1. Subjective Comparison of Vocal Microphones Evaluating the microphone, not the performance http://www.bradfordswanson.com

2. SUMMARY Microphones are delineated by their: Directional characteristics Physical and Electrical construction Intended purpose Performance Specifications Subjective qualities Cost http://www.bradfordswanson.com

3. MICROPHONESDIRECTIONALCHARACTERISTICS DELINEATION OF MICROPHONE TECHNOLOGY DIRECTIONAL CHARECTERISTICS http://www.bradfordswanson.com Source: www.bandwagonmedia.com Source: www.sennheiser.com - E602s specifications

4. MICROPHONESCONSTRUCTION DELINEATION OF MICROPHONE TECHNOLOGY PHYSICAL & ELECTRICAL CONSTRUCTION Condensor http://www.bradfordswanson.com Ribbon Dynamic Large Diaphragm Small Diaphragm Grill Construction

5. MICROPHONESINTENDEDPURPOSE DELINEATION OF MICROPHONE TECHNOLOGY INTENDED PURPOSE http://www.bradfordswanson.com

6. MICROPHONESSPECIFICATIONS DELINEATION OF MICROPHONE TECHNOLOGY PERFORMANCE SPECIFICATIONS http://www.bradfordswanson.com Frequency Response Output Sensitivity Equivalent Self-Noise THD Max SPL

7. MICROPHONESOBJECTIVEQUALITIES NAVIGATING MICROPHONE SPECIFICATIONS FREQUENCY RESPONSE http://www.bradfordswanson.com Source: www.sennheiserusa.com Sennheiser MD-421 Frequency response -dotted lines represent roll-of between M and S

8. MICROPHONESCONSTRUCTION&TECHNIQUE NAVIGATING MICROPHONE SPECIFICATIONS FREQUENCY RESPONSE http://www.bradfordswanson.com Source: www.shurenotes.com Beta 58A Frequency response -dotted lines represent different distances -proximity effect compensation is built in!

9. MICROPHONESCONSTRUCTION&TECHNIQUE NAVIGATING MICROPHONE SPECIFICATIONS OUTPUT SENSITIVITY http://www.bradfordswanson.com Source: Earle, Pg. 110 In practice: -Note microphones sensitivity specs when considering placement -These sensitivity measurements change with impedance! Normal Sensitivity Ranges by Use Close-in, Handheld 2-8 mV/Pa Normal Studio Use 7-20 mV/Pa Distant Pickup 10-50 mV/Pa Output Sensitivity of Common Microphones MD421 2 mV/Pa AT-4060 19.8 mV/Pa DPA/B & K 4006 32 mV/Pa Source: Product Specifications

10. MICROPHONESCONSTRUCTION&TECHNIQUE NAVIGATING MICROPHONE SPECIFICATIONS EQUIVALENT SELF-NOISE http://www.bradfordswanson.com In practice: -Do you want to boost signal, or noise? -Preamps often have more noise than the microphone -Millennias & Hardys Dont! Self-Noise of Common Microphones AT-4060 19 dB/A DPA/B & K 4006 15 dB/A Shure KSM-141 14 dB/A TLM-103 7 dB/A Ribbons & Dynamics Not usually specified Source: Product Specifications

11. MICROPHONESCONSTRUCTION&TECHNIQUE NAVIGATING MICROPHONE SPECIFICATIONS THD (Total Harmonic Distortion) & Max SPL http://www.bradfordswanson.com In practice: -Measures the point at which the ELECTRONICS distort NOT THE DIAPHRAGM Diaphragm Thickness of Common Microphones Ribbons 1-3 Microns Condensors 2-6 Microns Tympanic Membrane 30-120 Microns Dynamics >200 Microns Source: Product Specifications, http://audilab.bme.mcgill.ca/AudiLab/ear.html

12. MICROPHONESCONSTRUCTION&TECHNIQUE NAVIGATING MICROPHONE SPECIFICATIONS AIR & MICROPHONES http://www.bradfordswanson.com In practice: -Sound = AC -Air = DC Common sources of direct air columns Kick Drum Speaker Cones at High SPL Plosives Moving microphones Wind (Natural & HVAC) Escaping Air Column Instruments

13. MICROPHONESCONSTRUCTION&TECHNIQUE NAVIGATING MICROPHONE SPECIFICATIONS TRANSIENT RESPONSE http://www.bradfordswanson.com -Response of a system to a change in equilibrium -More sensitivity/lighter diaphragm = better transient response -Compromised/Stretched diaphragms = worse transient response

14. MICROPHONESSPECIFICATIONS DELINEATION OF MICROPHONE TECHNOLOGY SUBJECTIVE QUALITIES http://www.bradfordswanson.com Physical Aesthetics Timbral Aesthetics

15. MICROPHONESSPECIFICATIONS DELINEATION OF MICROPHONE TECHNOLOGY VARIABLES IN SUBJECTIVE TIMBRAL COMPARISON http://www.bradfordswanson.com Placement/Technique Room Filters Signal Chain Calibration The Performance Context Post-Processing

16. MICROPHONESRESOURCESFORCOMPARISON RESOURCES FOR MICROPHONE COMPARISON 3D Audio Inc. Comparison CDs http://www.bradfordswanson.com Male and Female vocalists at 49 microphones Individual Performances at each microphone Same place in the same room Consistent signal chain and calibration Presented unprocessed and isolated Includes blind test opportunity $25 available at 3daudioinc.com

