TC Electronic Gold Channel User Manual page 43

WHERE GREAT RECORDINGS BEGIN
A bi-directional pattern is impractical to create in a dynamic design, which explains why most dynamic mics are either omni or some form
of cardioid. Ribbon mics are bi-directional by default, though some ribbon mics are available in a cardioid pattern. Condenser mics cover
the whole gamut of directional patterns, and many large-diaphragm condenser mics offer a selection of pickup patterns from omni to
cardioid to bi-directional.
Choosing the Right Mic
With all these mic types to choose from, it can seem like an overwhelming task to pick the right one for a given instrument or voice. To
make matters even trickier, a given type of mic won't always excel in certain applications. Thankfully, there are many time-proven
guidelines that can help narrow down your choices. Experimentation is also an important part of the process - the only rule of mic
selection is that there are no rules. You should try everything.
One of the first steps in choosing a mic is to listen to the sound itself. Listen for characteristics of the instrument or voice that you wish to
accentuate, as well as those that are better subdued. The right mic will capture the most flattering recording, making the sound seem "better
than life." Even if your goal is capturing a sound with complete accuracy and no enhancement, you'll need to have a good picture in your
mind of what the voice or instrument really sounds like.
Choosing the microphone type is a good next step. Dynamic, condenser and ribbon mics often have specific performance characteristics
unique to their mic type. Dynamic mics tend to be the most rugged, making them a good choice when a mic must stand in harm's way.
Most dynamics also handle extremely loud sounds without distortion. Ribbon mics are the most fragile, and tend to distort easily as sounds
get louder and lower in frequency. A wayward puff of air or wind can tear a ribbon from its mount, requiring an expensive repair to fix.
Modern condenser designs are generally much sturdier than ribbon mics, but still aren't as tough as most dynamics.
Sonically, condenser mics tend to have the most open, accurate sound with the most extended high-frequency response. This is because
most condenser diaphragms are extremely light and thin, making them capable of responding accurately to subtle, delicate changes in air
pressure. Dynamic mics have a much heavier diaphragm assembly, which limits the speed at which they can respond to sound. This makes
dynamic mics tend toward a more "compressed" sound, with reduced transients and less high-frequency detail. Ribbon mics generally fall
somewhere between condensers and dynamics, and are often considered to have a smoother, mellower sound than the other mic types. As
with all aspects of mic performance, however, certain mics will fall well outside these gross generalizations. The only way to know how a
mic will perform is to listen to it.
Pickup pattern is another key element of mic performance. Directional mics are used to reduce the amount of ambient sound and room
reverb that ends up in a recording, as well as stray sound from other instruments. Omnidirectional mics pick up a higher ratio of ambient
sound, which may be appropriate in good-sounding rooms. Bi-directional mics are useful when recording two instruments or vocalists--
placed on opposite sides of the microphone, both performers can enjoy the sonic benefits of being "on-mic." You'll want to choose a mic's
pickup pattern based on the environment the instrument or voice is being recorded in.
Finally, the individual sonic character of the mic comes into play. The goal is to choose a mic whose unique sound complements the
instrument or voice you're recording. Whether dark or bright, fat or thin, up-front or mellow, there's a mic out there that's a perfect match
for every sound source. It's up to you to find it.
Microphone Placement
Where you place a mic (or mics) is nearly as important to the quality of a recording as the mic itself. Finding the right distance and
location depends on the specific sound of the voice or instrument, as well as the characteristics of the recording space. Again,
experimentation is key.
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