Recording Solutions and Mics
© 2004 by Stephen A. DeVore.
All rights reserved. *
Updated: 2004-0129. (List of
EDIT DATES.)
Posted: 2004-0129.
Created: 2004-0117.
Enjoy! HalleluYah! Praise Yah! Love Yah!
WHAT'S NEW TO THIS
DOCUMENT.
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Nothing yet. First posting.
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OVERVIEW.
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Professional? Consumer? Or, Prosumer?
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Your choice of recorders can be either "professional", "consumer", or "prosumer".
Maybe needless to say, products designed to be sold to professionals are
typically much higher priced than consumer products.
In between professional and consumer markets are "prosumer" products, a
combination of pro. and consumer.
Stores that sell consumer gear don't generally sell professional gear. And
stores that sell professional gear don't generally sell consumer gear! You
gotta go to the right store for the type of product you want! Prosumer products
are sometimes found at the professional retailers, and sometimes at the consumer
stores, or both!
Some stores -- consumer or professional -- sell a limited number of brands, and
may also carry only specific models of even those brands. A brand you want may
not be there, therefore. Or, they may carry a brand you want, but may not have
a specific product model you want in stock. (And sometimes, they may not even
want to or be able to order it.)
On the other hand, one company may be the ONLY company in the area that carries
a specific product you may want.
When it comes to music stores, some are geared more toward "musicians", while
others are geared more toward "engineers". This affects not only the products
they sell, and the services they offer, but may also affect whether they want to
do business with "regular" musicians. This will affect who knows what, and who
wants to talk to whom.
Sometimes, in some markets -- like broadcast, computer, etc. -- you will find
that a company wants to deal ONLY or mainly with other companies, and not with
individuals.
All of this means that you may want to -- or have to -- choose to go to more
than one store or company!
When you buy, sometimes buying locally makes more sense, and, maybe, sometimes
buying mail order makes more sense. (But that's another topic.)
Before you record...
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The starting place in the overall quality of the sound of your recording begins
with the basics:
- If the recording space sounds bad, and if it is recorded (through a
microphone), then the resulting recording may sound bad. How to pick
a good recording space is beyond the scope of this article, but it can
matter quite a bit when it comes to the sound of the source recording.
There may be no perfect space for all recordings. The sound one wants
depends much on the music itself, and on the subjective views of the recording
decision-makers. Go to a space, and listen. Listen for outside
noises. And make some noise! If you bring along a portable stereo,
and play something, that might tell you somewhat about whether the space is
good or not. I rented a place once that was so bad to begin with, it was
almost scary. I could not hear what a person was saying from across the
room! A rug and a rug pad on the floor, and some acoustical treatments
on the walls (some nice-looking rugs), and it sounded pretty fine afterwards.
Except for wind, weather, and outside noises, an open field might be one of
the best acoustic spaces of all! (Almost no reflections of sound.)
- If the musicians sound bad, well, that's self-explanatory.
- If the music itself is "bad", that's also self-explanatory.
The weakest link in your audio chain could also affect the quality
of your overall sound. Therefore, you want to buy or use components that
are at least in the same ball park as far as quality goes.
The most critical place in the audio chain is arguable, but it starts at the
source.
The first part in the audio chain is the instrument (including
voice). That must sound good, or the recording will not. Some
instruments have sounds that can be tinny, boomy, scratchy, rattling,
overly-hollow, overly-shallow, off-pitch, out of tune with itself, bad
intonation, and so on.
The next part in the audio chain may be an electrical connection
or a microphone. Let's start with the microphone.
If the microphone is poor, all that it records will suffer. There is a
separate MICROPHONE section within this document. But let us talk about
some of the basics. The microphone one chooses must match the purpose for
which it is to be used. Some work better for some purposes than for
others. For example, a mic that picks up well in all directions would be
suitable for a situation where you wanted to get pick up all of the sounds
coming from everywhere; whereas it would be highly unsuitable if you were
to put it on stage during a live performance where it could (and almost
certainly would) pick up audio from stage monitors and the speakers eventually
causing a screeching sound called feedback. If the
microphone one picks is good-quality, is suitable for its task, and is used
"properly", then the recording (or live sound) should sound pretty good
-- at least at the microphone preamp. More about this in the MICROPHONE
section.
The last part in the audio chain may be a speaker or headphones.
If these do not have good sound, nothing will sound good.
Summary, oversimplified: Therefore, often the two most important
parts of the audio chain are: 1) the microphone, and 2) the speakers or
headphones. Believe it or not, a "good" microphone or set of headphones
can cost under $100. A "good" set of "studio-quality" speakers,
unfortunately, can run hundreds of dollars a pair. (Some would argue even
more than that! Even thousands of dollars a pair!)
