Microphones are the most inconsistent products in the whole of audio (apart from loudspeakers that is!). But why do they sound different? Isn’t there such a thing as the perfect mic?

Is there such a thing as a perfect microphone? How would we know that it is perfect?

Well, if you could record someone speaking, then play the recording back through a very accurate loudspeaker, probably an electrostatic, then you would have an excellent basic for a comparison test.

Simply compare the sound coming from the loudspeaker, blindfold, with the real live sound of your voice artist.

If you can’t tell the difference, then the microphone is as perfect as it needs to be.

If you want to buy a near-perfect microphone, then you might start with DPA products, which are widely regarded as being very accurate.

But this isn’t always the sound that we want. Usually we seek to achieve an up-front, ‘larger than life’ sound, for which imperfect microphones are often more appropriate.

Microphones that do not strive too hard for perfection nearly always sound different to each other. Even seemingly identical samples of the same model can show a difference.

So why do they sound different?

First, the size and shape of the microphone - objects that are larger in size than the wavelength of the sound that strikes them have an effect on that sound. So at higher frequencies, the microphone interacts with the sound field and changes the sound it is trying to pick up.

Second, the grille. Try scratching the grilles of several microphones (gently) and compare the often huge differences in sound. This must be affecting the audio.

Third, the capsule. The capsule is the part of the microphone where the diaphragm is mounted. There are a variety of materials from which the diaphragm itself can be made, and methods of construction differ. This has a significant effect on the sound.

Fourth, the internal amplifier of capacitor (condenser) microphones. These amplifiers tend to be very simple in design and often do not exhibit the ultimate in accuracy. Every deviation from accuracy affects the sound.

Finally, the transformer. Most professional microphones have a transformer and those that do not have an electronic circuit that mimics the effect of a transformer. Transformers subtly, but often audibly, alter the sound quality.

I came across this article and thought it would be a great tip for engineers having trouble with amp noise. try it, it does work.

If you are miking up a guitar combo that has two loudspeakers, should you mic the left speaker or the right? It makes a difference, even if the two speakers sound exactly the same…

Let me explain the scenario. You have an electric guitar player with a combination amplifier (combo) that has two identical loudspeaker drive units.

You can put the mic on the left drive unit, or on the right drive unit. Which do you choose?

I suppose I should also mention the possibility of placing the mic exactly dead central. You can do this, although the mic would perhaps have to be more distant than if you miked just one of the drive units. There isn’t really a great deal of point in doing this, although you are welcome to try.

So left or right?

Firstly, do the drive units sound different? In a new or newish combo, then they should both sound exactly the same. But often they don’t, so it is worth experimenting with the microphone to find out which is best. This is something that can’t really be judged by ear since the drive units are physically so close and you would damage your hearing if you put your ear right up to the cabinet.

But if they do sound the same, then the mic can go on either side surely?

Wrong. Take a look round the back and see which side the mains cable goes in. The mic goes on the opposite side.

The reason for this is that dynamic microphones are sensitive to magnetic fields. The mic will easily pick up the 50 Hz or 60 Hz mains hum from the transformer. Placing the microphone on the other side of the cabinet, thus distancing it from the transformer, will lower the hum level significantly.

Of course, some microphones are less sensitive to hum than others. And if you use a capacitor microphone, it won’t pick up magnetically radiated hum at all. Capacitor microphones work using electrostatic fields and are not affected by magnetism.

Here is a mixing thought from FBS Chief Engineer, Jason Lackie.

I recently read a blog by another Seattle recordist (who will remain nameless) that said mixing (stereo summing/bouncing) in digital is not good. For this I can only blame ignorance and lack of experience in the medium. The key is in the gain staging, the choice of plug-ins, the clocking, mix engine, and the converter. It takes a lot of practice and great attention to detail, but a digital mix (if tracked through a great analogue front end, can sound just as good as any fully analogue mix. Try me!!

Hello all you independent engineers. If you are looking for a larger studio with competitive rates to bring your clients to, call us for a tour.  We are located in north Seattle.  FBS works with independent engineers and producers on a regular basis. Large rooms, great rates, classic gear and a helpful staff to assist you in your production needs

Studio Features:

* Professional Recording, Editing, Mixing & Mastering
* Full Music Production
* 3,000 Sq/Ft Facility
* 19′ x 18′ Control Room
* 32′ x 22′ Large Live Room
* 3x ISO rooms
* Mastering Lab
* Comfortable Lounge with Kitchenette
* Easy access from I-5

For more info please contact me.

Mark Naron
Director of Operations
206.367.4667 - studio line

Dave Hillis, producer / engineer of Pearl Jam, Alice in Chains and many other icon Seattle bands is at FBS this week producing regional favorites Black Nite Crash with Jason Lackie engineering the project. Look for a 7″ album to be released both in the USA and Europe early fall.

Lord David Hillis conducting music his way!

Black Nite Crush , promo shot

We have been working with a lot of labels, producers regional & touring acts lately, and many forks have been asking, “Who’s been hanging out recording with FBS”. Sometimes we are recording four to five completely different projects a month and the revolving door of artist becomes fuzzy. So I don’t forget and you can review, here is a peek of some of the people we have worked with.

Dave Hillis (Producer / Engineer, Pearl Jam, Alice in Chains)
Jason Carmer (Producer, The Donnas / Third Eye Blind)
Scott Mercado (Candlebox)
Jon Auer (The Posies)
Dave Krusen (Pearl Jam / Black Crows)
Andy Stoller (Tracy Chapman - Pete Droge)
Mitch Guindon (Nickleback)
Kevin Thorton (Color Me Badd)
West Valley Highway
Amber Pacific
The Young Sportsman
Pris
Andy Werth
Vendetta Red
Illusion 33

We have our next round of audio classes starting at the end of September. Space is limited so sign up now. 10 week course, Tuesday nights from 4pm to 8pm. Classes are held at the studio. Call or email for further details. info@fastbackstudios.net / 206.367.4667 studio line.

FBS is proud to sponsor The Washington Blues Society picnic. Great music, hot food & cold beer. see you there!