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Microphones (Chapter 3)

Condenser microphones use a capacitor to convert sound waves into electrical signals. They require power from a battery or external source. Condensers produce a stronger audio signal than dynamics and are more sensitive, but are prone to distorting at high volumes. Their directionality depends on their polar pattern, with cardioid mics picking up mostly from the front and hypercardioid (shotgun) mics eliminating side and rear sound. Dynamic mics have fewer parts, are sturdier, and can handle higher volumes without distorting. Windscreens, pop filters, and foam covers protect mics from wind and plosive sounds.

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Lynn Nahas
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121 views14 pages

Microphones (Chapter 3)

Condenser microphones use a capacitor to convert sound waves into electrical signals. They require power from a battery or external source. Condensers produce a stronger audio signal than dynamics and are more sensitive, but are prone to distorting at high volumes. Their directionality depends on their polar pattern, with cardioid mics picking up mostly from the front and hypercardioid (shotgun) mics eliminating side and rear sound. Dynamic mics have fewer parts, are sturdier, and can handle higher volumes without distorting. Windscreens, pop filters, and foam covers protect mics from wind and plosive sounds.

Uploaded by

Lynn Nahas
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PPTX, PDF, TXT or read online on Scribd
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Microphones

Microphones

Condenser means capacitor, an electronic component which


stores energy in the form of an electrostatic field. The
term condenser is actually obsolete but has stuck as the
name for this type of microphone, which uses a capacitor
to convert acoustical energy into electrical energy.
Condenser microphones require power from a battery or
external source. The resulting audio signal is stronger
signal than that from a dynamic. Condensers also tend to
be more sensitive and responsive than dynamics, making
them well-suited to capturing subtle nuances in a sound.
They are not ideal for high-volume work, as their
sensitivity makes them prone to distort.
How Condenser Microphones Work?

A capacitor has two plates with a voltage between them. In


the condenser mic, one of these plates is made of very
light material and acts as the diaphragm. The diaphragm
vibrates when struck by sound waves, changing the
distance between the two plates and therefore changing
the capacitance. Specifically, when the plates are closer
together, capacitance increases and a charge current
occurs. When the plates are further apart, capacitance
decreases and a discharge current occurs.
A voltage is required across the capacitor for this to work.
This voltage is supplied either by a battery in the mic or
by external phantom power.
Cross-Section of a Typical Condenser Microphone
Dynamic Microphones
Dynamic microphones are versatile and ideal for general-purpose use. They
use a simple design with few moving parts. They are relatively sturdy and
resilient to rough handling. They are also better suited to handling high
volume levels, such as from certain musical instruments or amplifiers. They
have no internal amplifier and do not require batteries or external power.
How Dynamic Microphones Work?
The diaphragm is attached to the coil. When the diaphragm vibrates in
response to incoming sound waves, the coil moves backwards and forwards
past the magnet. This creates a current in the coil which is channeled from
the microphone along wires. A common configuration is shown below.
Directional Properties
Every microphone has a property known as directionality. This describes the
microphone's sensitivity to sound from various directions. Some
microphones pick up sound equally from all directions; others pick up sound
only from one direction or a particular combination of directions. The types
of directionality are divided into three main categories:

•Omni directional:
Picks up sound evenly from all directions (Omni means "all" or "every").

•Unidirectional:
Picks up sound predominantly from one direction. This includes cardioids
and hyper cardioids microphones (see below).

•Bidirectional:
picks up sound from two opposite directions.

To help understand a directional property of a particular microphone, user


manuals and promotional material often include a graphical representation
of the microphone's directionality. This graph is called a polar pattern. Some
typical examples are shown below.
Omni directional

Captures sound equally from all directions.

Uses: Capturing ambient noise; Situations where sound is coming from many
directions; Situations where the mic position must remain fixed while the
sound source is moving.

Notes:
•Although omni-directional mics are very useful in the right situation, picking
up sound from every direction is not usually what you need. Omni sound is
very general and unfocused - if you are trying to capture sound from a
particular subject or area it is likely to be overwhelmed by other noise.
Cardioids

Cardioid means "heart-shaped", which is the type of pick-up pattern these mics use.
Sound is picked up mostly from the front, but to a lesser extent the sides as well.

Uses: Emphasizing sound from the direction the mic is pointed whilst leaving some
latitude for mic movement and ambient noise.

Notes:
•The cardioid is a very versatile microphone, ideal for general use. Handheld mics are
usually cardioid.
•There are many variations of the cardioid pattern (such as the hyper cardioid
below).
Hyper cardioid

This is exaggerated version of the cardioid pattern. It is very directional and eliminates
most sound from the sides and rear. Due to the long thin design of hyper cardioids,
they are often referred to as shotgun microphones.

Uses: Isolating the sound from a subject or direction when there is a lot of ambient
noise; Picking up sound from a subject at a distance.

Notes:
•By removing all the ambient noise, unidirectional sound can sometimes be a little
unnatural. It may help to add a discreet audio bed from another mic (i.e. constant
background noise at a low level).
•You need to be careful to keep the sound consistent. If the mic doesn't stay pointed
at the subject you will lose the audio.
•Shotguns can have an area of increased sensitivity directly to the rear.
Bidirectional

Uses a figure-of-eight pattern and picks up sound equally from two opposite
directions.

Uses: As you can imagine, there aren't a lot of situations which require this
polar pattern. One possibility would be an interview with two people facing
each other (with the mic between them).
Microphone windscreens

Windscreens are used to protect microphones that would otherwise be


buffeted by wind or vocal plosives from consonants such as “P”,”B”, etc. Most
microphones have an integral windscreen built around the microphone
diaphragm. A screen of plastic, wire mesh or a metal cage is held at a
distance from the microphone diaphragm, to shield it. This cage provides a
first line of defense against the mechanical impact of objects or wind. Some
microphones, such as the Shure SM85, may have an additional layer of foam
inside the cage to further enhance the protective properties of the shield.
One disadvantage of all windscreen types is that the microphone’s high
frequency response is attenuated by a small amount, depending on the
density of the protective layer. Beyond integral microphone windscreens,
there are three broad classes of additional wind protection.
Microphone covers

Microphone covers are often made of soft open-cell polyester or


polyurethane foam because of the inexpensive, disposable nature of the
foam. Optional windscreens are often available from the manufacturer and
third parties. A visible example of an optional accessory windscreen is the
A2WS from Shure, one of which is fitted over each of the two Shure SM57
microphones used on the United States president’s lectern. One
disadvantage of polyurethane foam microphone covers is that they can
deteriorate over time. Windscreens also tend to collect dirt and moisture in
their open cells and must be cleaned to prevent high frequency loss, bad
odor and unhealthy conditions for the person using the microphone. On the
other hand a major advantage of concert vocalist windscreens is that one
can quickly change to a clean windscreen between users, reducing the
chance of transferring germs. Windscreens of various colors can be used to
distinguish one microphone from another on a busy, active stage.
Pop filters

Pop filters or pop screens are used in controlled studio environments to


minimize plosives when recording. A typical pop filter is composed of one or
more layers of acoustically transparent gauze-like material, such as woven
nylon (e.g. pantyhose) stretched over a circular frame and a clamp and a
flexible mounting bracket to attach to the microphone stand. The pop shield
is placed between the vocalist and the microphone. The need for a pop filter
increases the closer a vocalist brings his or her lips to the microphone.
Singers can be trained either to soften their plosives or direct the air blast
away from the microphone, in which cases they don’t need a pop filter. Pop
filters also keep spittle off the microphone. Most condenser microphones
can be damaged by spittle.

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