When you record...
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When you record, you can record either in STEREO or MULTITRACK. Multitrack is
by far more flexible. You can add or remove instruments or voices later on.
It's like what they do when recording in a studio! And you CAN do this at
home, or out and about.
But let me start with all-in-one, stereo, standalone recorders. Why?
They are the types we're probably most familiar with, and they are usually the
cheapest!
You can record
in stereo (or mono, if there is only one mic) to the following devices.
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END OF "OVERVIEW" SECTION.
FOLLOWING: "STEREO RECORDING: SECTION.
STEREO RECORDING
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Stereo-Recording Overview.
Major Stereo Formats:
Other Stereo Formats.
Stereo-Recording Overview.
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SECTIONS/CONTENTS.Professional models will be more expensive, generally, than consumer.
For music, you will want excellent audio quality. (For voice-only, such as a
speaker, it may matter less.) Therefore, I recommend against almost all
cassette recorders.
You will probably want to get your audio into a computer. From there you can do
many things. One nice thing is that you can put any song or song combinations
onto any CD-R, nice for when you want DIFFERING Demos for differing venues!
Once your songs are in the computer you can do just about anything with them:
burn CDs, make different combinations of songs on CDs, send songs by email
(though most files will be too big for most email accounts to handle), put the
songs up onto a Web site, edit the songs, and so on.
Major Stereo Formats:
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Cassette.
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Basics. There are pro models that are fairly pricey, hundreds of
dollars. Marantz is famous, I think, for making pro models. Tape is linear
which means you have to rewind, fast-forward, etc., instead of just immediately
going to a track. Cassette audio quality is typically not very good. And pros
generally do not use it.
Getting audio into a computer. You need to use a converter (Analog to Digital
or A/D). Most computer sound cards have an input (line level) and an A/D
converter. The process is not hard, but does require you to have the right
cables. Difficulty: Easy to Moderate. Quality of transfer: Medium to High.
Time. Cassette tapes can record up to about 120 minutes, but that length is
generally NOT preferred because of quality issues and tape drag on the
recorders. I recommend against longer tapes on cheaper recorders.
Media Cost. Good cassettes run from about $2 each to over $10.
CD-R/CD-RW.
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Basics. All-in-one CD-R recorders may be more difficult to find, but
they are there. But first, the ones that go into a rack start at about
$300. They have no mixer, mic input, audio limiter, etc. You have to add those
to them. If you have those, this is a cheaper way to go. But remember, there
is no limiter. That means that if you record too loudly, there will be horrible
distortion, far worse than on analog formats like cassette. I don't know why a
limiter isn't built into every unit. I guess "pros" don't need it because they
have their own! (Ar-rgh.) All-in-one CD-R recorders, start, I think, at
about $800-$1000, though I'm not certain. Marantz and Superscope make them.
(There may be others, but I don't know.) Get the one with "phantom power" if
you ever decide to use a condenser mic as opposed to a dynamic mic. (Condenser
mics require power to run.) CD-R discs can cost only about 20 cents each! It's
a very popular because of this. It's also popular because you can play them in
just about any CD player or computer's optical drive! I'm actually surprised
that there aren't more all-in-one recorders. There are also CD-RW which
allow you to rewrite stuff on them. (A CD-R can only record, and not really
erase.) To confuse matters, there are "data" CD-Rs and "music" CD-Rs. Some
recorders, the consumer models (and some so-called pro models), can record ONLY
to the "music" disks. These disks cost about five times as much as data CD-Rs.
But most pro models, and ALL computer CD burners, can record to the
less-expensive data CD-Rs.
Getting audio into a computer. You simply "rip" (copy) the CD to the hard drive
using the computer's CD or DVD drive. Difficulty: Easy to Moderate. Quality of
transfer: High.
Time. CD-Rs are now typically 80 minutes. The older ones were 74 minutes.
There are ones that record longer than 80 minutes, but I'm guessing that many
recorders will not recognize the extra time. 80 is pretty standard.
Media Cost. You have the option of buying bulk, where you get a whole bunch of
discs on a spindle, but no case, or buying each one with a CD-R case (either a
typical jewel case or a slim jewel case). You can also buy jewel cases
separately. "Music" CD-Rs cost about $1-2. CD-RWs cost between $1-2, I think.
"Data" CD-Rs can cost as little as FREE (with rebate offers, often at computer
stores), to 20-40 cents a piece, bulk (name brand). I don't know whether there
are "music" CD-RWs or not, or how much they cost.
