electrical energy without the need for any external power feed.
This group includes dynamic, electret microphones .
2. Active transducers: It convert electrical energy from an external
source synchronously with the sound vibrations they receive. Carbon
microphones and condenser microphones make use of this principle.
Passive & Active transducers type microphones can be classified as :
1. Pressure Type: The output is proportional to vibration due to only
the front face of the diaphragm exposed to the sound field. It
responds equally to all sound pressure fluctuations occurring at its
surface, regardless of the direction. (Ex. Dynamic Microphones)
2. Pressure Gradient type: The output is proportional to the
momentary sound pressure difference occurring between both faces
of the diaphragm. (Ex. Ribbon Microphone).
 CHARACTERISTICS OF MICROPHONES IN BRIEF
1. Sensitivity: It is defined as the output of a microphone in milli-volts
(or in dB below 1volt) for the sound pressure of 1 microbar (or o.1 Pa) at
1000 Hz. S = 20 log 1/ EO, where S = Sensitivity, EO = output
2) Signal to noise ratio(S/N): It is defined as the ratio in dB of the output
of the microphone with Sound pressure level (SPL) of 1 bar to the output
in absence of sound.

3) Frequency response – It is defined as the output level or

sensitivity of the microphone over its operating range from lowest
to highest frequency.
Although the audible frequency range of sound is 20 to 2000 Hz, the
frequency range is judged for flat response from 40 to 15000 Hz.

flat frequency response drawing shaped frequency response drawing

Flat response microphones are used to reproduce sound sources without

colouring the original source where as “shaped” response is designed to
enhance a frequency range that is specific to a given sound source.
 4) Directivity: Directivity (D) of a microphone is defined as the ratio in dB
of the actual output when placed in a direction of maximum response to
the output which an Omni-directional microphone in the same direction
would have given. D = 20 log = E/ EO
E = Actual output , placed in a direction of maximum response.
Eo = Output which an Omni-directional microphone in same direction would have given.
5 ) Polar patterns: A polar pattern is a circular graph that shows how
sensitive a microphone is in different directions. It also determines the
Directivity of the Microphone..
a) Omni directional Pattern : These Microphones are sensitive to sound
from all directions. Good for picking up the ambience and reverb of rooms
and sound very natural and open even when placed close to instruments.
Omni microphones don’t exhibit any proximity effects but obviously are
not good when separation is needed.
b) Figure of 8 (bi-directional) : These indicates pick up from the front and
rear and have null points to either side. They are good for two vocalists
facing each other or to record something and still capturing the
ambience. They don’t exhibit any proximity effects.
c) Cardioid Patterns :They pick up sound within 120 degrees of the direction
they are facing and take their name from the heart shape of their polar
pattern. They help to reduce feedback and can be used to capture a
particular sound in a loud environment. They are affected by wind noise,
“proximity” effect and are susceptible to popping caused by “plosives”.
POLAR PATTERNS
POLAR PATTERNS

HYPER -
CARDOID
 CRUCIAL MICROPHONE RELATED CHARACTERISTICS:
1. Ambient sound rejection -Unidirectional microphones are less
sensitive to off-axis sound than Omni directional types they pick up
less overall ambient (hence control) or stage sound.
2. Distance factor – As directional microphones pick up less ambient
sound than omni-directional types they may be used at somewhat
greater distances from a sound source to achieve the same balance
between the direct sound and background or ambient sound.
3. Off-axis coloration - Change in a microphone’s frequency response
that usually gets progressively more noticeable as the arrival angle
of sound increases. High frequencies tend to be lost first, often
resulting in “muddy” off-axis sound.
4. Proximity effect - With unidirectional microphones, bass response
increases as the microphone is moved closer (within 2 feet) to the
sound source, called proximity effect. The remedy is to Roll off the
bass until natural sound is obtained through :
(1) Roll off low frequencies on the mixer.
(2) Use a microphone designed to minimize proximity effect.
(3) Use a microphone with a bass roll-off switch.
(4) Use an omni-directional microphone.
5. Comb Filtering Effect: When multiple-frequency identical sound waves
combine, there are three possibilities for the resulting wave :
a) A doubling of amplitude at all frequencies if the waves are “in phase”.
b) A complete cancellation for 180 degrees “out of phase”.
c) Partial cancellation & reinforcement for intermediate phase relationship.
Case ‘c’ gives rise to a degraded frequency response called “comb filtering.”
whose pattern resembles the teeth of a comb, the depth and location depend on
the degree of phase shift.
This effect can occur in two ways : 1) when two (or more) mics pick up the
same sound source at different distances and the sounds arrive the
microphone at diff. times, resulting in a phase difference between the signals
from the mics when they are combined (electrically) in the mixer.

