Microphone selection (and application) is as much art as it is science.
If you know some basic things to consider and the nature of your microphones you can make an inteligent selection.

These are the basic considerations for selecting a microphone:

• ENCIRONMENTAL CONDITIONS
  • Nearby sources
    If you want to INCLUDE the nearby sources, consider using a NON-DIRECTIONAL mic
    If you want to EXCLUDE the nearby sources, consider using a DIRECTIONAL mic
  • Ambient noise
    If there is ambient noise (and it is not deisred to record it!), you can:
    • Consider using a DIRECTIONAL mic to exclude some noise
    • Move the mic CLOSER to the source to make the signal to noise ratio greater
    • Investigate ELIMINATING or REDUCING the noise by shutting it off or putting a barrier between it and the mic.
  • Wind
    Use WINDSCREENS on the microphones

• NATURE OF THE SOURCE
  • Directionality
    If the source is directional it is usualy desirable to put the mic in the primary path
  • Pitch
    DYNAMIC microphones are usually used for low frequency sources like kick drum and bass
    CONDENSER microphones are often preferred for high frequency sources (remember overtones!)
  • Level
    Consider using DYNAMIC mics for very HIGH LEVEL sources (may be too loud for condenser)

• OTHER FACTORS
  • Microphone availability
    You may be limited in which microphones are available to you. Test what you have to determine best fit.
  • Phantom or battery power
    Most condenser microphones require phantom power.
    If the mixer does not provide it, use a dynamic mic or a battery in the condenser mic (if it allows it).
  • Physical conditions
    Clip on microphones can be used if talkers are stationary (seated).
    Stand microphones are better if talent is coming and going to a specific location (stage).
    Wireless microphones should be considered for talent which is moving around while performing.
  • Production requirements
    If production requires invisible microphones (i.e. drama) consider using:
    • Wireless clip-on mics (hidden appropriately in costumes)
    • Microphones hidden in set and/or props
    • Boom microphone (usually directional, "shotgun" even, and requires extra operator)

Back to Using Microphones

Copyright © 1997 Richard Crowley