microphone and radio knowledges, because of the different space and equipment, will have a lot of variations, but also need to adjust to the appropriate recording location through the trial recording, i hope that everyone can find their ideal voice
1 type of microphone
capacitive microphone
condenser microphone is a kind of microphone that sends sound into the inner diaphragm to vibrate, which causes the vibration of the diaphragm to change the voltage and then produce a signal. it has high sensitivity and is often used for high quality recording, such as guitar playing, complex ambient sound and use in the studio. most capacitive microphones require phantom power to receive radio, which is difficult to use.
dynamic microphone
comparatively, the cheaper dynamic microphone has coils and magnets, unlike the capacitive microphone, which is lightweight and less sensitive to high frequencies, but it has a softer sound and is suitable for recording voices and live performances. it is also commonly used in studios to receive high-pressure instruments, such as strikes and speakers.
2. directivity of microphone
omnidirectional
omnidirectional has the same sensitivity to sound from different angles. it is common in recording projects that need to include the whole environmental sound, or in the case of sound sources moving in the hope of maintaining a good radio, as well as in the case of a tie-clip microphone that speakers wear in their speeches. the disadvantage of omnidirectional is that it receives noise from the surrounding environment easily and is relatively cheap in terms of price.
single directional type
cardioid or hypercardioid are the most common single pointing modes. they have the best radio effect for the sound coming from the front of the microphone, while the sound coming from other directions will be attenuated. they are common in handheld microphones and other occasions. the extreme of this type is shotgun.
double directional
bi-directional or figure-of-8 accepts sound from the front and rear of the microphone. it can be used as stereo recording method and other special uses (such as ms, blumlein recording method). its internal structure and full directivity are basically similar, the main difference is that it is on the circuit board (pcb).
3. suggested location for recording voice
when recording voices, it is recommended to sing to the on-axis axis of the microphone, which is the most correct way of radio. the microphone's center point is to be avoided either downward or upward. 15-20 cm is the best distance. when singing to,,, or part of the english letters b, f, p, the stronger airflow generated by the mouth may lead to microphone overload distortion, resulting in a gas explosion noise (pop noise), when you can pull the microphone away or slightly away from the axis point (turnoff-axis) to avoid interference.
4. noise isolation
sponge cotton and spray-proof wheat cover can effectively isolate the air just mentioned. if the recording environment is outdoors, the sponge sleeve can effectively isolate the sound of wind blowing and wheat spraying. the blowout preventer can be used indoors or without the consideration of entering the mirror. it can disperse the airflow generated by the instantaneous air sound or breaking sound, greatly reduce the probability of directly entering the microphone and improve the recording quality. these explosions or air tones are very difficult to deal with in the post-production stage, and should be avoided as far as possible in recording.
5 choose your microphone shockproof frame
it's important to choose a shock mount for your microphone, which uses elastic vibration isolation to further reduce the impact of external vibration, as well as mechanical vibration transmitted vertically and horizontally. the sensitive microphone is quite sensitive to the vibration in the space. the shock-proof frame can effectively isolate the vibration and make the high frequency more transparent and the sound more stable.
6 microphones are too close
sometimes we want to be closer to the articulator to reduce other noises. the fact is that not only the noises are included, but also the proximity effect is created. the proximity effect is to use the distance between the source and the microphone to produce additional low frequency and volume. low-frequency enhancement will obscure the middle and high frequencies and make the effect of the speaker's output cloudy. if this is not the effect you want, try to avoid it.
7 avoid using too many microphones at a time
never add a second microphone when you can get the effect you want. instead, add something to it. for example, if you want to include a group of people talking and record all the voices in it, many times a microphone radio works better than multiple radios. besides the unbalance of sound sources, many microphones also have phasing problems, so the number of microphones can be small, and the effect is ideal.
8. listen to your ideal distance with your ears
when recording a musical instrument, you might as well listen to it with your ears and try different distance locations to get the ideal effect you want. for example, if you want to listen at any location of the guitar hole, you can use your ears to listen to adjust and then use the microphone radio to fine tune.
9. remember to record environmental sound sources
when editing a sound source, you may encounter paragraphs or dialogues that need to be deleted. when these parts are deleted, they become completely silent and abrupt. at this point, if you have a preview of the indoor ambient sound, it can help you fill the gap and make the whole track sound more natural. so get used to recording 30 seconds of ambient sound before or after radio.
these are some tips about microphone and radio for you. because of the different space and equipment, there will be many variations. we also need to adjust the recording position to the right place through the trial recording. i hope you can find your ideal voice
