LocationSoundBible_SamplePages

THE

LOCATION SOUND BIBLE

RIC V IERS

How To Record Dialog For Your Productions

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CONTENTSACKNOWLEDGMENTS

FOREWORD

PREFACE

CHAPTER 1 4 WHAT IS LOCATION SOUND?

CHAPTER 2 4 SOUND BASICS

CHAPTER 3 4 MICROPHONE BASICS

CHAPTER 4 4 MICROPHONES FOR LOCATION SOUND

CHAPTER 5 4 BOOM TECHNIQUES

CHAPTER 6 4 LAV TECHNIQUES

CHAPTER 7 4 WIRELESS SYSTEMS

CHAPTER 8 4 PLANT MIC TECHNIQUES

CHAPTER 9 4 MICROPHONE SELECTION

CHAPTER 10 4 SIGNAL FLOW

CHAPTER 11 4 RECORDERS

CHAPTER 12 4 SYNC

CHAPTER 13 4 MIXERS

CHAPTER 14 4 MONITORING

CHAPTER 15 4 POWER

CHAPTER 16 4 BUILDING A SOUND PACKAGE

CHAPTER 17 4 THE TEN LOCATION SOUND COMMANDMENTS

CHAPTER 18 4 APPLICATIONS

CHAPTER 19 4 SET ETIQUETTE

CHAPTER 20 4 THE BUSINESS OF SHOW BIZ

CHAPTER 21 4 THAT’S A WRAP!

INDEX

ABOUT THE AUTHOR

THE LOCATION SOUND BIBLE RiC ViERS

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PREFACESound is not important to a production; it’s vital to a production. The majority of first-time directors (and unfortunately some seasoned directors) do not understand how important sound is to a film. Some do believe that sound matters, but assume that the important sound comes from post. That could not be further from the truth. While postproduction is where the magic happens in a film, plenty of magic needs to be cap-tured on-set when the actors are in the moment delivering the performance of their lives. it is very difficult to recapture that moment during ADR. Therefore, directors need to realize that production sound is more than just a utility function. The sound mixer uses different microphones to capture different qualities and distances of sound much in the same way that the di-rector of photography (DP) composes a shot and uses various lenses on the camera. The sound mixer is essentially the director of sonic photography. i’ve yet to meet or work with a first-time independent filmmaker whose first question wasn’t “Can you fix my production sound?” This question is usually followed up with a sob story about how the budget was tight and they couldn’t afford a good sound mixer on set. i believe in independent films. i believe that independent films can, are, and will continue to thrive. i also believe that independent films can have great sound. Good location sound is possible, no matter what the budget. Even with a modest level of equipment, you can use certain techniques to cap-ture stunning soundtracks that can make a production stand apart from the rest. Those techniques are found in the pages of The Location Sound Bible; however, the purpose of this book is not to teach you what to do in every single situation, but rather to show you the formula to use in any situation. Every production is unique. While you will probably encounter most of the situations given in this book, it’s likely that you will come across situations that are not included in these pages. You might even find yourself with a challenge that no other sound mixer has faced before. if you understand the fundamentals of the process and how to best use the tools at your disposal, you will be able to get the best sound possible.

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Let’s start by getting something out of the way. Sound is not “easy.” if it were, then every production would have great sound! Unfortunately, most independent films (and by most, i mean 90% of them) have poor sound. The idea of “all you have to do is turn the mic channel up and make sure the levels aren’t in the red” is a myth. it would be the same as suggesting that anyone who can press the shutter button on a camera is a photographer. Nope. Sorry. it’s just not true. And no, the microphone on the camera isn’t an option either… But don’t fret. There is hope! in your hands you hold a guide that will help you achieve better sound results immediately. Whether you are look-ing to start a career as a sound mixer or if you’re an independent filmmaker who is going to shoot and gather sound all by yourself, this book will help you achieve Hollywood-level sound. Use it as a foundation for recording better location sound. Keep it with you in your production bag or on your sound cart. With that out of the way, let’s roll (pun intended).