DAT.
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Basics. There are or were all-in-one models, probably under $500. I bought
one with phantom power for about $1400. DAT tapes are relatively expensive
compared to CD-R, and of course it's tape, which means it has the same types of
music-access limitations as cassette (because their both linear). Because of
these things, DAT is not a very popular format any longer.
Getting audio into a computer. You MAY need to use a converter (A/D). Most
computer sound cards have an input (line level) and a converter. Some, fewer,
have a digital input. If so, and if it matches the DAT's digital output type
(Coax or S/PDIF as opposed to Optical or Toslink), then you are set. Otherwise
you'll have to use an A/D converter. The process is not hard, but does require
you to have the right cables. Difficulty: Easy to Moderate. Quality of
transfer: Medium to High for A/D, or High for straight digital connection.
Time. There are DAT tapes that can record just over 120 minutes, at Standard
Speed (best quality). Pros often want to protect their gear, and so longer
tapes are generally avoided. 60 minutes may be preferred by such pros. Or
maybe 90 minutes. (I have had no problems using 120 minute tapes, but I've
probably only recorded up to a dozen or so.)
Media Cost. DAT tapes run about $5-10 each.
MiniDisc.
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Basics. MiniDisc is very popular in Asia. Here it's not quite as
popular. They can record about 74 minutes of audio, I think! The quality is
good, far better than cassette, but not quite as good as CD-R or DAT, though
most people probably could not hear much of a difference. The discs must be
played back in a MiniDisc player. Players start at about $300.
Getting audio into a computer. SEE DAT. Difficulty: Easy to
Moderate. Quality of transfer: Medium to High for A/D, or High for straight
digital connection.
Time. 74 minutes, I think.
Media Cost. The disks run, I think, about $5-10 each.
Other Stereo Formats:
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Memory card or Memory stick or Memory
chip? or Solid
State recorders.
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Basics. These recorders can begin under $100 for consumer models. Some professional recorders can go
into the thousands of dollars. I'm guessing that for many of the less expensive
one, the audio quality is not very good, and they don't generally accept mics
with typical XLR connectors. Some consumer models might have decent quality, I
don't know. The pro models may have XLR, Phantom Power, etc.
Recorders may accept memory cards up to only a certain number of Megabytes (MB).
There are a bunch of different TYPES of cards, and they are NOT compatible with
one another, but they do pretty much the same thing. (One must buy the type of
card that a recorder uses.) Some cards work faster than others, even within the
same TYPE of card. Here's a small list of prices for some cards at Costco.com
(and BestBuy.com).
Getting audio into a computer. I think these can connect to computer using the USB port. (USB 1.1
is S-L-O-W. If you have it, use USB 2.x., or FireWire.) If you buy your
computer a memory card reader (from under $20 to about $50), you can take the
cards out of the recorder, put them into the reader, and get audio into your
computer that way.
Time. You are limited in recording time by how much memory the
chips or cards have on them, and by the "quality" of audio selected when
recording.
Some prices include Rebates: (RETRIEVED 1/2004.)
- 128MB - $50. (BestBuy.com $40 w/rebate-$80.)
- 256MB - $50-$85. (BestBuy.com $80-$140.)
- 512MB - $110-$160. (BestBuy.com $150-$220.)
- 1GB (Gigabyte) - $220. (BestBuy.com $299.99.)
- Other amounts, both with less MB or more GB, exist.
Hard-disc stereo recorders.
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Basics. Hard-disc recorders should be able to record better sound.
However, the recorders cost hundreds of dollars, and the consumer market
is smaller for them, so the feature sets may be less. I'm getting out of my
knowledge range here! I'm guessing that you can get pretty good sound. Hard
disks are built into these devices. (I'm not aware of any portable ones
that have "removable" hard drives.) I'm not aware of any portable
professional stereo units that have hard drives in them.
Transfer of audio, in the consumer units, can be through a USB port, or
sometimes through a FireWire (iLink or IEEE1394) port, if your player AND your
computer both have one.
Multitrack - Skipping ahead momentarily to multitrack.
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Basics. There are plenty of
hard-disk-based professional multitrack units! Some are portable with mixers
and effects built in. Others are rack-mount units. I don't recall what price
the portables start at, but these might be a good option. The rack-mount units
begin at around $1799, and go up, I think to about $5,000 + accessories, etc.
TECH NOTES ABOUT USB, FIREWIRE,
AND SIMILAR CONNECTIONS:
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- FireWire 800 (FW800). Use FireWire 800 if you can. Its
data transfer rate is up to twice as fast as regular FireWire.
