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
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