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Caring for Microphones
Chapter 2
High-quality condenser mics like the M-Audio line represent an investment. A few basic tips will
help ensure a lifetime of excellent performance.
Shock Protection
As you now know, condenser mics are constructed with extremely thin diaphragms and very high
tolerances. As such, condensers should be protected from abuse, especially physical shock.
(M-Audio capsules are rubber-mounted internally, but the need for caution still applies.) Keep
condenser mics away from situations in which they might be physically abused. Unlike a dynamic
microphone, condensers should always be mounted on a stand rather than hand-held (or swung
around on the end of a mic cord by a vocalist exhibiting showmanship). Similarly, wayward drum
sticks, guitar necks, violin bows and the like are not friends of condensers. As indicated earlier,
condensers should only be used live in controlled situations where the stage is protected from the
elements and is the exclusive domain of professionals. Take great care to avoid dropping a
consender mic or knocking over a mic stand holding one we recommend duct-taping cables to
the floor in order to avoid tripping over them.
A soft mount (also know as a shock mount) one that suspends the mic in an elastic we b i s
usually desirable because the mount absorbs vibrations from the floor, passing trucks or airplanes,
and any modest inadvertent physical shock.While hard mounts provide no such shock absorption,
they are sometimes useful in tight situations or when exact placement is required (such as in an X-Y stereo
miking configuration).
Pop Filters and Windscreens
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.
Typically a thin mesh stretched over a circular frame, the pop filter is mounted between the vocalist
and the mic capsule. (In a pinch, you can even construct a pop filter with a hanger and pantyhose.)
Windscreens, as the name implies, are sometimes used in outdoor recordings in order to reduce
wind noise and particulate matter striking the diaphragm. Windscreens typically consist of a
thickness of foam custom designed to fit over the capsule.Windscreens can reduce both low and
high frequency response, so they are typically not used as substitutes for pop filters.
Temperature and Humidity
The thin diaphragms and tight tolerances of condenser microphones make them susceptible to
temperature and humidity extremes. Never use condenser microphones when there is risk of
water damage (such as rain). Avoid high humidity situations such as seaside climates lacking air
conditioning.* The operating temperature of most condensers is 50...F to 95...F. If a condenser has
been outside in a colder environment (such as transporting it in winter), allow the mic to slowly
acclimate to room temperature before applying power in order to avoid condensation on the
capsule. Similarly, be careful not to leave condenser mics to bake in the trunk of your car on a hot,
sunny day.These same precautions apply to tube power supplies as well.
*Tip: Even the best condenser will start producing a crackling noise if inadvertently exposed to too much
humidity. In this event, an old trick is to place it near the heat of a light bulb for about half an hour.
13
Choosing & Using Microphones
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