As of 1/2004, I have yet to see a device -- other than an external hard drive
-- that uses FW800. Speed: Up to 800Mbps.
- FireWire (sometimes called IEEE-1394, FireWire 400, FW400, or FW)
has until recently been one of the main, high-speed, data-transfer standards
used for professional audio and video. Speed: Up to 400Mbps.
- USB 1.1 is S-L-O-W slow (up to 12Mbps). If you must use USB,
use USB 2.x if possible. Speed: Up to 12Mbps.
- USB 2.0 is up to 40 TIMES as fast as USB 1.1, close in speed to
regular FireWire. Speed: Up to 480Mbps.
- Ethernet. This technology is used for networking and
connecting to high-speed (broadband) Internet access. It runs up to
1000Mbps or 1Gbps (called Gigabit Ethernet). As of 1/2004, many
computers still being sold implement only 10/100 (that is, up to 10Mb/100Mb).
Speed: Up to 1000Mbps, or 1Gbps, if using Gigabit Ethernet.
- mLAN. A relatively new technology to network/connect
professional audio units to one another. Purposes? I don't
know. Speed: I don't
know.
DVD-writers (various formats).
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SECTIONS/CONTENTS.Basics. These exist, and can record audio. I'm
not aware of any portable units, (or multitrack units) or units that run on
battery power, except maybe in a computer.
TECH NOTES ABOUT BATTERY POWER FOR PORTABLE DEVICES:
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- Almost ANY device can be powered with batteries. One can buy a power pack
of sorts that has rechargeable batteries in it that can supply even regular AC
power, yes, the kind that comes out of a regular power outlet in a house!
- Batteries are DC power, but that can be converted into AC power.
- Most portable devices are powered by batteries. These batteries are
usually, but not always, rechargeable.
- Some portable devices will run on EITHER batteries OR on external AC
power. Some will not, and will run ONLY on battery power.
- Some devices will recharge a battery WHILE the device is being used.
Other devices will NOT, and can only charge a battery while the device is NOT
being used.
- Some removable, rechargeable batteries can be recharged only in the device
that they work in (because no one has designed an external charger for them).
Others have external chargers which can charge a battery outside of the
device that they work in. This allows one battery to be recharged while
another battery powers a device.
- SUGGESTED: If possible, get three (or two) rechargeable batteries for a
device that has removable, rechargeable batteries. And get an external charger
for them.
- There are battery-backup devices designed to work even with computers! or
with just about any device that uses AC power.
- Such battery-powered AC-supplying units can be found in computer stores,
broadcast supply houses, video-supply stores, and so on. They differ in size,
weight, price, and features.
- The cheapest Battery-to-AC-power units start at LESS THAN $100, but can go
up considerably, depending on how big the batteries are, how much AC power you
want, and what type of "market" they are designed for.
Computer-based recording.
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Top of
SECTIONS/CONTENTS.Basics. You can also use a computer to record --
either STEREO or Multitrack. More about this in the MULTITRACK Section.
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END OF "STEREO RECORDING" SECTION.
FOLLOWING: "Microphone" SECTION.
MICROPHONE.
This section lists some of the features of mics and mic-related accessories.
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Overview.
- Shapes and Sizes.
- Where do they go?
- What are they specifically used for?
- How is it hooked up?
- Final Overview Notes.
Mic types.
Mic connections.
Mic pickup patterns (pickup directions)--basic.
- Cardioid (which means heart-shaped; also called Unidirectional).
- Omni (or Omnidirectional).
- Figure eight.
- Multipattern.
Microphone-related
features and accessories.
Mic setups.
Overview.
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Microphones, or mics / mikes for short, come in all kinds of shapes and sizes, and differ
widely from one another in their included features. All mics are designed to pick up audio
in specific ways for specific purposes.
The purposes you have for a mic will help determine not only which mic you
choose but also the way(s) you choose to use it.
Shapes and Sizes:
One is
microphone is ball-shaped. Another is roundish, and small enough to fit into
the palm of the hand for playing harmonica. Some mics are relatively HUGE, as
big or bigger than a spray can! Other mics are very, very small, almost
small enough to not be seen when worn on the body.
Where do they go?
Some mics are designed to be held by the hand. (Others are not.) Some
mics are designed to be worn. Some of these are very
small, so small that they may be used on the body somewhere during stage
presentations, virtually unseen. Some are meant to clip onto the clothing, such
as types used in interviews. Some mics are designed to be put on a stand.
Still other mics are designed to be hung.
What are they specifically used for?
