3.1 Microphone types and placement
11 min read•august 20, 2024
Microphones are the unsung heroes of TV studio production, capturing every sound that brings your favorite shows to life. From dynamic workhorses to sensitive condensers, each type has its strengths. Understanding these differences is key to choosing the right mic for any situation.
Proper placement is just as crucial as mic selection. Whether it's close-miking for intimate vocals or overhead techniques for instruments, the right positioning can make or break your audio quality. Mastering these techniques will elevate your productions to professional levels.
Types of microphones
- Microphones are essential tools in TV studio production for capturing audio from various sources, including talent, instruments, and ambient sound
- Different types of microphones are designed for specific applications and have unique characteristics that make them suitable for certain tasks
- Understanding the strengths and limitations of each microphone type allows for optimal selection and placement to achieve the desired audio quality
Dynamic vs condenser mics
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- Dynamic microphones (Shure SM57, Electro-Voice RE20) are rugged, reliable, and well-suited for high-volume sources like drums, guitar amps, and loud vocals
- They have a simple design with a moving coil attached to a diaphragm, which generates an electrical signal when sound waves move the diaphragm
- Dynamic mics are less sensitive to high frequencies and have a lower output level compared to condenser mics
- Condenser microphones (Neumann U87, AKG C414) are more sensitive and capture a wider frequency range, making them ideal for recording detailed sources like vocals, acoustic instruments, and ambient sound
- They require phantom power (48V) to charge the conductive diaphragm and backplate, which creates an electrical signal when sound waves move the diaphragm
- Condenser mics are more fragile and sensitive to handling noise compared to dynamic mics
Shotgun mics for distance
- Shotgun microphones (Sennheiser MKH 416, Audio-Technica AT897) have a highly directional pickup pattern, making them suitable for capturing audio from a distance while rejecting off-axis noise
- They are commonly used in TV studio production for booming overhead or mounting on cameras to capture dialogue and sound effects
- Shotgun mics have an interference tube design that helps to focus the pickup pattern and minimize side noise
Lavalier mics for talent
- Lavalier microphones, also known as lapel mics or clip-on mics, are small condenser microphones designed to be worn on a person's clothing for hands-free, close-proximity audio capture
- They are widely used in TV studio production for capturing dialogue from talent, as they provide a clean, consistent sound while allowing freedom of movement
- Lavalier mics can be wired or wireless, with wireless systems offering greater flexibility but requiring proper setup and management to avoid interference
Boundary mics for surfaces
- Boundary microphones, also called PZM (Pressure Zone Microphone), are designed to be placed on a flat surface like a table or floor to capture audio from a wide area
- They utilize the acoustic principle of sound wave reflection from the surface to create a hemispherical pickup pattern, providing even coverage of the surrounding sound field
- Boundary mics are often used in TV studio production for capturing room ambience, audience reactions, or round-table discussions
Microphone polar patterns
- Polar patterns describe the directionality and sensitivity of a microphone in relation to the angle of the incoming sound waves
- Understanding polar patterns is crucial for selecting the appropriate microphone and placement technique to capture the desired audio while minimizing unwanted noise and feedback
- Different polar patterns are suited for various applications in TV studio production, depending on the sound source, environment, and desired coverage
Omnidirectional pickup
- microphones have equal sensitivity to sound from all directions (360 degrees), capturing audio evenly from the entire surrounding area
- They are useful for capturing ambient sound, , or multiple sound sources in a single location
- Omnidirectional mics are less susceptible to (bass boost when close to the source) and wind noise compared to directional mics
Cardioid directionality
- microphones have a heart-shaped pickup pattern that is most sensitive to sound directly in front of the mic (on-axis) while rejecting sound from the sides and rear (off-axis)
- They are the most common used in TV studio production for capturing individual sound sources like vocals, instruments, and dialogue
- Cardioid mics provide good isolation and feedback resistance, making them suitable for use in live settings and multi-microphone setups
Hypercardioid for isolation
- microphones have a narrower and more directional pickup pattern compared to cardioid mics, with increased sensitivity to sound directly in front and slightly behind the mic
- They offer greater rejection of off-axis noise and are useful for isolating individual sound sources in noisy environments or when multiple mics are in close proximity
- Hypercardioid mics are commonly used for boom miking in TV studio production to capture dialogue while minimizing background noise
Bidirectional figure-8 pattern
- microphones, also known as figure-8 mics, have equal sensitivity to sound from the front and rear of the mic while rejecting sound from the sides (90 degrees off-axis)