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WHAT IS LOCATION SOUND?Location sound is the process of gathering sound for a production in the field. This is usually dialog, although there are other sound elements that may need to be gathered. These sound elements are collectively referred to as production sound and will be used by the editor or postproduction sound team to make the soundtrack for the production. Production sound is any sound that is captured during the filming or taping of a production. This could be as simple as getting “nat sound” (short for natural sound) for B-roll, a reporter delivering a standup for the evening news, or dialog for a feature film. The goal of location sound is to capture clean, consistent, and intelligible audio. While there are dozens of applications for field audio, each with a dif-ferent variation on priorities and protocol, the purpose of location sound is to provide dialog that can be understood. if the audience cannot understand the dialog, then there was no reason for having a sound mixer on the set! The audience should never have to strain to hear what the actors are saying. Sometimes it’s impossible to gather usable audio during production. in these cases, the production will need to have the actors re-record the dialog in a controlled environment, such as a studio. This re-recording process is called ADR (Automated Dialog Replacement*). For example, if the production is shooting a scene that involves special effects like wind machines, the dialog is going to be unusable. However, the actors will need a reference track of what was said so that they can replace those lines during the ADR sessions. There are times when a director intends for the audience to strain to hear the dialog for effect. in these cases, the loca-tion sound should still be recorded as clean as possible as this effect is best achieved in postproduction. While location sound equipment has certainly changed since it was first used in the late 1920s, the art of recording quality dialog on location

Chapter 1

*�T There are several possible definitions of ADR including Automatic Dialog Replacement, Automatic Dialog Recording, etc. However, the meaning is always the same: to replace dialog that was recorded during the production.

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is pretty much the same. Don’t let new gadgets and equipment distract you from your goal: clean, consistent, and intelligible dialog. While new gear may take the place of some of the equipment mentioned in this book, the techniques offered in the chapters that follow will long outlast the technology. Remember: Technique will always trump technology! Good audio cannot improve the story or subject matter, but bad audio will pull the audience out of the story or make it difficult to focus on the subject matter. The audience should be wowed and amazed by the cinematography and performances, but if someone notices the sound work in a film, then the sound department did its job incorrectly. The sound should be transparent. The audience should feel as though they are standing in the room with the actors during the scene, not listening through microphones. The person responsible for gathering the location sound is called the sound mixer, although there are a host of other pseudonyms that they work under: production sound mixer, sound recordist, location sound recordist, location sound mixer, mixer, recordist, audio operator, sound man, sound woman, sound guy, sound dude, sound chick, etc. in short, they’re called anything but their first name. in fact, most people will never even learn or ask for your name. i worked with a woman on several productions over the years and ran into her at a store. She started to say hi, but realized that she didn’t even know my name. She said, “Hey…” After a brief pause, she conceded defeat and simply said, “… sound guy!” We both chuckled. it happens a lot.

Learn to listen to films, not just watch them. Listen to a high-budget feature film, a low-budget independent film, a local news broadcast and a You-Tube video. Obviously, there will be huge differences, but can you tell what those differences are? What could be done to improve the quality of sound in the various examples? Write down your results. Once you’ve finished the book, come back to this exercise and try again! Your skills should be much sharper and your ears more attuned to sound quality.

Chapter Exercise


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SOUND BASICSSound isn’t rocket science, but it is a science. There are mathematical equa-tions involved and most of them include fractions. But, don’t sweat it. The science in this book will only be used when necessary. You’ll never find a sound mixer on location using a calculator to figure out reverb or phasing problems. Once you understand the basics of how sound works, the rest of the craft will be technique. The important thing is to understand the animal called sound, for this is what you are essentially hunting in the field.

Sound is vibrations in the air or other medium such as water. These vibra-tions arrive at the ear and are interpreted as sound. A sound event, such as a handclap, disturbs the air molecules. Like the effect of dropping a rock in a pond, the air molecules create waves of movement in the air that radiate from the point of the disturbance. There are two parts to a sound wave: a compression and a rarefaction. A compression occurs when the air molecules are forced together and a rarefaction occurs when the air molecules move away from each other. When there is neither a compression nor a rarefaction, the air molecules are at rest. This is known as silence. Silence is like a still pond. There are no waves. When a rock is dropped in the pond, the water molecules are forced to displace. The point of impact forces the water down and causes the surrounding water molecules to rise. This is the creation of the wave. in an effort to find rest again, the water molecules ripple in waves away from the source of impact. Compressions occur when the water rises above the surface. Rarefactions occur when the water sinks below the surface. A wave cycle consists of one compression and one rarefaction. Sound waves are measured in two ways: amplitude and frequency.

