Recording - May 2014 - 49

2b

choice of a moving-coil or ribbon dynamic microphone can
prevent distortion at the microphone output. (Just be sure, if
you choose a ribbon, that it's
designed to handle high SPL;
a modern design like a Royer
will be more robust in these
applications than a vintage
RCA mic.)
Note that the higher mass of
a dynamic mic capsule also
results in a high-frequency
response that starts to attenuate at a lower
frequency than a typical condenser. Take a
look at the frequency response chart for an
Audix i5 dynamic (Figure 2a) compared to
a Neumann KM184 condenser (Figure 2b).
You can clearly see the more extended highfrequency response of the KM184.
Both of these microphones were
designed with an intentional high-frequency boost, and you can see that this boost is
"bumpier" in the dynamic. This is due to

the inherent "ringing" resonance of the heavy dynamic
diaphragm and coil compared to the extremely lowmass condenser diaphragm.
This is neither a good nor a
bad thing; it's just a different
sound from a different
design. The KM184 was

Less than 12" from a very loud source,
but does it have an abundance of highmid to high frequencies? If so, pick a
mic with a flatter response; if not, go
for a brighter response.
Instruments that have robust energy in
the high-mid to high frequencies (3-20
kHz) may sound too bright when recorded with microphones that boost these frequencies. Conversely, instruments that
have less high-mid to high-frequency energy may sound too dark and dull when
recorded with microphones that have a
flatter response in this frequency range.
These darker instruments may become
hard to hear in the mix because the
human ear is more sensitive to high-mid
frequencies than lower frequencies.

3a

designed with a smoother
and more subtle high frequency boost, giving it a different character than a
dynamic mic like the i5 or the
Shure SM57.

So it's important to choose a mic whose
frequency response balances what the
instrument is giving off. For example, a
very bright and loud trumpet might sound
best through a flatter response ribbon
mic, or even one that slightly attenuates



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Recording - May 2014

Table of Contents for the Digital Edition of Recording - May 2014

Contents
Recording - May 2014 - Cover1
Recording - May 2014 - Cover2
Recording - May 2014 - 1
Recording - May 2014 - 2
Recording - May 2014 - 3
Recording - May 2014 - 4
Recording - May 2014 - 5
Recording - May 2014 - Contents
Recording - May 2014 - 7
Recording - May 2014 - 8
Recording - May 2014 - 9
Recording - May 2014 - 10
Recording - May 2014 - 11
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Recording - May 2014 - Cover3
Recording - May 2014 - Cover4
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