- They are useful for capturing two sound sources simultaneously, such as two vocalists facing each other or an instrument and its reflection in a room
- Bidirectional mics are also used in mid-side (MS) stereo recording techniques, where a cardioid mic (mid) is combined with a bidirectional mic (side) to create a stereo image
Microphone placement techniques
- Proper microphone placement is essential for capturing high-quality audio in TV studio production, as it directly affects the balance, clarity, and spatial characteristics of the recorded sound
- The choice of microphone type, polar pattern, and placement technique depends on the sound source, desired tone, and the acoustic environment
- Experimenting with different microphone positions and techniques can help achieve the desired audio quality and creative goals
Close miking for vocals
- involves placing the microphone within a few inches of the sound source, typically used for capturing vocals, instruments, and other focused sources
- It provides a direct, intimate sound with enhanced clarity, presence, and isolation from background noise
- When close miking vocals, position the mic slightly off-axis (1-2 inches to the side of the mouth) to avoid plosives and sibilance
Overhead miking for instruments
- involves placing microphones above the sound source, commonly used for capturing the overall sound of drum kits, acoustic guitars, or ensembles
- It provides a balanced, natural sound that includes the instrument's direct sound and its interaction with the room acoustics
- When overhead miking drums, use a matched pair of condenser mics in a spaced pair (AB) or coincident (XY) configuration for a stereo image
Off-axis rejection of noise
- Positioning the microphone off-axis (45-90 degrees) relative to the sound source can help reject unwanted noise from other directions, such as nearby instruments or room reflections
- This technique is particularly useful when using directional microphones (cardioid, hypercardioid) to isolate individual sources in a multi-microphone setup
- Experiment with different off-axis angles to find the best balance between the desired sound and noise rejection
Proximity effect considerations
- Proximity effect is the increase in low-frequency response when a directional microphone is placed close to the sound source
- It can be used creatively to add warmth and depth to vocals or instruments, but excessive proximity effect can result in a boomy or muddy sound
- To control proximity effect, use a microphone with a low-cut filter or position the mic slightly further away from the source
Room acoustics impact
- The acoustic characteristics of the recording space, such as reverberation time, reflections, and standing waves, can significantly impact the captured sound
- When placing microphones, consider the room's natural reverb and how it interacts with the direct sound of the source
- In live rooms, position mics further away to capture more room ambience; in dead rooms, place mics closer to the source for a drier, more direct sound
Multi-mic arrangements
- In TV studio production, multiple microphones are often used simultaneously to capture different sound sources or create a specific stereo image
- Common include XY (coincident pair), ORTF (near-coincident pair), and spaced pair (AB) for stereo recording, and Decca Tree or Blumlein array for orchestral or ensemble recording
- When using multiple mics, consider their polar patterns, spacing, and phase relationships to avoid comb filtering and ensure a coherent, balanced sound
Microphone accessories
- Microphone accessories play a crucial role in optimizing microphone performance, protecting the equipment, and ensuring consistent, high-quality audio capture in TV studio production
- These accessories help to minimize unwanted noise, reduce handling or vibration noise, and provide convenient microphone positioning options
- Investing in high-quality microphone accessories can greatly improve the overall audio quality and workflow efficiency in a TV studio setting
Shock mounts for isolation
- Shock mounts are designed to isolate the microphone from mechanical vibrations and handling noise transmitted through the mic stand or boom
- They consist of an elastic suspension system that absorbs shocks and vibrations, preventing them from reaching the microphone capsule
- Shock mounts are particularly important for sensitive condenser microphones used in TV studio production to minimize unwanted low-frequency rumble and ensure a clean, noise-free recording
Pop filters for plosives
- Pop filters are mesh or foam screens placed between the microphone and the sound source to reduce or eliminate plosives - the explosive sounds created by fast-moving air from consonants like "p" and "b"
- They work by dispersing the air pressure before it reaches the microphone diaphragm, preventing the characteristic popping noise that can distort the audio
- Pop filters are essential for recording vocals in TV studio production, as they help to maintain a consistent, professional-sounding track without plosive artifacts
Windscreens for outdoor use
- Windscreens are foam or furry covers that fit over the microphone to reduce wind noise and protect the capsule from dust and moisture
- They are designed to minimize the low-frequency rumble caused by wind blowing across the microphone diaphragm, which can be particularly problematic in outdoor recording situations