Some mics are designed primarily as instrument mics (not vocals). Some
mics are designed primarily as vocal mics (not instrumental). While some
mics are designed for both (vocal AND instrumental).
Some mics pick up sound using a small diaphragm (or, capsule), while others use
a large diaphragm. The size of the diaphragm affects how the picked-up
audio will sound through the microphone. Capsule acoustic design also
affects how the picked up audio will sound. (More about this under Mic
types.)
Some mics are stereo. Most mics are mono. Very few "mics" are
designed as mic arrays, intended to pick up audio in a multiple-pattern
sort of way; others are designed to pick up audio for surround sound.
Some mics are designed to be attached to a microphone cable (wire). Some mics
are designed to be operated wireless. Any mic can be made to be
"wireless" by attaching a wireless kit to it.
How is it hooked up?
Mics must be plugged into a mic input NOT a LINE input. Mics require
special preamplfication to bring their signal strength up TO Line Level.
Some devices have mic inputs. Others do not.
Some computer sound cards do and some do not, BUT most do. (They may also have
a Line Input, and one or more types of Outputs.)
If there is no mic input, then either a mic preamp must be added or a mixer that
has mic preamps built in (yes, and most mixers do have them).
Some mics require electrical power to work, while others do not. This
power will either be "Phantom Power", battery power, or both (either). (More about
this topic below.)
Final Overview Notes:
There are many more permutations! But this is enough of an overview for now.
Note:
Specific mic brands and models are not discussed here. Maybe someday I'll post
a list of specific models for specific purposes. There are books that list
some, and their purposes, and it is suggested that one definitely reads some of these after
reading this basic coverage about microphones.
Onward to the basics about mic specifics:
So, using fairly-simple, mostly-laypersons' language, let's look at some
more of the basics
about microphones and their use!
Mic types.
As I stated basically in the Overview (please read), microphones come in
all kinds of shapes, sizes, types, and intended purposes.
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Purposes (only some of the uses!):
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- Stage.
- Music Studio Recording.
- In-the-Field use.
- Broadcast use (TV and / or Radio):
- Interviewees (small clip-on / tie-clip mics).
- Radio personalities (large broadcast mics).
- TV News.
- Live sports (especially shotgun mics, where they focus in on, say, the
mouth of a referee or player on the field).
- Overhead boom mics (and all their associated accessories).
- On-location field use.
- Extreme conditions.
- Under water.
Smaller mics.
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There are some pretty good stereo mics made with small 1/8" (3.5mm) plugs.
(Sony makes one.) They are not cheap, and may cost about the same or more than
a good-quality stage mic (dynamic). I don't know prices, but a Sony mic was
about $100.
There are other small ones that are used in drama presentations, interviews, and
so on. These are mostly not discussed here, but there is more information about
them below.
For vocalists this may mean a headset mic (which sits on the head), or a smaller
mic that sits on a stand. For instrumentalists, types of microphones vary.
Some are smaller; while some are larger.
Bigger mics.
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Larger mics are typically used in the studio and on the stage.
On stage, some musicians prefer to perform using larger mics. These can be
wired or wireless.
For vocalists this may mean a hand-held mic actually held, or a hand-held mic
that sits on a stand. Mics other than the hand-held type may be used as
well. For instrumentalists, types of microphones vary. Some are
smaller; while some are larger.
Types of mics:
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Condenser mics and Tube mics. For vocals, studios generally use
condenser mics or tube mics. (But some other types can work well.) Both
condensers and tube mics require power to work. Condenser mics require
something called Phantom Power. Most mixers have it, but most recorders do not.
Tube mics typically have their own power supply boxes. They start at about
$300, and go up from there. Mics plug into mic inputs which have mic preamps.
(This differs from a LINE LEVEL input, which may or may not have amplification
for microphones.) Some condenser (or electret) mics have compartments for
batteries, but this is not as common. Condensers generally sound brighter than
dynamics, and can pick up high frequencies and quick transients better. Tubes
add a "warm" sounding coloration to the sound.
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Dynamic mics (sometimes called moving-coil mics). For vocals, these have
long been used on stage, but not so much in the studio. They do NOT require
Phantom Power, just a mic preamp. They were the choice for stage use for so
long because for so long they were simply much cheaper to use than condensers,
tube mics, and ribbon mics. They were also more sturdy. Today, condenser --
and even tube -- mics can be bought for nearly the price of dynamic mics. The
choices today are myriad. Dynamics generally do not pick up high frequencies as
well as condensers. But they work fine for vocals, on stage anyway. For a
brighter sound, use a condenser. The cheapest so-called professional
dynamic mic is under $10.00! (Yes, ten dollars.) They go up to just
under $500. Typical prices for models typically used for music are between
$70 and $270.
