1) As a general guideline, it can be said that dynamic microphones are best suited for live sound work, and that
condenser microphones are more suited for use in a recording studio.
Give technical and practical reasons for why this may, or may not, be a valid statement (include diagrams if
necessary).
The Condenser Microphone is suited more in a recording studio because it is high-fidelity, it picks up detailed sound with lots of clean high frequency, they have a extended low and high frequency response, they do require external or internal power, phantom power, it can be affected by the humidity and temperature of a room. This mic picks up everything, this is why its best to be used in a recording studio where you as the artist wants everything to be heard. It can not be used in a live workshop because it would pick up everything from the band to even what the audience is saying. The condenser mic is fragile to sound, very sensitive to the energy sound brings and when shouted into the feed back for who ever listens would probably not be the most pleasurable thing to hear, and because most of them are expensive it has to be taken care of with a delicate approach.
So yes your statement is true Grant because if used in the wrong places, time can be wasted and damage can be done. Both are mics but each mic is made for different purposes and if put into the wrong situations a lot can go wrong.
2) What are the three main polar patterns found on microphones? Describe the differences and give examples of how each could be used.
Polar Patterns : Omni-Directional, Uni-Directional/Cardioid and Bi-Directional.
Omni-Directional picks up sound from all directions, its great for capturing natural or ambient sounds. Omni-Directional picks up sound equally from all directions, this doesnt mean that the frequency response is always equal in all directions though so its still best for the front of the mic to be focused on where the sound is actually coming from so that it can pick up the sound most accurately This does work well in studios because it can pick up the natural sounds of the drum-kit, guitar, bass or even woodwinds. Omni-Directional mics are very good to pick up vocals, and can be used in a group session, every harmony can be heard equally to the main vocal. Omni-Directional mics can be used in big halls or places with a large room space, it works well in this environment because then the person speaking/speakers can be heard clearly. Or where a choir is singing cause then it picks up all harmonies from different directions on the stage.
Uni-Directional or known as Cardioid it picks up best from the front of the microphone but can still be picked up a bit to the side or to the back. It mainly picks up the sound from one direction and captures a more focused, specific sound. Uni-Directional/Cardioid microphones can be used in live performances, with singers, it can also be used in radio stations, also in a hall of people if there is particularly 1 person speaking singing.
Bi-Directional it picks up equally from the front and the back, but picks up nothing to each side. Frequency is usually slightly better from the front of the microphone than the back and it sounds a bit brighter coming from the front of the mic than it would the back. A possible way for this type of mic to be used is in an interview, where only 1 mic is provided and one person sits at the front of the mic while the other sits at the back.
3) Dynamic and condenser microphones are the two most commonly used type of microphone found in the studio. Can you name any other types? Also include their basic technical features and how, or why, they might be used.
Ribbon Microphones operates almost the same as the dynamic microphone but instead of a heavy coil of wire it uses a strip of ex-streamly thin aluminum foil in its diaphragm. This means that it responds quicker than the Dynamic mic would and can pick up sounds faster, it has a great high frequency as a result. One of the problems is because the foil is so thin, it has weaker out put signal than a dynamic microphone. A ribbon mic has a smoother response than the dynamic mic also. One of the biggest down sides to using a ribbon mic is that the mic is fragile because the aluminum foil is so thin that any sort of air blast or pressure from a loud vocal, kick drum or even slamming the protective case can pop the ribbon so fast before you even notice. Some mics are immune to it, but they have to be well taken care of but regardless these mics are great because the sound quality is amazing. Ribbon mics have a relatively flat frequency response, they have a better high frequency response than a dynamic mic, they dont need external or internal power to operate, but the are fragile and require care when being used. These mic can be used for Cymbals, Bass, Piano, Electric and Acoustic Guitars and Brass Instruments.
Laser Microphones are often seen in action films or spy films and it can pick up sounds from a distance from the microphone equipment it self. When being used a laser beam gets in contact with a surface of a window or a plane surface that is affected by sound. These vibrations from the surface changes the angle of where the beam is reflected plus the motion of the laser beam is then detected and is converted to an audio signal. It can be used in films.
a) Audix D6
b) SE Electronics titan
c) microtech gefell M300
Audix D6 is mostly used for low frequency instruments like, a bass drum or a bass guitar, and large toms. It picks up very low frequencies that a normal mic wouldn't pick up. The D6 is Lightweight, compact and easy to position. The D6s transformer less design, low impedance and balanced output allow for interference-free performance.
SE Electronics titan is a condenser microphone that has a large-diaphragm. In order to work it needs a 48v phantom power. It can be used for picked guitars, slap bass, kick drum, percussive recordings (instruments).
Microtech Gefell M300 is a compact cardioid condenser microphone that pick up sounds from the from of the mic but can also pick up sounds from the back, it picks up every little sound that is clear and to detail. It can be great for recording instruments such as parts of the drum kit and piano.
Pre-amps are used to help or boost the sound from the microphone to a higher level or more useful level, all mic pre-amps will come with a gain control and an overload indicator. The gain controls how much sound is amplified through the pre-amp. The overload indicator tells you how much sound is being pushed or let out, showing weather or not it is too quiet or too loud. The input pad is a switch that keeps the hot signal from the mic from overloading the input sirkitery of the mic pre-amp, it is mostly used when trying to catch a very loud sound source like a snare drum or electric guitar. The phase switch on the pre-amp changes the quality of the sound. The HPF (High Pass Filter) only allows frequencies to pass which means that the low frequencies are attenuated which is why its sometimes called the low cut filter. There is also a phantom power switch that condenser have to use witch usually comes at a standard 48V. The last switch is HI-Z switch that you should switch on when recording other instruments that you can just plug straight into the pre-amp box, becomes an active direct box.
