Apologies for the lack of new material but the mobile and the studio are so busy at the moment that weve just not had time to put any new stuff up. We have some great new sessions waiting to go up and a sneak preview of a fantastic new compresser but thats all to come!!!!! In the meantime have a read about the first in our series of great mics under £100
Choosing which microphones to buy is a tough decision as we are
all to some extent limited by budget. Did you choose a microphone
really because you liked the sound or was it because someone told
you they were the best one to use? Is it because of a glowing
review in Sound on Sound or is it simply because its the best
thing you can afford? After the thorny financial qestion there
are two different criteria to consider when choosing microphones.
If you are trying to create a particular sound then you might
choose a microphone that is specifically tailored for that job
and most large diaphragm condenser microphones have deliberately
tailored frequencies that give the mic a particular "character".
Much is made of the deliberate smooth sound of valve mics or the
presence peak of certain vocal mics.
However if you want to capture a performance, then you will want
to choose a microphone that will capture that sound without adding
or subtracting anything (or at least as little as possible). Most
microphones are designed within a price range and the non-linearities
in a microphone's design can distort and change the sound they
receive. At the top end companies like Sennheiser and Neumann
have spent years and huge sums in development to minimise these
distortions and to come as close as modern technology will allow
to create the most accurate and tranparent microphones available.
Obviously there are going to be differences in quality between
these mics and the latest budget Chinese copy but most people
out there will be happy to make their recordings with the cheaper
mics as buying a Soundfield
or a pair of Sennheiser
MK30s is out of the hobbyists price range. Nevertheless, the
microphone is the most important part of the recording and reproduction
process and choosing which microphone to use on a particular job
is a key part of the recording. It is the very first link in the
chain, that vital part that changes acoustic energy into electrical
energy and what is lost here can never be regained later. If this
link in the chain is not right, it will degrade forever all that
follows.
Recording
The secret is to understand the recording chain and all the
elements have to be in place to get it right. If you have good
performers with tuned instruments (and that includes the voice)
and they are in a nice sounding space then with a little experimentation
of mic position you can get a good recording from almost any
microphone. There have been a number of listening tests where
the listeners weren’t told which mic they were listening
to and dependent on the room and position, people often preferred
the sound of a £70 Shure to a £1500 Neumann. It
really is down to confidence and experience. Have a listen to
the drum sounds on some of the great 60s albums like Sgt Pepper
and you can't really hear the kick or the toms but the recordings
sound fantastic. Even better check out Bebop a Lula by Gene
Vincent and hear what can be done with a couple of old ribbon
mics and a mono tape recorder. Stunning!
So,when choosing microphones don’t get bogged down with
the idea that you can't record decent music without spending
thousands of pounds on the latest must have gear. Use
what you’ve got and experiment with different mic positions
and more importantly different rooms. The best advice is to
go down to your local club and start recording the bands, Then
you'll realise why every live venue has a box full of SM57s
and 58s.
When it comes to choosing microphones there is no substitute
for experience. Try any decent microhone and experiment. Try
different mics in different positions to see which one works
best on that particular day.
