Audio Class: Field Production:

Microphone Selection

• Directional or Omni?
  • Directional: Usual choie to select individual source or to reject noise in the field.
  • Omnidirectional: For large or spread out music groups, or for ambience
    (But you must listen to the mix for proper placement!)

• Dynamic or Condenser?
  • Dynamic: More rugged, no power, wider dynamic range
  • Condenser: Flatter, more sensitive, wider bandwidth, require power.

• Microphone Type?
  • Lapel: Mostly condenser
  • Standard: Both condenser and dynamic, hand-held or on a stand
  • Shotgun: Almost all condenser. Hand-held or boom, sometimes on stand.
  • PZM (Plate) All consenser. Requires large flat surface for decent bass.
  • Wireless: Uses one of the above mic types.

• Voice
  • Lapel: Good for hands-free, controlled conditions.
    Dynamic range may limit usefulness for singing.
  • Standard: Good for most applications. Hand-held or on stand. Both condenser and dynamic types available. Mostly directional (cardiod).
  • Boom/Shotgun: For long working distances. Critical aiming. Mostly used for "film-style" production.
  • Wireless: Qualities of attached mic plus qualities of transmitter and receiver.

• Music/Instrument
  • Guitar/Strings/Piano: Standard condenser (or dynamic)
  • Brass/Woodwind/Sax: Standard dynamic, (condenser may not have dynamic range for loud brass)
  • Instrument Amplifier: Depends on level and dynamic range, but try for "direct box" feed.
  • Drums/Percussion: Standard condenser (except kick-drum). Mic position critical for balance between drums. cymbals, etc.

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Audio Class © 1993 Richard Crowley