17. MICROPHONESRESOURCESFORCOMPARISON RESOURCES FOR MICROPHONE COMPARISON RDE Soundbooth Website & App http://www.bradfordswanson.com Full band recording illustrating their products Individual Performances at each microphone Presented with an interactive mixer function Available for download as a 24bit/44.1kHz ProTools session Many samples (but not mixer function) available as a free iPhone/iPod/iPad app Available at rodemic.com/soundboothstudio

18. MICROPHONESRESOURCESFORCOMPARISON RESOURCES FOR MICROPHONE COMPARISON Shure Mic Listening Lab http://www.bradfordswanson.com Samples across much of their product line and numerous different sources Individual Performances at each microphone Presented unprocessed and isolated Includes technical details on each mic My Favorites Function Available at shure.com/americas/support/tools/mic-listening-lab

19. MICROPHONESRESOURCESFORCOMPARISON RESOURCES FOR MICROPHONE COMPARISON Audio-Technica Listening Post Website http://www.bradfordswanson.com Samples across much of their product line and numerous different sources Individual Performances at each microphone Presented unprocessed and isolated Samples are available for download as a 16bit/44.1kHz WAV files Available at eu.audio-technica.com/en/support/listen/

20. MICROPHONESRESOURCESFORCOMPARISON RESOURCES FOR MICROPHONE COMPARISON http://www.bradfordswanson.com USING UNIQUE PERFORMANCES FOR SUBJECTIVE COMPARISON pros Optimal placement Consistent signal path cons Slight differences in performance Multiple performances can become taxing and time-consuming

21. MICROPHONESRESOURCESFORCOMPARISON GOALS GUIDING OUR RESEARCH http://www.bradfordswanson.com Procedure Single performances at groupings of 3-4 closely related microphones Similar performances at twelve of these groups Capsules as close together as possible Multiple vocalists and contrasting material A consistent control Similar signal path Mindful calibration and presentation

22. MICROPHONESRESOURCESFORCOMPARISON GOALS GUIDING OUR RESEARCH http://www.bradfordswanson.com Calibration 400 hz tone @ 85 dB SPL Preamp input levels carefully metered and matched Performance samples peak normalized Presentation Intuitive and efficient website Compatible with multiple browsers & mobile devices HTML 5 players with16 bit/44.1kHz samples Easy and fast switching between samples Voiceover examples presented unprocessed Musical examples presented in context & isolation

23. MICROPHONESRESOURCESFORCOMPARISON EXECUTING OUR RESEARCH http://www.bradfordswanson.com Initial 20-hour Session

24. MICROPHONESRESOURCESFORCOMPARISON EXECUTING OUR RESEARCH http://www.bradfordswanson.com Experiments with different array configurations

25. MICROPHONESRESOURCESFORCOMPARISON EXECUTING OUR RESEARCH http://www.bradfordswanson.com Three-day lockout session Twelve stations of 3-4 microphones each (plus control) Four performers of contrasting styles Two Male, Two Female Two Vocalists, Two Voiceover Artists Each performer allotted a 2-3 hour session Each performer presenting 2-3 takes at each station Accompanying instruments for contextual examples cupped hands test Carefully organized studio and control room Secure performance agreements from vocal artists

26. MICROPHONESRESOURCESFORCOMPARISON EXECUTING OUR RESEARCH http://www.bradfordswanson.com Three-day lockout session

27. MICROPHONESRESOURCESFORCOMPARISON EXECUTING OUR RESEARCH http://www.bradfordswanson.com Post Production Assess performances and export samples of the best takes Make note of performance anomalies Mix stereo musical examples (with processing) for contextual examples

28. MICROPHONESRESOURCESFORCOMPARISON EXECUTING OUR RESEARCH http://www.bradfordswanson.com Preparing for Presentation Document procedure and develop web content Collaborate on web design, coding and implementation Gather peer feedback and continual refine website Develop engineering brief for conference submission Develop poster for AES conference Develop powerpoint presentation for UML AES Present poster

29. MICROPHONESRESOURCESFORCOMPARISON USING OUR RESEARCH http://www.bradfordswanson.com

30. MICROPHONESRESOURCESFORCOMPARISON USING OUR RESEARCH http://www.bradfordswanson.com Session Planning Ear Training Compiling your own comparisons Blind Testing Drinking Games But keep in mind: Proximity effect Sensitivity, Self-Noise, THD & max SPL Construction Practical Use

31. MICROPHONESRESOURCESFORCOMPARISON ACKNOWLEDGEMENTS http://www.bradfordswanson.com RESEARCH TEAM Nick Foudi Matthew Wall ASSISTANT ENGINEERS Marissa Broe Daniel Desmond Jamie Tagg FACULTY ADVISOR Professor Alexander U. Case WEB DEVELOPMENT Lara Swanson VOCALISTS Steve Aliperta Jana Deren VOICEOVER ARTISTS Bob Kuhn Penelope Morel SPECIAL THANKS Professors William Carman and Paul Angelli; Drs. William Moylan, Alex Ruthmann, John Shirley, and Alan Williams; Jeremy Houle, Michael Gates, Jason York, and Gergana Antova

32. MICROPHONESRESOURCESFORCOMPARISON FURTHER READING http://www.bradfordswanson.com Eargle, J. (2004). The Microphone Book (2nd Edition). Burlington, MA: Focal Press. Olson, H. (1955). Musical Engineering (2nd Edition). New York, NY: McGraw-Hill. Woszczyk, W. (1989, March). Diffraction Effects in High Quality Studio Microphones. AES Convention Paper #2792

33. www.bradfordswanson.com/mic