Frequency refers to the number of complete wave cycles (one compression and one rarefaction) that occur in a second. Frequency is measured in hertz (Hz). The more wave cycles, the higher the frequency will be. A sound

Chapter 2

Sound Waves

Frequency

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that consists of 100 wave cycles per second is written as 100Hz. A sound that consists of 1,000 cycles per second is written as 1KHz (K is for “kilo,” or 1,000). The hearing range of the human ear is 20Hz – 20KHz. This is a textbook number. in the real world, the hearing response of the average male is 40Hz – 18KHz. Women have a slightly better hearing response for higher frequencies than men do, which is yet another reason why girls are cooler than boys. Cats have a hearing range of 45Hz – 64KHz, which is why they’re cooler than all of us combined. The average frequency range for human speech is 100Hz – 3KHz, although harmonics can far exceed this range. Some males can produce speech frequencies as low as 60Hz. Higher frequencies are perceived as being higher in pitch. Lower frequencies are perceived as being lower in pitch.

There are three main ranges of frequencies within the audible frequency range:

4 Low Range or “Low End”: 20Hz – 200Hz

4 Mid Range or “Mids”: 200Hz – 5KHz

4 High Range or “High End”: 5KHz – 20KHz

Sometimes the mid frequencies are broken down even further:

4 Low Mid Range: 200Hz – 1KHz

4 High Mid Range: 1KHz – 5KHz


SOUND BASiCS 5

Sound waves can transmit through objects such as walls. This trans-mission will weaken the sound waves. Lower frequencies are stronger and can pass through objects much more easily than weaker higher frequen-cies. An example of transmission would be a car radio blaring down the street. in your house, you probably would hear only the thumping bass of the sound system. Most of the higher frequencies wouldn’t make it out of the car, let alone be able to pass through a brick wall; however, the lower frequencies are much stronger and would transmit through the car and past a brick wall. This makes sense when you realize that great energy must be exerted in order to create low frequencies. Remember, the waves in the pond will be bigger and stronger if the rock is heavy and thrown at a great rate of speed. it’s easier to control, reduce, or eliminate high frequencies than low frequencies. Of course, the amount of control and reduction greatly depends on the amplitude of these frequencies, which nicely segues us to our next topic: amplitude.

Amplitude refers to the amount of energy present in a wave. The human ear perceives this amplitude as volume. With a heavy rock, the splash is deeper and the waves have more energy and are larger as a result. The same is true with sound sources. Loud sounds occur when there is a greater force behind the disturbance in air molecules. The amplitude of sound waves is measured in decibels.

Amplitude

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Decibels are a logarithmic unit used for measuring the amplitude of a sound wave. The term “decibel” is named after Alexander Graham Bell (bel) and the Latin word for “ten” (deci). it literally means “one tenth of a bel” and is written as dB. The more amplitude a sound wave has, the larger the number will be in dB. A sound wave that is ten times more powerful than 0dB is written as 10dB. A sound wave that is one hundred times more powerful than 0dB would be written as 20dB.

in the real world, decibels are used to measure sound pressure level (SPL). This measurement tells us how loud a sound wave is in relation to per-ceived silence (0dB). The range of human hearing is amazing. Gently sliding your finger across a sheet of paper might produce an audible sound that is only a few decibels. The threshold of pain for the average human ear is 140dB. This is an astonishing one trillion times louder than the threshold of hearing!

Here are some examples of common sound pressure levels:

4 threshold of hearing: 0dB

4 pin drop: 10dB

4 whisper: 35dB

4 speech: 65dB

4 traffic: 85dB

4 rock concert: 115dB*

4 jet takeoff: 135dB

4 threshold of pain: 140dB

4 gunshot: 145dB

4 rocket launch: >165dB

The human ear has a dynamic range of 140dB. Dynamic range refers to the difference between the quietest sound and the loudest possible sound before noticeable distortion. After 140dB, the human ear starts to distort and will eventually become permanently damaged. Longterm exposure to

Decibels

Sound Pressure Level

*Sorry to be the adult in the situation, but if you plan on having a long career in audio engineering, you should never attend a rock concert without earplugs.


SOUND BASiCS 7

high SPL can and will damage your ears. According to generally-accepted practice, you should only expose yourself to SPL of 85dB for less than eight hours each day. This is the recommended highest level of SPL for studio monitors.