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Ribbon mics. These were popular back in the '50s, (give or take a decade
or two). They are generally more fragile than other types of mics. But some
recent designs are more sturdy. WARNING: Ribbon mics used to break if plugged into a mic preamp
supplying Phantom Power. But now, there is a newer ribbon mic that can USE Phantom
Power! Ribbon mics have a very different sound from the other mics. One recent design
I heard did NOT sound good at all on my voice. But ribbon mics are a breed of
their own. And they sound very different even from one another, whereas dynamic mics
sound pretty much like one another, and condenser mics sound pretty much like
other condensers. Some ribbon models are used regularly for vocals. And
certain models were very popular for vocals in decades past. Their sounds are so different,
that I don't know what to say, except, try them to see what you think. I don't
know what the cheapest ribbon mic is, but I'm guessing it's over $500 and under
$1000.
Mic connections:
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- Almost all the bigger mics use a connector called XLR (or Cannon). Some
people get confused about XLR. XLR is just a connector. It does not imply
Phantom Power.
- As I wrote elsewhere, there are mics and mic inputs with 1/8" (3.5mm)
connectors. (NO Phantom Power.) And there are even mics and mic inputs with
1/4" connectors.
- Most mics are mono, regardless of connection type.
- Some mics are stereo. A stereo mic is really two microphones in one! One
picks up one direction, the other in another direction. To USE the stereo
capability, either the mic input must have stereo capability -- which most do
not, or the mic's stereo plug must be SPLIT into to plugs using an adaptor.
Mic pickup patterns (pickup directions)--basic.
A microphone has one or more basic directions that it picks up audio from:
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- Cardioid (which means heart-shaped; also called Unidirectional).
Picks up in one direction. Hypercardioid: a narrower pickup
pattern. Supercardioid: even more narrow (like a "shotgun" mic).
For stage use, some type of cardioid is almost always used.
This is to avoid audio feedback, which can occur when audio from speakers or
monitors gets into the mics. In the studio, these are often
used to "isolate" instruments from one another, or to keep out most of the
room sound. (All rooms have their own distinct sound.)
- Omni (or Omnidirectional). Picks up in all directions, including
toward the cable end. This is never or rarely used for stage use. It
is often used for studio use where the room sound is wanted in the
recording.
- Figure eight. Just like it says. It's like having two cardioid
microphones pointing away from each other in opposite directions.
- Multipattern. Just like it says. It's like having a choice of the
various microphone pickup patterns. Not all multipattern mics have all the
choices just listed. A few have continuously-variable patterns, rather than
just set, distinct patterns.
Microphone-related features and accessories.
In addition to patterns, and ways of setting up mics (more below), each mic
may have one or more of the following features, or certain of these features may
be added externally.
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- Bass rolloff (filter, also called high-pass filter). This
deliberately lowers the mic's ability to pick up low frequencies, to keep low
frequencies out recordings that you don't want the mic to pick up, such as
mic-handling noise. I think every mic ought to have this feature, especially
stage mics, but it's rare on those! It can be found on many non-dynamic mics,
etc.
- Pad. This does something to the electronics in the mic to avoid
some sort of electrical overload. It's used when one wants the mic to pick up
very loud sounds, such as really loud vocalists, drums and cymbals, and other
instruments. This too can be found on many non-dynamic mics, etc.
- Off switch. Amazing that only some of the stage mics have this,
but not including it probably saves the company a few dollars!
- Multipattern switch or knob. SEE details under Multipattern.
- Capsules, exchangeable. Some mics have the ability to change their
pickup capsules. This enables the mic to have varying pickup patterns, and
very likely, different-sounding, well, sounds!
- Remote-controlled. Yep.
- Multiple-mic pickups. Basically, more than one mic in one.
- Wireless. Prices vary from under $100 to over $1,000. Choose
wisely, and consider the possibility that other wireless mics or technologies
could interfere with the mic's wireless feature.
- Mic cables.
- Quad mic cables. Specially shielded mic cable. Preferred by many.
- Mic clip (mount). One way of holding the mic on a stand.
- Mic shockmount. Usually a better way to hold a mic on a stand.
(Especially recommended when NOT holding the mic in-hand.)
- Pop screen.
- Pop filter (recommended when not on stage; recommended when recording).
- Wind screen (mainly for windy locations).
- Mic stand.
- Boom for mic stand.
- Adjustable boom.
- Various other accessories.
Mic setups.
