User manual M-AUDIO MICROPHONE QUICK START GUIDE

[. . . ] . 16 Dealing with Unwanted Low-Frequencies . . 17 Phasing Issues with Multiple Microphones . . 35 Microphone Design Chapter 1 While all microphones are designed for the common purpose of converting variations in sound pressure to electronic signals, different technologies have their benefits depending upon the application. This chapter examines the merits of different design types, capsule sizes, polar patterns, electronics and more. Microphone Types The three main types of microphones in common use today are dynamic, ribbon and condenser. Each has unique attributes appropriate for different applications. [. . . ] Most condenser mics have a switch that introduces a high-pass filter rolling off low frequencies starting at around 75Hz. This feature should be used with care, since sound sources such as the male voice have content in this range. On the other hand, low frequency roll-off can sometimes be used intentionally, like in a situation where you want to reduce the boomy quality of an acoustic guitar. It is best to induce as little electronic circuitry as possible. Use critical listening to determine if low-frequency roll-off is truly beneficial. The Mic Preamp Before the low-level signal from a mic can be used in the recording and mixing process, it must be run through a preamp in order to boost the gain. Therefore, most pro recording engineers will tell you that next most critical piece of gear after the microphone is the mic preamp. Even the best microphone inputs on an affordable mixing board, sound card or all-in-one recorder don t hold a candle to a dedicated mic preamp. Pro studios routinely pay thousands of dollars per channel for dedicated outboard preamps. While that s not realistic for most project studios and home recordists, it is indicative of the fact that good quality mic preamps are an important thing to consider in your studio budget. If you re looking for a good preamp at budget prices, check out M-Audio s DMP3. And if you re interested in a high-end preamp that won t break the bank, see the inset which follows, containing information about our revolutionary TAMPA preamp featuring Temporal Harmonic Alignment. Use of Processing During Recording Engineers have varying opinions about the amount of processing to use during the actual recording process. Part of it comes down to how much processing gear you have at your disposal for the subsequent mix session. The predominant wisdom is to process as little as possible at any stage period. That s a major reason why having a good mic is essential to high-quality recordings. The more EQ and compression you have to apply, the further you get away from a natural sound. Nonetheless, many engineers like to record with basic EQ and compression for two re a s o n s t o overcome major deficiencies in the sound, and to achieve the hottest possible levels before clipping for the highest signal-to-noise ratios. In other words, processing during recording is typically used to ensure that the signal is technically optimal. On the other hand, processing more specialized effects such as reverb, chorus and delay are usually reserved for the mixing process, to yield maximum flexibility in these more subjective and creative areas. Choosing & Using Microphones 16 The Recording Environment Professional studios often have several different acoustic spaces available from small, relatively dead isolation booth to cavernous rooms with natural reflections and long delay times. Home recordists have fewer options, yet experimenting with recording in different rooms may yield interesting results. Large rooms and tall ceilings will give a more open sound than small rooms and low ceilings. The amount of furniture and reflectivity of various surfaces is also an influence. A carpeted floor, for example, has a damping effect as opposed to the reflectivity of a wood or tile floor. There are many times when it is beneficial to create methods of isolating the microphones or otherwise controlling the room acoustics. Such scenarios include having a poor sounding room, having an open mic in the same room as recording gear exhibiting fan noise, or recording multiple performers simultaneously. In cases like these, consider solutions such as applying acoustic treatment to the room, creating a temporary isolation booth by hanging or tenting blankets, or building movable partitions. Moving blankets, egg-crate foam and carpet are It is often beneficial to devise methods of controlling room acoustics such as constructing a tent using blankets The Revolutionary New TAMPA Preamp Reflecting back on our discussion about tube versus solid state electronics, most highly revered mic preamps are based on tube technology. [. . . ] Great for close-miking anything without proximity effect. Good results for most other applications, including stereo miking. Model: Diaphragm: Electronics: Patterns: Address: Applications: Luna 1. 1" x 6 microns Class A FET Cardioid Top The ultimate acoustic guitar mic. Exceptional on stringed instruments, overhead cymbals and vocalists. Excellent for close-miking anything without proximity effect. [. . . ]