For the human ear, 0dB represents the threshold of hearing. On audio equipment, 0dB represents the maximum amount of amplitude that can be received without distortion. The measurements on this scale are rela-tive to this level and, therefore, the scale is reversed.

in analog equipment, a VU meter typically begins at -20dB and in-creases to as high +6dB. A peak meter may begin at -60dB and increase to as high as +12dB in some equipment. This overage is permitted because most analog equipment can function above 0dB without no-ticeable distortion. Digi-tal equipment, however,

has an absolute ceiling for the amount of amplitude it can receive with-out a type of digital distortion known as clipping. Digital equipment will have a scale that begins at infinity and measures amplitude up to 0dBFS (FS stands for “full scale”). 0dBFS is the maximum amount of measurable amplitude in a digital sound wave. Digital audio is further explained in Chapter 11. in signal measurement, sounds read differently than SPL levels. Here are some common sounds and their relative signal measurement when the equipment is set to unity gain:

4 silence/system noise: -95dBFS

4 night ambience (rural): -60dBFS

Signal Measurement

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4 footsteps: -50dBFS

4 night ambience (urban): -40dBFS

4 dialog: -20dBFS

4 car pass by (close range): -10dBFS

4 door slam: 0dBFS

4 gunshot: clipped at 0dBFS Note: These examples are only for reference. Different mixers, re-corders, microphones, and distances to the sound sources will greatly af-fect these numbers. When monitoring signals, you will notice that a 6dB increase of am-plitude will be perceived as double the volume. A decrease of 6dB (or -6dB) will be perceived as half the volume.

Audio equipment uses three levels of signal:

4 professional line level: +4dBu

4 consumer line level: -10dBv

4 professional mic level: -60dBu As you can see, line level is a much stronger signal than mic level. Mic level signals require an amplifier to boost the signal up to line level so that it can be used in audio equipment. This amplifier is called a preamplifier or preamp for short. All microphones send a mic-level signal. Professional audio equipment usually provides switches to let the user select what type of signal is sent and received.

it should be noted that amplitude is often confused with volume. While there is a direct correlation, it is not always an accurate one. A study by sci-entists Harvey Fletcher and Wilden Munson revealed that there is a curve in the human ear’s perception of volume at different frequencies. This contour is known as the Fletcher-Munson Curve. This curve shows that humans perceive different frequencies of equal amplitude as being different in vol-ume. in short, higher frequencies appear louder than lower frequencies even when heard at the same amplitude. For example, if a 1KHz sound wave measures 40dB SPL, a 20Hz sound wave would need to measure 90dB SPL to sound equally loud. That’s an amazing 100,000 times greater in amplitude

Amplitude versus Volume


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to be perceived as equal in volume! This demonstrates why amplitude and volume are not the same thing.

When multiple sound waves are combined they create a single wave called a complex wave. When two waves of equal amplitude and frequency are combined, the result is a wave that is double in amplitude. in the event that waves of equal amplitude and frequency are combined but have opposite states of pressure (compression versus rarefaction), the waves can cancel each other out. The result is a thin, weak sound or no sound at all. This is called phase cancellation. To oversimplify this concept, take the example of adding 2 plus 2. The sum is 4. if you add -2 plus 2, the sum is 0. This is because -2 and 2 cancel each other out when added together.

Multiple microphones re-cording the same source can produce sounds that are out of phase when combined together. if these mics were combined onto one channel of a record-er, they would become a single wave. The new sound wave would be the sum of the two waves. in drastic situations, this wave might contain little or no amplitude at all. Once separate sounds are combined onto one

track of a recorder, the sounds cannot be separated. Therefore, if phase cancellation occurs, the effect cannot be reversed. However, if each mic is recorded to a separate track of a recorder, the effect can be repaired during editing/mixing by equalizing or inverting the phase of one of the tracks.