- In TV studio production, windscreens are often used on boom mics or lapel mics when filming on location or in situations where air movement from fans or air conditioning may cause unwanted noise
Mic stands and booms
- Microphone stands and booms provide stable, adjustable support for microphones in various recording and live sound applications
- Stands come in different heights and designs (straight, tripod, or round base) to suit different microphone types and placement requirements
- Booms are extendable arms that attach to mic stands, allowing for greater flexibility in positioning the microphone closer to the sound source or in hard-to-reach places
- In TV studio production, stands and booms are used to position mics for talent, instruments, and other sound sources while keeping the equipment out of the camera frame
Cables and wireless systems
- Microphone are shielded, balanced cables that transmit the audio signal from the microphone to the recording or mixing equipment with minimal noise and interference
- They typically use XLR connectors, which provide a secure, locking connection and help to reject electromagnetic interference
- Wireless microphone systems consist of a transmitter (worn by the talent or placed near the sound source) and a receiver (connected to the mixing or recording equipment), allowing for cable-free operation and greater mobility
- In TV studio production, wireless systems are commonly used for talent mics, enabling them to move freely without being tethered to a cable, but proper frequency coordination is essential to avoid interference between multiple wireless systems
Mixing multiple microphones
- Mixing multiple microphones is a critical aspect of TV studio production, as it involves blending and balancing the audio signals from various sources to create a cohesive, professional-sounding mix
- Effective microphone mixing requires an understanding of the principles of panning, , equalization, dynamics processing, and phase alignment
- By applying these techniques thoughtfully, audio engineers can create mixes that enhance the clarity, depth, and spatial definition of the audio content while minimizing unwanted noise and artifacts
Panning in the stereo field
- Panning refers to the positioning of audio signals within the stereo field, which creates the perception of horizontal spatial distribution between the left and right speakers
- In TV studio production, panning is used to place different microphone sources in distinct positions within the stereo image, enhancing the sense of space and separation between elements
- For example, a dialogue scene with two actors can be mixed with the mics panned slightly left and right to create a conversational feel, while a live band recording can have instruments panned to simulate their physical positions on stage
Balancing levels between mics
- Balancing the levels of multiple microphones is essential for achieving a well-proportioned and intelligible mix, ensuring that each audio source is clearly audible without overpowering others
- The relative levels of microphones should be adjusted based on their importance in the mix, the desired balance between elements, and the overall dynamic range of the audio
- In TV studio production, level balancing is particularly important for dialogue scenes, where the levels of multiple talent mics must be carefully matched to maintain consistent volume and clarity throughout the conversation
EQ for tonal shaping
- Equalization (EQ) is the process of adjusting the balance of frequency components within an audio signal to shape its tonal characteristics and enhance clarity, presence, or depth
- In multi-microphone mixing, EQ is used to sculpt the frequency response of individual mics to achieve a desired tonal balance, reduce unwanted resonances or noise, and prevent frequency masking between sources
- For example, applying a high-pass filter to a boom mic can help to reduce low-frequency rumble from room noise or handling, while a gentle boost in the upper midrange can enhance the clarity and presence of dialogue
Dynamics processing for control
- Dynamics processing, which includes compression, limiting, and gating, is used to control the dynamic range of audio signals, reducing the difference between the loudest and quietest parts of the mix
- In multi-microphone mixing, dynamics processing helps to maintain consistent levels, prevent clipping or distortion, and reduce unwanted noise or bleed between microphones
- For example, applying gentle compression to a vocal mic can help to even out the performance and maintain intelligibility, while a noise gate on a drum overhead mic can attenuate the signal when the drums are not being played to minimize bleed from other instruments
Avoiding phase cancellation issues
- Phase cancellation occurs when two or more microphones capture the same sound source from different distances or angles, resulting in a thin, hollow, or weakened sound due to the destructive interference between the signals
- To avoid phase cancellation in multi-microphone mixing, it is essential to ensure proper microphone placement, maintain consistent distances between mics and sources, and use appropriate polar patterns and spacing for stereo techniques
- In TV studio production, phase issues can be particularly problematic when using multiple mics on the same source (e.g., a drum kit or acoustic guitar) or when combining close and distant mics (e.g., a lapel mic and a boom mic for dialogue). Careful placement and time alignment of the microphones can help to minimize phase cancellation and ensure a coherent, well-defined mix.
