MICROPHONE

Microphones (also known as mics) are basically instruments that convert sound waves into
electrical energy.

Working:

A microphone works by converting sound waves into current in a cable. This current travels
down through the cable and is recorded onto a magnetic tape. However, the quality of the
output is affected by the quality of sound used because when sound is created in front of a
microphone, it creates a pressure on the microphone and the waves that enter the microphone.
Thus, the lower the pressure, the lesser the volume of recording, and the farther the sound
source, the lower the level of recording.

Uses:

We use microphones to send in sound waves for (a) live amplification as in stage shows,
seminars, conferences etc. and (b) for recording purposes as in audio and/or video tapes.

Factors for selecting microphones:

There are several types of microphones available in the market to choose from. The type and
the purpose of use direct our decision in purchasing microphones. Therefore, before
purchasing microphones, it makes sense to consider the factors given below and balance
between them and the budget:

1. Purpose
2. Audio Quality
3. Sensitivity
4. Pick-up pattern
5. Physical features in terms of size and look
6. Impedance (resistance to an electrical circuit)
7. Frequency response

Impedance is a major factor in making a choice. It means the resistance that the microphone
cable offers to the flow of audio. High-impedance microphones can work best with short
cables (if you attach a long cable chances are that the recording will be of a low level). Most
non-professional microphones have high impedance and are best avoided in video
production. Professional microphones have low impedance and are slightly costly.

Frequency response is another deciding factor, that is, capacity of a microphone to receive
high and low sounds. A good professional microphone has frequency ranging from 20-25,000
Hz.

Types of Microphones:
Two broad categories of microphones are the dynamic and condenser types.

1. Dynamic Microphones:
The dynamic microphone (also known as the moving-coil microphone) works via
electromagnetic induction. They are robust, relatively inexpensive and resistant to
moisture. This, coupled with their potentially high gain before feedback, makes them
ideal for on-stage use.
Working:
- Dynamic microphones use the same dynamic principle as in a loudspeaker,
only reversed.
- A small movable induction coil, positioned in the magnetic field of a
permanent magnet, is attached to the diaphragm.
- When sound enters through the windscreen of the microphone, the sound wave
moves the diaphragm. When the diaphragm vibrates, the coil moves in the
magnetic field, producing a varying current in the coil through
electromagnetic induction.
- The magnitude and direction of current is directly proportional to the motion
of the coil, and the current thus a representation of the incident sound wave.
- A single dynamic membrane does not respond linearly to all audio
frequencies. Typically its frequency range is between 40-16,000 Hz.
- For this reason some microphones utilize multiple membranes for the different
parts of the audio spectrum and then combine the resulting signals.

Dynamic microphones are mostly used in field situations where the emphasis is
not exactly on the fidelity of sound but the sound itself. These are used for
concerts.

2. Condenser Microphones:
Said to produce very high quality of sound, condenser microphones are also called
Electrostatic microphones.
Working:
- A capacitor has two plates with a voltage between them.
- In the condenser mic, one of these plates is made of very light material and
acts as the diaphragm.
- The diaphragm vibrates when struck by sound waves, changing the distance
between the two plates and therefore changing the capacitance.
- Specifically, when the plates are closer together, capacitance increases and a
charge current occurs.
- When the plates are further apart, capacitance decreases and a discharge
current occurs.
- A voltage is required across the capacitor for this to work. This voltage is
supplied either by a battery in the mic or by external phantom power (phantom
power suppliers are available in some audio mixers).
 - Typically the frequency range of these microphones is between 20-18,000 Hz.

These microphones need external power supply. Some have a battery attachment on the cable
as a part of the connector.

Owing to its sensitivity, condenser microphones are used in studio recordings and for sound
effects where the emphasis is on fidelity of the sound recorded. The sensitivity enables them
to pick up even faint sounds, though the surroundings must be kept as quiet as possible.