The second way for this effect occur when a single microphone picks up a
direct sound and also a delayed version of the same sound due to an acoustic
reflection of the original sound or to multiple sources of the original sound.
 MICROPHONE DESIGN
Dynamic microphone : In a dynamic microphone a coil of wire
attached to a diaphragm is suspended in a magnetic field. When
sound waves vibrate the Diaphragm, the coil vibrates in the
magnetic field and generates an electrical signal similar to the
incoming sound wave.

The Shure Beta 58A

dynamic microphone
Inner picture of a dynamic microphone Polar Pattern (OMNI) used in broadcasting .

Because dynamic microphones have very few electronic

components, they are able to capture loud sounds (like drums & amps)
without the risk of distortion.
Dynamic microphones have low sensitivity, meaning that they won’t
pick up low level sounds (ex: deep breaths, etc)
Condenser Microphone : Invented by Bell Labs in 1916, condenser
microphones use internal electronics to increase sensitivity and
provide an excellent frequency response. (40 Hz to 15000 Hz. )

Condenser microphone can capture many more sonic varieties than

dynamic microphones . Hence very good for high precision music
coverage. Condensers also work on phantom power, a static voltage
that travels from the audio console or pre-amps.
Because the electronics are more complicated, they are prone to
overload - therefore, one must use the pad switch (control input
level) when recording loud sounds to avoid overdrive.
These microphones are basically Omni-directional.
Electret Microphone: It is also a Capacitor microphone , but with
a built-in charge facility. Insulating material like TEFLON can trap
& retain a large quantity of fixed charge. A thin layer of negatively
charged TEFLON is coated on the microphone back plate.

lavaliere microphone .

A positive charge is induced on the diaphragm due to this back

plate negative charge, which ultimately establishes an electric field
across the gap resulting in a terminal voltage, which varies in
accordance to the sound pressure variation .

All properties are similar to condenser microphone except weight.

Being very light due to absence of separate bias- supply it is used as
a tie-clip microphone. The common example of electret is Lavaliere.
Ribbon microphones: Two things set them apart from other designs:
1. The method of electromagnetic induction(Never Use Phantom Power ).
2. The quality of sound.

Ribbons microphones produce induction by placing a conductive metal

strip (the ribbon) between the strong poles of a magnet.

Ribbon microphone

Ribbons are Known for their “honest” and natural recordings, with a
very Un-coloured & Excellent, frequency response of 20 Hz to 12000 Hz.
They have fixed figure-8 polar pattern & very low sensitivity ,hence
pre-amps are used. Ribbon microphones can be damaged easily.
Suitable for Dramas, due to its Bi-Directional property & good for
recording two vocalists facing each other, or face to face interview.
Cardioid Microphone :Since the Omni has a response of 1 (equal all round)
& the figure-eight has a response represented by cos θ , the Cardioid may
be taken theoretically as a combination of these two responses as 1 & cos θ.
In Cardioid microphone the diaphragm is kept open at the front, but
introduces various acoustic labyrinths at the rear causing sound to reach the
diaphragm back in various combinations of phase and amplitude to produce a
resultant Cardioid response.

 Figure above shows an Omni and a figure of eight superimposed, and

adding the two produces the Cardioid shape.
 At 0°,both polar responses reinforce each other being equal amplitude
& phase, giving output which is actually twice that of either separately.
 At 180° , however, the two are of equal amplitude but opposite phase,
and so complete cancelation occurs and there is no output.
 At 90° figure-eight output is null ,except the contribution from the
omni. The Cardioid response is 6 dB down at 90° & 3 dB down at 65° .
. They can be positioned to pick up the instruments that you want to
record and “ignore” the unwanted one.
 MICROPHONE PLACEMENTS TECHNIQUES

 The selection and placement of Microphones can have a major influence

on the sound of an acoustic recording.
It is a common view in the recording industry that the music played by a
skilled musician with a quality instrument properly miked can be sent
directly to the recorder with little or no modification.

 Use a microphone with a frequency response that is best suited to the

frequency range of the sound.
Place the microphone at various distances and positions until you find a
spot where you hear from the studio monitors the desired tonal balance and
the desired amount of room acoustics.
Often you will encounter poor room acoustics, or pickup of unwanted
sounds. In these cases, place the microphone very close to the loudest part of
the instrument or isolate the instrument.
Microphone technique is largely a matter of personal taste. Whatever
method sounds right for the particular sound, instrument, musician, and
song is right. There is no one ideal way to place a microphone. There is also
no one ideal microphone to use on any particular instrument. Choose and
place the microphone to get the sound you want.
 VOCAL MICROPHONE TECHNIQUES

1. Individual Vocals : Microphones with various polar patterns can be used in vocal
recording techniques.