Small technical tips: microphones-microphones

Retrieving different microphones to record different tools is an art form. There are countless variations of different prices and there are no true answers. EQ settings for high, low and medium frequencies can make a cheap microphone good sound. The position of the microphone can drastically change the sound. Whenever I’m not sure how to write a tool, move my head until it sounds good, and then swap my head with a microphone. (Commercial secret!) And what sounds in the room when you answer? Are there many reflections or reverb effects that can influence brightness? Turn on the lights or is there a background fridge that can be turned off? Are you there and need a dead cat’s windshield?microphones

Recording with stereo microphone-microphones

If you’re looking for a quick way to dramatically improve the sound of the built-in mono microphone on your phone, the Shure MV88 + video kit ($ 250) should get started. The set contains a standard for the telephone and a stable Manfrotto mini standard. I made this video of sea turtles to be released and was impressed by the way he wrote different sources and could also perceive the sound that was recorded with the included 1/8 “headphone jack. You can control the stereo width and equalizer Shure Motif app (iOS and Android), but also for that version with a microphone ($ 150), which can be connected directly to the Lyn port on the iOS device, although this does not work with Android.microphones

A much more expensive stereo microphone is the Sennheiser MKH 418-S ($ 1650). My colleague and mentor Kevin Weite has the honor of choosing this microphone to make early Tiny Desk Concerts. If I had only one microphone, I would strategically place all musicians around him and get a record. It is designed to record a voice for a movie (just like the 416 mono version – $ 1000 – at the end of many poles on the set). If you get this microphone on the right, the brightness is amazing but light. You don’t have to be too close to shoot the vocals and push them into the mix, and as a result you can see the facial expressions of every artist in the Tiny reception without sacrificing intimacy. (Note: The secret of 418-S is that these are two microphones in one, cardioid “average” capsule on the front and a bidirectional capsule focused on “land”. This is a medium / side height stereo microphone that the decoder would must be in a message that allows you to control the stereo width of an image even after the recording is made.).microphones

With stereo recording, the listener can find a sound that produces clearer sound, especially with headphones. There are many types of microphones and each has a unique sound. The more you find them, the more you find what you like.microphones

And just like all art forms, everything is subjective.

Stereo recording techniques on the small desktop-microphones

Center / Side – A cardioid and a two-way microphone used in the Sennheiser 418-S microphone. Great stereo compatibility when listening in mono plus, it has an adjustable stereo width.microphones

ORTF – Two cardioid microphones on a stereo bar set at an angle of 110 degrees. I use this setting behind the piano for wider and more spacious sound.microphones

Spaced Par – Two parallel unmounted microphones, a few meters apart, which I use to capture the audience across the wide angle of the Tiny Desk image.microphones

Dynamic vocal microphone-microphones

The use of more than one microphone gives you much more control over the instrument balance and manual dynamic microphones are the most used vocalists. But be careful; It can be difficult to avoid signs if you keep them too close to work.microphones

Shure SM58 ($ 100)
This is the microphone that you see at almost every stage of the world, the venerable Shure SM58. Ironically, “SM” is an abbreviation for Studio Microphone. It is designed to refuse everything, but just what is right in front of it, with an EQ curve designed to improve vocals and suppress the records. It is also quite durable.microphones

Heil Sound PR 22 ($ 185)
PR PR 22 of the brain rejects noise at work and can take a strong blow without distortion. Major rejection of background noise means that you can get a lot of stage performance for the feedback. (And they send in black, white and gold for some adjustments.).microphones

Telefunken M80 ($ 250)
This hand-held microphone has traditionally been clearly reserved for more expensive capacitors. I have seen that many artists travel with these microphones to replace the internal SM58, such as Cautious Clay recently for our first small desk, Family Hour at SXSW. microphones

Dynamics of large horn membranes, chopping drum, volume and singing-microphones

Heil Sound PR 40 ($ 330)
Nothing beats a dynamic microphone with a large aperture of the hammer drum (or host a podcast around it – pull it off the drum to record the next delivery for a warm and intimate reading). The PR 40 has a broad frequency response that helps to capture the impact and effect of a good drum. I use a cheap PR BW 31 ($ 270) for a guitar amp, because the heat and depth are richer than the ubiquitous, though less expensive, Shure SM57 ($ 100) – although SM57 sounds incredibly similar in the mouse drum.microphones

Electro-Voice RE20 ($ 600)
When I sing in RE20, I look like nonsense. But it is also presence and warmth that translate as well into a drum as I recorded with Nate Smith in his studio during the Winter Jazz for our Night Owl series. Like other high-end microphones, it has a bass selection switch that helps to soften the boards when used for vocals, or to reduce low thinness.microphones

Small membrane capacitors for strings, percussion, piano and audience-microphones

Blue hummingbird ($ 300)
I used Hummingbird, the condensing universal microphone for small percussion concerts, as the incredible setting of Conga snare-cajon cajbal by Pedrito Martinez. Hummingbird can accept high levels of sound pressure and the rotating capsule can easily focus on a perfect placement of the microphone. This is a fantastic value and also sounds great on acoustic string instruments. [Information: Blue Microphones is sponsor of this year’s Tiny Desk competition.]microphones