In addition to mic pickup patterns, there are mic setups, which I do not plan to
go much into here. Simply put, they use one mic, or combine two or more microphones for variations
in sound. (There are chapters of books written about these!)
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Mic setups - Multitrack.
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If you want to record multitrack, and don't care about picking up a group in
stereo, then each instrument that records with a mic will have one or more mics
on it. You will probably want the instruments partially or completely
"isolated" from one another so that a neighboring instrument's mic does not pick
up sound from a different instrument.
In large groups that record together all at the same time, complete isolation
may be impractical or impossible, but you do the best that you can.
In a studio situation, there are often "isolation booths" where certain
instruments or voices go to keep them separate from the other instruments.
Example: For a vocal recording, some band members might stand in
the same room together, a drummer might be in an isolation booth, loud guitar
amps might be in isolation chambers, and a vocalist would be in a vocal booth.
After a multitrack recording is made, someone blends or mixes these
instruments together into a "mix". That mix can be in mono, stereo, or
surround.
Mic setups - Stereo or Mono.
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If you want to record in mono or stereo, and not in multitrack, then mic
placement is important to pick up each and every instrument already
well-blended. If you set up a mic, for example, too close to a certain
instrument, in a recording (or live) you will hear that instrument loudly and
the other instruments not well at all. Therefore, if possible,
placement of the instruments themselves can help a recording immensely.
Stereo miking techniques. There are quite a few ways to record
in stereo. Each has its pros and cons. A few of them (not a complete
list), in short:
- X-Y. Two mics, typically cardioid, are set up right near each
other. The heads of the mics nearly coincide. One pickup is faced
to the left, the other faces the right, in an X shape. The angle of the
X shape can vary (typically 90 to 110 degrees).
- Spaced pair. Two mics, cardioid or omni, are set up far from
each other. The one is closer to the left of the recording space, the
other to the right.
- Mid-side (M/S). Two mics, one cardioid the other
figure-eight, are set up right near each other. The heads of the mics
nearly coincide. The cardioid pickup faces front, the other's
figure-eight pick-up faces to the right and to the left. This enables
some pickup away from the recording group, but not directly in front of the
group.
Spot mics. Regardless of whether you are recording multitrack or in
stereo/mono, you may want to have some microphones set up close to a soloist or
vocalist. These mics are intended to pick up sound right near the spot in
which they are placed.
If you are recording to multitrack, then you may want a spot mic to be recorded
to its own track.
If you are recording to stereo or mono, then you will want to blend (mix) it
"live" during the recording. If you don't get the level right
during, the level may be difficult or nigh-impossible to properly change after
the recording has been made.
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END OF "Microphone" SECTION.
FOLLOWING: "MULTITRACK RECORDING: SECTION.
MULTITRACK RECORDING.
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Multitrack-Recording Overview.
Prices for different levels using Pro Tools as an example.
A list of other companies.
All-in-one and
standalone multitrack recorders.
•
All-in-one multitrack recorders...
•
Standalone multitracks...
•
Astronomical...
A few more companies that come to mind that make or made multitracks or stereo
recorders.
Multitrack-Recording Overview.
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Wow. If you thought that STEREO was overwhelming -- and it's not really, just a
lot of options and choices to think about -- Multitrack can seem far more so.
Therefore, I will endeavor to keep it simple.
Multitrack recording can be done from all-in-one or standalone types of devices,
or can be done on a computer.
Generally, a computer gives you the most editing flexibility, while an
all-in-one device gives you, perhaps/maybe, more portability. But these lines
are getting more and more blurred.
If you use, say, a laptop or notebook computer, you can be very portable!
One can use a notebook computer and any one of quite a number of devices now
available to get audio into the computer. The choices are many. How DO I keep
this simple! (And short!)
Let's use just one example. Pro Tools, a computer-based system.
Pro Tools is made by Digidesign. It is used all over the place. There are many
other brands to choose from, however. But generally, what is said here about
Pro Tools may also apply to other brands as well.
Prices for different levels using Pro Tools as an example:
Approaching this by price seems the simplest method.
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All these systems come with some version of the Pro Tools software. "Mixing" is
generally done within the software itself. Prices are without tax. ADD
computer, microphones, cables, instruments, and talent!
| $ 449.00 |
Mbox.
