Recording - May 2012 - 46

FIG 1

Although a variety of microphone technologies exist, it is the big three—the dynamic, the condenser, and the ribbon—that see the most use in the modern recording studio. In last month’s column I discussed these three mechanisms in detail, including their functionality, sonics, and usage. This month’s installment of Fundamentals will investigate microphone directionality.

After testing and measuring a microphone’s sensitivity to sounds arriving from various angles, the manufacturers publish the mic’s polar pattern. Take a glance at the plots coming up. Each presents a different polar pattern. To understand how these charts function, superimpose an imaginary microphone on each, facing the mics upwards with their diaphragms located in the center of the plot. The chart then displays relative sensitivity in front of (0˚), behind (180˚), and to the sides of (90˚) each mic. While polar plots can at first be confusing to a newbie, they quickly become intuitive, and present a valuable resource in determining how a mic will function. Omnidirectional Example A presents an omnidirectional polar pattern.

Chapter 5: Introduction To Microphones — Part Two (Directionality)
By Eric Ferguson Mics do not “hear” An interesting conundrum exists between two of our five senses. While our vision captures light from one bearing only, our ears experience sound from all directions. For those designing cameras, the mandate is obvious: cameras require sensitivity in one direction only. For microphone designers, however, the all-around-us nature of human hearing presents a slew of challenges. In some cases, a mic similar to our ears is the perfect solution. In a speakerphone, for example, an omnidirectional mic is ideal, as the phone must capture sound from all directions. In other applications, a microphone far different from the ear is required. When a dignitary steps up to a lectern to give a speech, the mic must be unidirectional and aim at the lecturer only. Amplifying sounds from the rear of the mic would defeat its very purpose, making the audience louder and increasing the probability of acoustic feedback. The need for directional microphones highlights an interesting attribute of auditory perception. While our ears may be omnidirectional, our brains possess the ability to filter chaotic input and selectively focus on a single sound source. A microphone, which doesn’t have the luxury of a mammalian brain built in, cannot sort out the good from the unwanted. Thus most mics must be designed to be directional.
46
RECORDING MAY 2012

FIG 2



Recording - May 2012

Table of Contents for the Digital Edition of Recording - May 2012

Recording - May 2012
Fade In
Contents
Talkback
Fast Forward
Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Kel Audio HM-7U amd HM-3C Microphones
Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
AKG Perception 120 USB Microphone
Miking Instruments: The Lost Art
Earthworks SR20 Microphone
SXSW 2012
Radial Engineering MC3 Passive Monitor Switcher
Readers’ Tapes
Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Miking A Symphony Orchestra For A Commercial
Audio-Technica AT4050ST Stereo Microphone
Alclair Reference In-Ear Monitors
RME Fireface UCX
Advertiser Index
Fade Out
Recording - May 2012 - Recording - May 2012
Recording - May 2012 - Cover2
Recording - May 2012 - 1
Recording - May 2012 - 2
Recording - May 2012 - 3
Recording - May 2012 - Fade In
Recording - May 2012 - 5
Recording - May 2012 - Contents
Recording - May 2012 - 7
Recording - May 2012 - Talkback
Recording - May 2012 - 9
Recording - May 2012 - Fast Forward
Recording - May 2012 - 11
Recording - May 2012 - Lynne Arriale’s Solo—A Piano Solo Recording Of Note
Recording - May 2012 - 13
Recording - May 2012 - 14
Recording - May 2012 - 15
Recording - May 2012 - 16
Recording - May 2012 - 17
Recording - May 2012 - 18
Recording - May 2012 - 19
Recording - May 2012 - 20
Recording - May 2012 - 21
Recording - May 2012 - Kel Audio HM-7U amd HM-3C Microphones
Recording - May 2012 - 23
Recording - May 2012 - Fanny Franklin’s Get Wet—A Conversation With Producer/Engineer Jason Gutierrez
Recording - May 2012 - 25
Recording - May 2012 - 26
Recording - May 2012 - 27
Recording - May 2012 - 28
Recording - May 2012 - 29
Recording - May 2012 - 30
Recording - May 2012 - 31
Recording - May 2012 - 32
Recording - May 2012 - 33
Recording - May 2012 - AKG Perception 120 USB Microphone
Recording - May 2012 - 35
Recording - May 2012 - Miking Instruments: The Lost Art
Recording - May 2012 - 37
Recording - May 2012 - Earthworks SR20 Microphone
Recording - May 2012 - 39
Recording - May 2012 - SXSW 2012
Recording - May 2012 - 41
Recording - May 2012 - Radial Engineering MC3 Passive Monitor Switcher
Recording - May 2012 - 43
Recording - May 2012 - Readers’ Tapes
Recording - May 2012 - 45
Recording - May 2012 - Recording Fundamentals. Chapter 5: Introduction To Microphones—Part Two (Directionality).
Recording - May 2012 - 47
Recording - May 2012 - 48
Recording - May 2012 - 49
Recording - May 2012 - 50
Recording - May 2012 - 51
Recording - May 2012 - 52
Recording - May 2012 - 53
Recording - May 2012 - 54
Recording - May 2012 - 55
Recording - May 2012 - Miking A Symphony Orchestra For A Commercial
Recording - May 2012 - 57
Recording - May 2012 - Audio-Technica AT4050ST Stereo Microphone
Recording - May 2012 - 59
Recording - May 2012 - Alclair Reference In-Ear Monitors
Recording - May 2012 - 61
Recording - May 2012 - RME Fireface UCX
Recording - May 2012 - 63
Recording - May 2012 - 64
Recording - May 2012 - Advertiser Index
Recording - May 2012 - 66
Recording - May 2012 - 67
Recording - May 2012 - 68
Recording - May 2012 - 69
Recording - May 2012 - 70
Recording - May 2012 - 71
Recording - May 2012 - Fade Out
Recording - May 2012 - Cover3
Recording - May 2012 - Cover4
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