Key Terms to Review (26)
Audio Interface: An audio interface is a device that connects microphones, instruments, and other audio sources to a computer or recording system, converting analog signals into digital format for processing and playback. This key component plays a crucial role in ensuring high-quality sound capture and reproduction, linking various elements like microphones and mixing techniques while enabling the application of audio effects.
Audio mixing: Audio mixing is the process of combining multiple audio tracks into a single cohesive output while balancing levels, adjusting equalization, adding effects, and ensuring clarity and quality in the final sound. It plays a crucial role in achieving the desired sonic character and emotional impact of a production, making it essential for both music and dialogue in media projects. Proper audio mixing enhances the listening experience and ensures that all elements can be heard clearly.
Bidirectional: Bidirectional refers to a microphone pickup pattern that captures sound from both the front and back sides while rejecting sound from the sides. This feature is particularly important in audio recording and live sound situations where sound sources are located in front of and behind the microphone. The bidirectional design allows for greater versatility in capturing dialogue and ambient sounds in a controlled manner, enhancing the overall audio quality in various settings.
Boundary microphone: A boundary microphone is a type of microphone designed to be placed on a flat surface, capturing sound through its acoustic boundary. These microphones are often used in environments like conference rooms or theater stages because they can pick up sound from multiple directions while minimizing background noise and reverberation. Their unique placement allows for greater sound capture without needing to be directly in front of the speaker.
Cables: Cables are essential components in audio and video production, serving as the conduits for transmitting signals between devices like microphones, cameras, and mixers. They come in various types, each designed for specific functions, ensuring that high-quality sound and image transfer occurs without loss or interference. Understanding the different types of cables and their appropriate placement is critical to achieving optimal performance in production environments.
Cardioid: A cardioid is a heart-shaped polar pattern used in microphones that captures sound primarily from the front while rejecting sound from the sides and rear. This unique design allows for focused audio capture, making it ideal for situations where you want to minimize background noise and emphasize a specific sound source, like a vocal performance or a single instrument.
Close miking: Close miking is a technique where a microphone is placed very close to the sound source, typically within a few inches. This method captures a more direct sound, reducing the influence of ambient noise and reverberation, which is crucial in various audio production scenarios, particularly in television and film. By minimizing the distance between the microphone and the sound source, close miking enhances the clarity and presence of the audio being recorded.
Condenser Microphone: A condenser microphone is a type of microphone that converts acoustic energy into electrical energy using a diaphragm and a backplate, creating an electrical capacitor. Known for their sensitivity and wide frequency response, these microphones are ideal for capturing vocals and subtle sounds, making them essential in various audio settings, including studio recording and live performances. Their design often requires phantom power to operate, setting them apart from dynamic microphones.
Dynamic Microphone: A dynamic microphone is a type of microphone that operates using an electromagnetic induction principle, making it durable and capable of handling high sound pressure levels. They are commonly used in live sound settings due to their ruggedness and reliability. Their construction allows them to effectively capture sound in various environments, making them an essential tool in audio production and performance contexts.
Gain Structure: Gain structure refers to the arrangement and management of audio levels throughout a sound system, ensuring that each component operates at optimal levels to minimize distortion and maintain clarity. Proper gain structure is crucial for achieving the best sound quality and preventing unwanted noise, and it involves balancing input levels from microphones, adjusting preamp gain, and managing output levels to the mixing console or recording device.
Hypercardioid: Hypercardioid refers to a specific directional microphone pickup pattern that captures sound primarily from the front while also having some sensitivity to sound coming from the rear. This pickup pattern is similar to the cardioid pattern but with a tighter focus on sounds in front and a notable lobe of sensitivity at the back, making it ideal for isolating a subject in noisy environments while still allowing some ambient sound to be captured.
Lavalier microphone: A lavalier microphone, often called a lapel mic, is a small, clip-on microphone used for hands-free audio recording, primarily in television and film production. Its compact size allows it to be discreetly attached to a person's clothing, providing clear audio capture while allowing the subject to move freely. This type of microphone is essential in multi-camera setups, where seamless audio integration with various camera angles is crucial for maintaining audio quality and continuity.
Level Balancing: Level balancing refers to the process of adjusting the audio levels of different sound sources to ensure a harmonious mix without any individual element overpowering others. This technique is essential in achieving clarity and consistency in audio production, as it allows for all elements, including dialogue, music, and sound effects, to coexist without distortion or imbalance. Proper level balancing helps maintain the integrity of the overall sound, making sure that each component can be heard clearly and contributes to the desired emotional impact of the production.
