Condenser and ribbon mikes are often powered by the mixing board in a process known as “phantom

power.” This supplies +48 volts of electricity to the incoming signal to bring it up to a volume level
where it can be used.

Microphone Characteristics
The directional response of a mic refers to its sensitivity (output level) at various angles of incidence
with respect to the front (on-axis) of the microphone. The angular response can be graphically charted
in a way that shows a microphone's sensitivity with respect to direction and frequency over 360
degrees. This is called the mic's polar pattern. Mic directionality can be classified into two categories:

• omnidirectional
• directional

Omnidirectional mics pick up information from all sides (omni is Latin for “all). A directional mike
that is equally sensitive on two side of a diaphragm has a figure 8 or bi-directional polar pattern.
Frequency Response
The on-axis frequency-response curve of a microphone is the measurement of its output over the
audible frequency range when driven by a constant, on-axis input signal.

Rumble
At low frequencies, rumble may be picked up due to people walking in a hallway, passing cars or
trains, etc. This may be handled in several ways:

– Use a shock mount to isolate the mic from the vibrating surface and floor stand
– Choose a mic that has a restricted low-frequency response
– Restrict the response of a wide-range mic by using a low-frequency roll-off filter

Proximity Effect
This effect is an increase in bass response when a mic is brought within 1 foot of a sound source.
Sibilants
The popping sounds of “p” and “b” as well as the hiss of “s” can be controlled better with pop screens.

Transient Response
Transient response is the measure of how quickly a mic's diaphragm will react when it is hit by an
acoustic waveform.

Sensitivity Rating
The sensitivity rating is the output in volts that a mic produces. A mic with a high sensitivity rating will
produce a higher output than a low sensitivity rated mic.

Equivalent Noise Rating

The equivalent noise rating of a microphone is the devices electrical self-noise.
Overload Characteristics
At high Sound Pressure Levels, a mic can distort. This distortion can be mitigated by use of an
attenuation pad, which reduces the signal level at the pre-amps input, thereby eliminating distoration.

Microphone Impedance
The output impedance is used to match devices together (a devices's output impedance should match
the input impedance of a connected device).

Balanced/Unbalanced Lines
Balanced lines balance the electrical signal by canceling out excess noise, and pick up less interference,
resulting in a cleaner signal and can be longer cables (XLR cables for microphones 3 lines, two carry
the signal and one is a ground.). Unbalanced lines have to be shorter and tend to pick up electrical
interference (TRS phone cables for instruments).

Microphone Preamps
Mic preamps are used to boost the signal of a microphone to line level for recording and can also color
the sound in a positive way. Older-style tube amp preamps are in demand and sound great, plus they
are pricey to buy.

Microphone Acquisition
There are two methods:

– Buy a lot of general purpose mics

– Buy specific mics for every purpose

Microphone Techniques

– Distant miking
– Close miking
– Accent miking
– Ambient miking

Distant Miking
Miking from three feet or more away from an instrument. This will pick up a large portion of the sound
coming from a musical instrument or ensemble, preserving the overall tonal balance of the source.
Often, a natural tone balance can be achieved by placing the mic at a distance that's roughly equal to
the size of the instrument or sound source.
Distant miking also allows for the room environment to be picked up by the mic.

This is used for jazz ensembles and classical symphonies but can also bring a small band to life (by, for
example, distant miking a set of drums on a separate track).

An engineer might need to add foam or or absorption materials to break up the reflections of a room if
the sound is muddy.

A boundary microphone (which is placed on the floor) can be used to eliminate a lot of phase
cancellation.

Close Miking
This is when a mike is placed 1 to 3 inches from a sound source. It creates a tight, present sound
quality. It effectively excludes the acoustic environment from being picked up. When a close mic picks
up the sound of another instrument, inadvertently, it's called leakage.
One way to control leakage is to plug loud instruments (bass, guitar, keyboards) into D.I. or Direct
Injection boxes. These send the sound straight to the board, bypassing loud amplifiers.

Leakage can be controlled by using gobos (flats, dividers, baffles) between instruments or an
instrument can be surrounded by gobos to isolate it. Instruments can also be spread further apart.
Instruments can be placed in isolation booths.

Sometimes you want leakage, to produce a “live” sound. In that case, the mics must be carefully placed
in order to avoid phase cancellation.

The three-to-one rule can be used to avoid leakage. It states that for every unit of distance a mic is from
a sound source, the next closest mic should be three times that distance away. Some err on the side of
caution and use a 5:1 rule.
Leakage isn't always bad. Sometimes it's the “glue” that ties a mix together, by adding in the sound of
the environment.

When a mic is close to a sound source, it usually doesn't pick up all of the tonal balance (timbre) of an
instrument. Moving the mic a few inches along the length of the instrument of a few inches back can
make a big difference. Also, switching out mikes and adding EQ (equalization) the mic can help.

As much as possible, musicians should be able to see each other when performing. Interacting visually
provides an important set of cues and energy to musicians.

Accent Miking
A microphone placed close enough to an instrument to pick up its sound and the sound of surrounding
instruments is called an accent mic. For example, a mic used to pick up a solo violin in an orchestra.

Ambient Miking
This type of miking is used when trying to get the sound of the environment as well as the sound of the
instruments.