Electret Capsule:

This is a miniature condenser microphone incorporating a plastic film diaphragm with an

inbuilt permanent electrostatic charge. It does not require a polarizing voltage. Since not
dependable, these are hardly used in video production.

Pick up patterns:

The choice of microphones depends on the manner in which they pick up sound. Each
situation demands a different pickup pattern.

1. Omni-directional Microphone:
- Can pick up sound from all directions irrespective of its point of origin.
- Easy to use and preferred to pick up location sound.

2. Uni-directional Microphone:
- Can pick up sound from only one direction.
- Best used for vocalists and musical instruments as they do not pick up voice
from other instrument/person.
- Also used for outdoor interviews and panel discussions.

3. Bi-directional Microphone:
- Can pick up sounds from front and rear, but does not respond to sounds from
the sides.
- It is very sensitive.
- Distance between the source of the sound and the microphone is critical as it
tends to produce pop sound if not placed correctly.
- Avoided for outdoor situations.
- Used for group discussions and one on one interviews.

Types of directional microphones:

1. Boom Mics:
- Used to record location sounds and dialogue in fiction shoots.
- Booms mics are normally placed at the end of a long pole and can be moved
up and down without being seen in the frame.
- Boom pole can be extended/shortened as required.
 2. Lavelier Mics:
- Also called lapel mics or button mics.
- It is normally pinned to the interviewee
- It is a small condenser mic.
- Can either be corded or wireless. Wireless mics are preferred when movement
of subject is required.
- Can be powered by either batteries or phantom power depending on the make.

3. Mono and Stereo Mics:

When audio is mono-aural it can only indicate differences in quality and volume.
However, stereo audio can also indicate the direction of the sound.
- Mono aural sound can be very flat, unlike stereo sound that is very rich
because it indicates direction.
- Care must be taken to match video with sound perspective, movement and the
amount of noise.
- A stereo mic is essentially two-mic-in-one unit.
- Stereo mics are often expensive and come on professional models.

Using Microphones and Accessories

Placement of microphones decides the quality of audio we will be able to record.

- Always point the mic to the source of the sound.

- Every mic has a critical distance to get the right audio. If you take the mic too
close to the source, the audio will be distorted and result in pops while taking
it too far away from sound source is likely to result in hollow sound.
- Built in mics are to be used for recording ambience sound only.
- When using a boom mic, you may use a boom pole, particularly for fiction
shoots, to ensure that you keep the mic out of frame.
- Shot-gun mics are highly directional and keep out noises.
- When using multiple mics place them to avoid cancellation.

Terms used in Audio Recording

1. Fade-in:
The gradual upping of audio from zero to an optimal level. The duration it takes to
reach its peak is called attack.
2. Fade-out:
The reverse of fade-in where the audio gradually falls to zero. The duration It takes to
fall to zero is decay.
3. Cross-fade:
 The transition method where the preceding sound is faded out and the succeeding
sound is faded in simultaneously. Both sounds overlap briefly during a cross fade.
4. Fade under:
A procedure where one audio is brought down to a level lesser than the primary audio.
For example, music is faded under when a person is speaking on screen. It must be
remembered that the two sounds do not clash but rather supplement each other.
5. Sweetening:
The process of working on sound after studio production is called audio sweetening.
This involves incorporating additional material, making corrections, cross-fading,
enhancing sound elements, blending various tracks, ensuring continuity, bridging,
dubbing and adding effects.
6. Phase cancellation:
This is a phenomenon that results in low and hollow sounding audio when two or
more mics pick up sound from the same sound source. Since the sounds arrive at the
two mics at two different times, they tend to cancel each other and result in hollow or
low audio levels. Therefore, placement of mic is an important factor to get the right
audio with greater fidelity.

Audio faders

- Faders enable the sound recordist to increase or decrease the level of audio
being recorded on the recording medium.
- They function like volume control on our TV sets.
- It is important to set the fader at the optimum level to ensure the best quality
sound.