Microphone stand: A microphone stand is a device designed to support and hold microphones at a specific height and angle during recording or broadcasting. These stands ensure stability and proper placement of the microphone, which is crucial for capturing sound effectively. By allowing for hands-free operation, they facilitate performances, interviews, and other audio recordings, enhancing overall sound quality and production value.
Multi-mic arrangements: Multi-mic arrangements refer to the setup and use of multiple microphones in a single recording environment to capture audio from various sound sources. This technique enhances the ability to record complex audio scenes, allows for better control over sound quality, and provides flexibility in post-production mixing by isolating different audio elements. Proper microphone placement and type selection are essential in creating effective multi-mic arrangements, ensuring clarity and reducing unwanted interference.
Off-axis rejection: Off-axis rejection refers to a microphone's ability to diminish sound captured from angles away from its intended direction of sensitivity. This characteristic is crucial in ensuring that unwanted ambient noise or sounds from other sources do not interfere with the primary audio signal, allowing for clearer recordings. Different types of microphones exhibit varying levels of off-axis rejection, which plays a significant role in microphone placement and selection for specific recording environments.
Omnidirectional: Omnidirectional refers to a type of microphone pickup pattern that captures sound equally from all directions, allowing it to record audio from the front, sides, and rear with the same sensitivity. This feature makes omnidirectional microphones incredibly versatile, as they can be used in various settings and applications without worrying about the direction of the sound source. Their design is ideal for capturing ambient sounds or multiple speakers in a group setting, making them a popular choice in live events and interviews.
Overhead miking: Overhead miking is a microphone placement technique where microphones are positioned above a sound source, typically used to capture the sound of instruments or ensembles in a way that provides a natural and balanced representation. This method allows for the recording of both direct sound and ambient sound, creating a fuller audio experience. It's commonly used in music production, live performances, and broadcasting to achieve a more spacious sound.
Polar pattern: A polar pattern is a graphical representation that illustrates how sensitive a microphone is to sound coming from different directions. This pattern is crucial for understanding microphone performance, as it helps determine how well a microphone will capture sound in various environments and positions, affecting audio quality and clarity.
Pop Filter: A pop filter is a noise-canceling accessory used in audio recording to reduce or eliminate popping sounds caused by plosive consonants, such as 'p' and 'b'. By acting as a barrier between the microphone and the speaker, it helps to maintain sound clarity and quality. This essential tool is especially important when using various microphone types, as improper placement can lead to unwanted audio artifacts during recording.
Proximity Effect: The proximity effect refers to the increase in low-frequency response that occurs when a sound source is close to a microphone. This phenomenon is especially pronounced with directional microphones and can lead to a richer, fuller sound when recording voices or instruments. Understanding the proximity effect is crucial for effectively placing microphones and achieving the desired audio quality in various recording situations.
Room acoustics: Room acoustics refers to the study of how sound behaves in enclosed spaces, influencing sound quality, clarity, and intelligibility. This concept is crucial when considering microphone types and placement, as it affects how sound waves interact with the room's surfaces and materials, ultimately impacting audio capture and playback.
Shock Mount: A shock mount is a specialized device designed to isolate microphones from unwanted vibrations and handling noise. By using elastic or spring-like materials, shock mounts prevent physical shocks from being transmitted to the microphone, ensuring cleaner audio capture. This is essential for maintaining sound quality, especially in environments where movement and vibrations are unavoidable.
Shotgun microphone: A shotgun microphone is a highly directional microphone designed to capture sound from a specific source while minimizing background noise. Its long, narrow pickup pattern makes it ideal for use in situations where audio needs to be captured from a distance or in crowded environments, making it an essential tool in both single-camera and multi-camera productions.
Signal-to-noise ratio: Signal-to-noise ratio (SNR) is a measure used to compare the level of a desired signal to the level of background noise. A higher SNR indicates a clearer signal, making it crucial in audio and sound production where clarity and fidelity are vital. Understanding SNR helps in selecting microphones, managing audio signal flow, and optimizing microphone placement to minimize unwanted noise.
Windscreen: A windscreen is a foam or fabric cover that fits over a microphone to reduce wind noise and plosive sounds caused by breath or vocal explosions. This accessory is crucial for capturing clean audio, especially in outdoor environments where wind and other elements can interfere with sound quality. By minimizing unwanted noise, windscreens help ensure the clarity and professionalism of recorded audio.