Table of Contents
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Table of Contents
Related Manuals for M-Audio Microphone
Summary of Contents for M-Audio Microphone
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Page 2: Table Of Contents
The M-Audio Family of Microphones ........ -
Page 3: Microphone Design
Each has unique attributes appropriate for different applications. Dynamic microphones The dynamic or moving-coil microphone is the easiest to understand. It is the classic technology taught in grade school as the inverse of the common speaker. A plastic or metal diaphragm is attached to a copper coil that is, in turn, suspended in a magnetic field. -
Page 4: Capsule Size
(with some caveats we ll cover in a minute). Signal-to-noise ratio of the microphone as a whole generally owes in part to diaphragm size. The more surface area that a diaphragm has, the greater its potential sensitivity to sound pressure and the stronger the output signal. -
Page 5: The Backplate
Large capsules exhibit a proximity effect (most predominantly in the cardioid polar pattern), meaning that they tend to sound more boomy as they get closer to the source. Large diaphragm M-Audio mics include the Solaris, Luna and Nova. -
Page 6: Patterns
50-cent piece. Patterns The term polar pattern is used to describe the response of a microphone to sound sources from various directions. Each type of polar pattern has its own place and usage in the recording process. - Page 7 This approach to capsule design can be seen in the M-Audio Solaris. The Solaris employs an opposing pair of the same diaphragm/backplate assemblies, thus allowing for the selection of multiple patterns via switches on the body of the mics.
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Page 8: Top Address Vs. Side Address Designs
200 ohms (or from half an ohm up to about 200 ohms). The condenser microphone presents a challenge of a different magnitude converting a signal in the range of two billion ohms down to 200 ohms.This incredible leap is beyond the scope of most output transformers, requiring the addition of a specialized amplifier. - Page 9 (A single transformer like those used in each channel of pro consoles and outboard preamps can cost more than a complete inexpensive multi-channel mixer.) Because the quality of this formidable translation is so critical in a professional-quality microphone, all M-Audio mics employ high-quality Class A electronics in the head amp.
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Page 10: Manufacturing Standards
In most solid state condensers, the key components are a series of op amps. All M-Audio mics employ FETs (field effect transistors) instead. Logic says that op amps should be preferable because they have lower measured amounts of THD. - Page 11 4dB. It is often necessary to place a special order (and pay surcharge as large as 20 percent of normal cost) for such matched pairs. This is not the case with M-Audio microphones. In order to pass inspection, all mics in our line must be within +/-1dB of not only each other, but of our golden reference mic for that model the one we won t sell for any price.
- Page 12 Choosing & Using Microphones...
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Page 13: Caring For Microphones
When pronouncing p , t and b sounds, vocalists often project extra energy toward the microphone. A common result of this extra energy is unwanted pops in the sound, as well as the expulsion of saliva a form of moisture detrimental to a condenser mic. For these combined reasons, a pop filter is highly recommended when recording vocals with condenser microphones. -
Page 14: Cleaning And Storage
In most cases, wiping the metal exterior of a microphone down with a dry or slightly damp rag will be sufficient to remove dust, dirt, fingerprints and the like. In the event that further cleaning is necessary, spray a non-abrasive household cleaner such as Fantastik or Formula 409 onto a rag and wipe the metal exterior with the rag. -
Page 15: Basic Miking Concepts
Basic Miking Concepts Chapter 3 Microphone placement is an area in which art meets science. Microphone choice and placement is somewhat subjective, much in the same way that choosing a guitar and amp is a matter of personal preference. Furthermore, each situation brings a difference confluence of performer, sound space, recording equipment and creative forces.The question is not one of using the right or wrong mic... -
Page 16: Large Capsules Vs. Medium Capsules
If you re looking for a good preamp at budget prices, check out M-Audio s DMP3. And if you re interested in a high-end preamp that won t break the bank, see the inset which follows, containing information about our revolutionary TAMPA preamp featuring Temporal Harmonic Alignment. -
Page 17: The Recording Environment
The Recording Environment Professional studios often have several different acoustic spaces available from small, relatively dead isolation booth to cavernous rooms with natural reflections and long delay times. Home recordists have fewer options, yet experimenting with recording in different rooms may yield interesting results. -
Page 18: Phasing Issues With Multiple Microphones
common acoustic damping materials for home studio use. Music stands can also be reflective something you can compensate for by simply draping towels over them. While a reasonable amount of absorption is often desirable for isolation, too much damping can create an anechoic space that literally sucks the life out of a recording. - Page 19 Minimize reflective surfaces. Hard surfaces like wood floors, smooth walls, windows and mirrors are a common culprit in phase issues because they reflect sound back into the microphone. If things sound odd, try moving the performer and/or mic. Also experiment with damping those reflections with blankets, towels, baffles and the like.