Sound waves continue to move away from the sound source until they ei-ther lose energy or they encounter a surface. Upon encountering a surface, the energy of the wave will bounce off the surface and continue in the opposite direction. When a sound wave bounces off a surface it is called an

Phase

Echoes and Reverberation

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echo. The echo does not have as much energy as the original wave because some energy is lost upon impact. To understand this, imagine throwing a racquetball at the side of a building. As the racquetball hits the building’s wall, the energy redirects in the opposite direction. Now consider the matter of angle trajectory. if we throw the racquetball perpendicular to the wall, the racquetball will return to us. if we throw the racquetball at a 45-degree angle, it will continue in a 45-degree angle in the opposite direction. Reverberation is the continuation of echoes in an enclosed space. if we take the same racquetball into a racquetball court, we can watch rever-beration work in slow motion. Throwing the racquetball at a high rate of speed will cause the ball to continue to bounce off the walls multiple times. The walls of the court are made from drywall and are intended to be highly reflective. if these walls were made from a material that ab-sorbed the energy of the racquetball, such as carpet, the ball would lose energy upon impact and the return bounce would be of considerably less velocity. Not to mention, the game would not be nearly as fun. Now, let’s replace the racquetball with sound waves. By standing in the center of the racquetball court and clapping our hands together, we will send a sound wave toward the wall. The sound wave will strike the wall with a great amount of energy and bounce back in the opposite di-rection. The sound wave will strike the opposite wall with less energy than the first wall, but still with a great amount of energy. This will continue until the sound wave finally loses energy. Unlike a racquetball that moves in a single direction, sound waves move in a 360-degree radius from the sound source. Upon clapping our hands, we send the sound wave is sent in every direction, including up and down. in a racquetball court, the flat surfaces allow the sound wave to continue to travel at a steady decline in amplitude until all of its energy is lost. in effect, the sound waves persist long after the sound event has occurred. in short, sound is a messy, determined creature that wants to live as long as possible. To properly trap this animal, you need to use an anecho-ic chamber. These rooms are designed to eliminate any possible echoes, thus suffocating reverberation and successfully capturing the beast. Sound mixers, however, must capture sound without the use of this trap. Location sound-work tasks the sound mixer with capturing sound in any given envi-ronment. it is therefore necessary to understand sound’s properties and how


SOUND BASiCS 11

it interacts with its environment. Herein lies the greatest challenge for the sound mixer: sound does not want to be tamed or captured. it wants to live on. in the next chapter, we’ll discuss the microphone, our primary tool for capturing this creature.

There is no perfect answer for what dialog levels should read on a meter. There are, however, some good guidelines to follow. Real-world conversa-tions have dynamics. People speak softly and loudly during a conversation. Allocate headroom when setting your levels to allow for spikes in dialog. A normal conversation, with proper mic placement, should read an aver-age of -20dBFS. Peaks should read between -10dBFS and -6dBFS. Try to avoid going above -6dBFS with your peaks. This will give you a little bit of grace if an actor adlibs with loud dialog. Technically you can have peaks read up to 0dBFS, but then you run the risk of clipping and that is the unforgivable sin of digital recording. Find a good level and stick with it unless something extreme happens.

False MeteringLow frequencies are much larger and stronger than higher frequencies. As a result, low frequencies can hog up your signal with audio that is either inaudible or inconsequential to the dialog. in these cases, you should use the HPF to reduce these frequencies. This will free up headroom and eliminate unnecessary low frequencies.

General Meter GuidelinesHere are some general meter guidelines to consider. These examples are approximations. Different voices will have voice dynamics and active fre-quencies that will affect the average signal levels. Your main goal is to record the signal as hot as possible with no noise (hiss from levels set too low) or distortion (crunchy audio from levels set too high).

4 VU Meters Whispers and soft dialog might only read between -12dB and -9dB. Average dialog will read between -9dB and -3dB. Loud dialog will read between -3dB and 0dB. Try to avoid levels that stay above 0dB for long periods of time. Note: VU meters do not “dance” as much as peak meters, but that

little movement can equal big sound.

Sound Levels

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4 Analog Peak Meters Whispers and soft dialog might only read between -20dB and -8dB. Average dialog will read between -8dB and +4dB. Loud dialog will read between +4dB and +8dB. Try to avoid levels that stay above +8dB for long periods of time.

4 Digital Peak Meters Whispers and soft dialog might only read between -30dBFS and

-20dBFS. Average dialog will read between -20dBFS and -12dBFS. Loud dialog will read between -12dBFS and -6dBFS. Digital peak meters should never reach 0dBFS.