Sennheiser MKH 40 ($ 1200)
Everything that places it in front of this microphone sounds great with very little EQ. It has a bass selector that helps flat and low level plus a 10 dB pad if you want more faders of your strong mix to travel on your mix. I use a stereo pair in ORTF for piano recordings for every Tiny Desk concert, including my favorite performance (seven meters) from Chick Corea. He also picked the nuanced sound of Yo-yo’s cello on Bob Boyle’s desk with confidence.microphones

Schoeps CMC6 (amplifier) ​​+ MK2 (capsule) ($ 1650)
I am pleased that over the years the NPR has assembled a number of microphones by the German manufacturer Schoeps. I use a pair of MK2 about 9 feet in the air across the wide screen, opposite the Little Bureau to catch the audience. I have set a nine millisecond delay for all other sources to equalize the time in all microphones because the sound is moving slowly. Then, when you are Schoeps in the making, to capture stronger brass instruments, you avoid the terribly hollow sound created by filtering the comb because the sources are currently aligned for traceability.microphones

Small diaphragm miniature capacitors for strings, horns and more.-microphones

AKG C519 M ($ 250)
The great thing about using a clip is that it always stays on the shaft because you attach it directly to the tool. The C519 M from AKG has a lock lock setting that allows precise placement. If you look closely, I used it to record Wurlitzer’s electric piano for Andy Shauf.microphones

DPA d: vote 4099 ($ ​​600)
DPA is d: voice 4099 is the version of the popular d: screet 4060 lavalier’s cut tool, which uses Wait Wait Do Not Tell Me usage for all participants (and their host). The version of the tool is supercardioid to prevent bleeding from other sources, and they make a variety of videos for cellos, vertical bass, violin, drums, guitar, woodwinds, brass instruments – even accordion. When I play rope players, I always ask if they have DPA, which saves a lot of space behind the desk. The clips remove the microphone holders and offer space for musicals who (of course) use many classical musicians.microphones

Large membrane capacitors for vocals, cello, piano and acoustic bass-microphones

Labs Delphina Oral Tubes ($ 600)
Rørørlabben makes rifles that look like a sound engineer from the Burning Man camp he designed; I used Delphina for singing at Tiny Desk for Weezer and more. The large diaphragm condenser sounds warm and natural, and you don’t have to put it too close to give intimate but crystal clear vocals. For the first time I saw a trumpet microphone when the children in the milk jugs brought one to Ask Me Another tape and since then I have had the sound (and the look). Milk Card Kids use the Edwina model, designed to refuse PA room feedback.microphones

Blue mouse ($ 1200)
Blue microphones are extremely easy to operate. The mouse rotates and rotates in all directions by encouraging the microphone experiment to get the best sound without fixing it in the mail. He took articulation of acoustic guitar Raul Mido and dynamic bass Laura Lee (from Kryungbin) from his performances Tiny Desk beautifully.microphones

Neumann U87 ($ 3,600)
At every microphone position on the NPR HQ, NPR West and NPR NY are on Neumann U87. The microphone is crystal clear – and a bit too light for some voices, especially since we are required to slow down. It can be switched to two-way recording patterns, so that you can record two voices speaking on either side, or record the “side” signal of the stereo recording in the center. (You can also choose “omni” to get more sources outside the front axle.) It’s a great microphone with a great price, and never use it in the Tiny reception – if not very expensive.microphones

Strips for copper, piano, vocals and drums-microphones

Coles Studio 4038 ($ 1,365)
The microphone, which gets the most problems (except the stereo “Tiny Desk” shotgun microphone), is a type of tape that you use on copper, made by Coles and designed by the BBC in England. The answer is clean and fairly flat across the entire spectrum. Listen to the way in which he records the passing processes and the shadow of the good part of the horn. (Important: Ribbon microphones are very sensitive and should never be powered by phantom power from the mixer or microphone preamp microphone. Before finalizing the tape microphone, always make sure the phantom power is turned off and the channel gain is set to zero.)microphones

RCA 44 (fall and priceless, or about $ 3000 if you find one)
WNYC has an incredible microphone capacity, and among them there are four RCA 44 conical microphones. It’s just an observation I can imagine in the Tiny Reception when ALA.NI occurs – it can hear an excellent silky response that this requested tape microphone can produce vocally.microphones

It is by no means an extensive list of every major microphone there is. Creating audio for the Tiny Desk series is anything but a standstill, and every action shown makes it possible to try something new. Fortunately, technology is constantly evolving when you include worn-out classics. I can’t wait to find my next favorite microphone and experiment with it.microphones

Small technical tips: microphones-microphones
Recording with stereo microphone-microphones
Stereo recording techniques on the small desktop-microphones
Dynamic vocal microphone-microphones
Dynamics of large horn membranes, chopping drum, volume and singing-microphones
Small membrane capacitors for strings, percussion, piano and audience-microphones
Small diaphragm miniature capacitors for strings, horns and more.-microphones
Large membrane capacitors for vocals, cello, piano and acoustic bass-microphones
Strips for copper, piano, vocals and drums-microphones

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