Sound Advice
Our resident expert and founder, Scott Mead, has
an endless supply of inside-- deep inside-- tips for
making new music, better. If you have a question
that requires a personal answer, be sure to email
Scott directly at Scott"at"meadiaproductions.com. He
WILL answer you!
"Today's feature covers one subtle nuance of
capturing your sound: The Microphone. In the
recording process, choosing the right microphone and
placing it properly is the most critical step. Every
step that follows ... editing, EQ'ing, mixing, and
mastering will be affected, for better or worse.
While technology gives us great power to manipulate
sound, nothing will totally fix a weak track. In
light of this, let's take a closer look at the
mystery of microphones. First, let me say that for
the purpose of this article, I'm going to skip the
mathematics ... the physics of acoustics and
geometry of mic placement are topics that would
require more space and time than one article can
cover. There are many books devoted to this study,
and if you send me an email, I'll be happy to
recommend some of the best ones to you, if you care
to put in some deeper study.
For today, we will stick to concepts that will
aid you in both choosing your microphone and placing
it for the best response.
Rule Number 1: There is no right or wrong.
Remember that little rule, because nothing is more
true, especially when it comes to music. We learn
the "rules" of accepted practice to
increase our musical skills and vocabulary in order
to better express our art and communicate it with
others in a way they can relate to. In the end,
however, our own unique expression involves letting
go of the rules to allow the art to be what it is in
itself. When discussing microphones, this means
studying the techniques of great engineers, and
using them to reach a closer proximity of your own
unique sound.
Rule Number 2: The sound a microphone
captures is affected by everything ... EVERYTHING.
The drum type, shell material, head material and
condition, tuning, even the kind of sticks being
used will change the sound in the room, and
therefore the way a microphone hears it. The
instrument, strings, pick, amp, tubes, and position
in the room will have a great effect as well. Even
little things like varying temperature and humidity
in a room from one day to the next can change the
way your instrument sounds, as well as what the mic
hears. Finally, the room itself has a great effect.
Add one more person to a small room, and the
reflections change. This may all sound a bit extreme
... but think of a microphone as a highly tuned ear.
Unlike our human ears, which compensate for changing
environment and mask certain types of sounds so that
we can focus on particulars, a microphone does not
compensate beyond its own response characteristics.
The more sensitive the microphone, the more it will
be affected by the room and any subtle
changes.
Choosing Your Microphone: Do you ever
wonder why certain recordings jump at you ...
sounding more alive than everything else you hear?
Take a look at the engineer and producer credited in
the recording. Interesting ... you may find certain
names appearing over and over again. What is it that
these people do differently? Having had the pleasure
of working with many studios over the years,
watching their practices and hearing their results,
I can tell you without doubt, great recordings begin
with searching for and finding the mics that capture
the right feel and character for each track of the
song.
I understand that it's not always possible to
have a wide selection of mics available ... but
don't limit yourself. Gather every mic you can get
your hands on. It doesn't matter what they're
intended for or where they came from. Try ALL of
them on your voice, instrument, or amp. You may be
very surprised at which one jumps out at you with a
sound you never thought possible. Experimentation is
the key. It is interesting that an artist like
Michael Jackson, who certainly could have any
microphone at his disposal, has used a Shure SM-57
for studio vocal tracks on several of his hit songs,
a mic that isn't even designed for vocal
applications, and one of the most inexpensive
dynamic mics on the market. Why? Because it's the
one that captured the right sound.
Most studios and engineers tend to put up their
most expensive mic for all of their vocal tracks. I
understand ... they invested a lot into it and want
to use their best mic. I've heard the explanation
more than once when a vocalist is cringing upon
hearing playback that "the mic is extremely
accurate, and reveals every detail, even the ones we
don't like". I agree that it's always good to
find areas of performance that could use
improvement. However, in the studio, my perspective
is this: when I'm choosing a mic for an artist, I go
with the one that brings out and enhances the best
qualities of their instrument or voice, as well as
their performance style. I don't care if it's the
big beautiful condenser with a European label that
cost me $5,000 or the $25 PZM from Radio
Shack.
A Final Tip: When choosing a mic,
especially for vocal tracks, record some takes with
a few mics and listen to them in the context of your
mix, along with the other instruments and voices.
Sound can be deceiving. Sometimes a track that
sounds rich and full on its own will get buried when
part of the overall mix. You want your voice or
instrument to "sit" well in the mix and
cut through while bringing out your best qualities.
Experiment ... the results may surprise you!
NEXT ISSUE: Microphone Placement
Questions? Comments? Start
Here
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