Audio Engineering Assignment 2 – Microphone Étude

Carlos Bengalinha (11060832)

Tutor – Stuart Jones

Aim – Microphone frequency response analysis while recording an instrument in the Studio

The aim of the 'Microphone Etude' assignment was to improve and develop a better knowledge of which microphones to choose when recording a sound source in the studio. On the other hand, it also helped me improving my recording techniques because while selecting those microphones I learnt the best application for them when recording a specific instrument.
In our coursework we recorded the trombone and the violin instruments.

The image below is a good example of the frequency map for several individual instruments.

(Image source taken from Stuart Jones Lectures, 24 February 2012)

Learning materials used

We used:
Control Room
Audient Mixing Desk
IMac
Otari Radar 2 HDR System
Studio Monitors
Live Room
Violin
Trombone
Headphones
Amp
Microphone Stands
XLR Cables
Microphones:
AKGCB414
RODE NTC

Microphones specifications:
AKGCB414 Condenser Microphone, a studio standard and one of the best known reference condenser microphones for recording use. Probably the most popular of AKG's condenser microphones, it was first introduced in 1971 as the “C 414 comb” and has undergone a series of relaunches up to today with the XLS version. The new AKG 414 has five pattern choices: cardioid, hypercardioid, figure-8, omni and the new wide cardioid position, all switchable electronically from the front of the mic. It also has pad and roll off switches making it a great, all round, well-made studio condenser microphone suitable for just about any job. Over the years it has became a favourite mic of studio engineers for anything from vocals to drums and piano and the unmistakable twin-trapezoidal shape is instantly recognisable.
(http://www.recording-microphones.co.uk/AKG-414-microphone.shtml, accessed on the 24 january 2011)
RODE NT2 Condenser Microphone,
A professional large capsule (1") studio microphone incorporating three-position pick-up patterns, PAD and high pass filter switches conveniently located on the mic body, the NT2-A is at home on an incredibly diverse range of sound sources.The frequency and transient response of this transducer has been voiced to complement today's modern recording techniques, and yet still evoke the silky smooth character of the legendary microphones of the 50's and 60's. Its superlative audio characteristics combined with the included SM6 shock mount with integrated pop filter, 3m (10') XLR cable and dustcover, make the NT2-A one of the most versatile condenser mics available. http://www.dv247.com/microphones/rode-nt2-a-studio-condenser-microphone--23684, accessed on the 25 january 2012

Method/Experiment used:
The microphones were set up as close together as possible in order to make the test as accurate as possible.
We keep the two microphones in the same place for all the different recording instead of having to place one microphone at a time in front of the musicians while playing their instruments so we could perform an intensive analyse of the live recording in both of them.
The Violinist and the Trombone player then played two different music pieces with low range and high range spectrum (each) to be recorded and analysed refering to the carioid pollar pattern of a microphone. This study is suggested in the Sound production handbook by Don Atkison, 1995, Chapter 3 - “ Microphone Types”.

Proximity Effect

Our effort was to ensure the microphones were as close to each other as possible, to analyse discrepancies, related with the microphones different characteristics. Both mics were condensers but slightly different in their specification characteristics within each other. As Don Atkison(1995) suggests, Omnidirectional microphones (also known as Pressure microphones) respond equally to sounds