- Page 20 Choosing & Using Microphones...
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Page 21: Stereo Miking Techniques
(For the purposes of this guide, stereo miking techniques are a subset of multi-microphone techniques specifically aimed at accurately capturing a sound source with a left-right balance similar to the way our ears perceive a sound source.) -
Page 22: Blumlein
8 pattern. This configuration does not constitute stereo until the signals are processed through an M-S encoder matrix such as the M-Audio Octane Preamp. The encoder adds the mid and side signals The Blumlein arrangement relies on a matched pair... -
Page 23: Spaced Omni
(approx. 79 inches) apart, while the central microphone is 1.5 meters (59 inches) away at the bottom of the T. This... - Page 24 degrees and fanned out to cover the physical spread of the orchestra. Another pair of mics is often placed further back in the hall on either side of the orchestra in order to capture room reflections in the ambient space. Decca Tree is favored in the film industry because it provides a spacious sound along with good stereo imagery that works well with processes like Dolby and surround sound.
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Page 25: Specific Miking Applications
In all cases, the distance between the vocalist and the microphone will determine how present or intimate the sound is, as well how much reflected sound is picked up. Note also that the law of inverse squares dictates that... -
Page 26: Acoustic Guitar
As previously mentioned, a pop filter is highly recommended in order to soften plosives and to protect the condenser diaphragm from saliva. -
Page 27: Electric Guitar
Large diaphragms such as the M-Audio Solaris and Luna are excellent choices. The exact placement has a great deal to do with the type of tonality you are desiring. In most cases, the lid should be all the way open. When isolation is required, many engineers will adjust the lid to the halfway height, then enclose the opening and mics with a moving blanket. -
Page 28: Drums
(assuming that it has desirable acoustics.) Some engineers like adding another microphone under the piano facing up to the soundboard to capture the warm, mellow sound of the resonating wood. If you have enough condenser mics at your disposal, try a combination of close-miked stereo pair on top, a single mic on the underside, and a matched pair for distance-miking to capture the sound of the hall. - Page 29 • Single Mic. Using a single mic, the best you can attain is some sense of balance between the individual drums, along with the amount of room reflection versus pure drums. Using a boom, try angling a cardioid mic toward the kit at about 6 feet off the ground and about one foot in front or behind the kit.
- Page 30 Close-Miking Drums. Much of today s music focuses so strongly on the kick, snare and hi-hat that being able to mic these components of a drum individually is fairly critical. At a minimum, you also need a pair of overheads to catch everything else in stereo.
- Page 31 However, you can experiment with large capsule mic s like the M-Audio Luna, which is noted for it s performance in the higher frequencies.If using a pair, they can either be used in an X-Y coincident fashion or spaced several feet apart over the left and right portions of the kit. In both cases, experiment with a height of anywhere between two and five feet above the kit, depending upon the room.
- Page 32 Choosing & Using Microphones...
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Page 33: The M-Audio Family Of Microphones
Here s a brief overview of the entire M-Audio lineup: All M-Audio mics share a great deal in common. Here s a brief review in the context of some of the mic construction features discussed in first part of this guide. -
Page 34: Troubleshooting Tips
Problem: Sound is muffled ¥ Addressing wrong side of the mic. Address the top on top-address mics address the side with the M-Audio logo, on side-address models. ¥ Mic is too close to the source. Increase distance between mic and source. -
Page 35: Contact Information
Contact Information Appendix B M-Audio, formerly known as Midiman, is a leading provider of digital audio and MIDI solutions for today s electronic musicians and audio professionals. Founded in 1988, M-Audio now has independent offices in the US, Canada, UK, Germany, France, and Japan. M-Audio s ability to parlay...