Entry-level. Can record two microphones at once, and also one (or more?)
line-level device, such as a keyboard. |
| $ 1,100.00 |
Digi
002 Rack. Mid-level. Can record four microphones at once, and also a
few line-level devices, such as keyboards. |
| $ 1,999.00 |
Digi
002. Mid-level with a control surface. Inputs are the same as the Digi
002 Rack. |
| $ 9,999.00 |
Pro
Tools|HD. High-level. Must add an input box (I/O) for even more money
(a few thousand more). Depending on I/O, you may have to add a mixer or mic
preamps to record microphones. Starts with, I think, eight line-level
inputs. There is also a digital-only I/O. Add external FireWire hard
drives. |
| $??,???.00 |
Pro
Tools|HD 3. Highest-level. Must add one or more I/Os. See "HD" above
for other details. |
Options. You can add all kinds of external devices. For example,
there are "controllers", or control surfaces, which look somewhat like mixers,
and control the software on the computer by using an external device with faders
and/or knobs. The Digi 002 above is not only an I/O but also a controller.
Digidesign makes two other controllers. The lower-cost one starts at $7,999
list. Other, third-party companies also make controllers (which can be used to
control other software as well, such as a software sequencer). I think that
some controllers cost under $1,000. Lots of other options, including some for
video. (Years ago, Digidesign, which makes Pro Tools, merged with a high-end
company that does video, called Avid.)
A list of other companies:
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RECORDING.
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As I said, other companies make recording solutions for the computer too. Some
of them are just software for a computer (Mac or PC), and some are combinations
of hardware and software.
Quick lists:
Off the top of my head. (There may be more.) These are the basic names, either
of the software or of the company. They may have different levels of each of
these.
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- Cakewalk--it's old name; see Sonar. (Software only) (PC only).
- Cubase. (Software only) (PC and Mac).
- Digital Performer. (Software only) (Mac only).
- Logic. (Software only) (WAS PC and Mac. Now only Mac development?).
- Pro Tools. (Software AND Hardware) (PC and Mac. Mac is main platform).
- Reason. (Software only) (***).
- Sonar. (Software only) (PC only).
- Others!
- Various: Multitudes of other, less-expensive software!
- Aiwa? (Hardware, w/or add software) (***).
- Akai. (Hardware, w/or add software) (***).
- Alesis. (Hardware, w/or add software) (***).
- Boss (Roland). (Hardware, w/or add software) (***).
- Fostex. (Hardware, w/or add software) (***).
- Mackie. (Hardware, w/or add software) (***).
- M-Audio. (Hardware, w/or add software) (***).
- Metric Halo. (Hardware, w/or add software) (***).
- MOTU (Mark of the Unicorn). (Hardware, w/or add software) (***).
- Nuendo. (Hardware??, w/or add software) (***).
- Roland. (Hardware, w/or add software) (***).
- Pro Tools. (Hardware and Software) (PC and Mac. Mac is main platform).
- Tascam. (Hardware, w/or add software) (***).
- Yamaha. (Hardware, w/or add software) (***).
- Others!
All-in-one and standalone multitrack recorders.
I haven't said much about these. Some of the manufacturers
listed elsewhere make these.
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Quick overview of price ranges:
- All-in-one multitrack recorders, which start at about $299, and go
up to about $5,000.
- Standalone multitracks -- but not all-in-one recorders -- also
exist. To these one adds mixers or mic pres, etc. They start at around
$1,999.
- Astronomical. There are really high-end things that we don't even
want to talk about! (And I do not refer to aliens!) Mixers/Consoles near
$1,000,000.00, microphones over $10,000.00, and so on. But if you're
interested, I know a little about them too! :-)
A few more companies that come to mind that make or made multitracks or
stereo recorders:
Sony, Nakamichi, Otari, Sound Solutions (?), Teac, Zoom?, Behringer, Marantz,
SuperScope, Technics, and others.
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END OF "MULTITRACK RECORDING" SECTION.
END OF "Recording Solutions and Mics" DOCUMENT.
ENOUGH!
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I can't believe I typed the whole thing!
I hope that's enough GENERAL info. to get started.
For SPECIFICS -- models of certain types, or in certain price ranges --
either give a
call, or ask a knowledgeable, and trustworthy, salesperson.
Almost all off this was typed off the top of my head.
That was fun. (I guess!)
In Messiah (Christ/Christos), Yahshua Messiah ("Jesus Christ"/Iesous
Christos),
Stephen A. DeVore, Seattle, WA / Kirkland, WA.
HalleluYah! Praise Yah!
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EDIT DATES:
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2004: 0129 (first posting), 0128, 0119-0117 (dated created).
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* Copyright Notice:
Copyright © 2004 Stephen Anthony DeVore / Stephen A. DeVore / Stephen DeVore
/ Steve DeVore / S. DeVore / Devore.
(With all those various permutations listed, now my name is even easier to find
online.)
All rights reserved, eternally, universally, transdimensionally, and in
every other way possible. :-)