After some practice, you’ll find that your ears will act as an extension of your meters. in ENG work, you will spend more time watching the boom mic and less time focusing on the meters. This is especially true if you monitor at consistent headphone volumes. Your ears will tell you if something is too loud or soft (not to mention overloaded signals). if you monitor at loud levels, you will instinctively mix a track that is too low. Conversely, if you monitor at low levels, you will mix a track that is too high. Find the sweet spot and spend your career at that level. Your tracks will sound better and be more consistent, and your ears will thank you for it. in ENG work, always stand to the left of the camera to keep your eyes on the camera’s meters.

Experiment with room acoustics to help familiarize yourself with how a room will sound in the recordings. Find a room and clap your hands together once. Next, say a few sentences at different volumes. Now, repeat these steps and record them. Play back the recording to see if the acousti-cal responses of the room match what you remember hearing. What are the differences between what your ears heard and what the microphone captured?

Chapter Exercise


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MICROPHONE BASICSThe microphone converts acoustic energy into electric energy through a process called transduction. Sound waves enter the microphone’s capsule and cause a diaphragm to move in direct relation to the change of air pressure. This works much in the same way as the human ear. Sound waves enter the ear and cause the eardrum to move in direct relation to the change of air pressure. The ear converts the acoustic energy into an electric energy known as nerve impulses. The brain understands these impulses as sound. There are two main types of transducers for microphones: dynamic and condenser. They each use a different type of diaphragm that greatly affects the characteristics of the sounds they reproduce.

Dynamic microphones use a moving coil wrapped around a magnet to con-vert sound waves into an electric signal. The moving coil is attached to a diaphragm. This is the same method in which a speaker converts electric signals into sound waves, but in reverse. Like speakers, they do not re-quire external power to operate. Dynamic microphones are very rugged and can handle high SPL, making them an excellent tool for recording loud sounds such as drums, gunshots, and electric-guitar amplifiers. They require much more air movement than other microphone types, which helps reduce feedback and excessive background noise, but at the cost of having a lower transient response than that of condenser microphones. Transient response is the measurement of time it takes for the diaphragm to respond to air movement. The faster the response, the more accurately the signal is reproduced. in television production, especially ENG work, reporters typically use dynamic handheld microphones during standups, man-on-the-street interviews, stage productions and live events. For a dynamic microphone to capture speech, it needs to be very close to the mouth.

Chapter 3

Dynamic Microphones

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Dynamic mics are perfect solutions for ENG work where the talent is conducting interviews or reports in noisy environments (football sta-diums, roadside reports, locker rooms of the World Series’ winning team, etc.). These mics have a great rejection of background noise and tend to allow the reporter’s voice to sit on top of any extraneous noise. Stage productions and live events with P.A. systems will often call for dynamic microphones because they have a high amount of feedback rejection. Dynamic mics are seemingly indestructible. There is an incredible video on YouTube of Stockholm’s Mats Stålbröst, who ran an extreme endurance test on a Shure SM58. This mic is arguably the most common stage microphone in the world. The video shows the SM58 being subject-ed to various tests to see how the microphone would hold up. After being used to hammer nails, dropped from six feet, submerged in water, placed in a freezer for an hour, having beer poured on it, put in a microwave on top of a slice of pizza, having a car drive over it twice and being buried in the ground for over a year to endure rain, snow and a wide range of temperatures, the microphone still worked! This level of stamina is hard to find and i certainly wouldn’t try this with a condenser microphone.

Condenser microphones use the change of a stored charge called capacitance to convert acoustical energy into an electric signal. A constant voltage is sent to a front plate (the diaphragm) and to a back plate. Air movement causes the front plate to vibrate toward and away from the back plate resulting in a change of capacitance. This change becomes the electric signal. Years ago, condenser mics were considered extremely fragile. While they are not as rugged as dynamic microphones, today’s condensers are much more robust than their predecessors and can handle higher SPL than ever before. A better transient response makes the condenser mi-crophone sound clearer than a dynamic microphone. Condensers can faithfully reproduce subtleties in the sound wave’s dynamics and captures higher frequencies than dynamic microphones. if you can hear the sound with your ears then you can bet that the condenser microphone can also hear it. Many times, the microphone seems to hear the sound even “louder.” if you can faintly hear a cricket in the distance, it’s safe to say that the microphone can hear the cricket’s heartbeat. Not really, but you get the idea.


Condenser Microphones

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