Many times, a person is faced with a lot of unknowns when purchasing a microphone for the first time. Whether it be for a child joining an orchestra, or for a person fulfilling a lifelong dream of starting a band, there is actually a lot to learn. For those new to microphone lingo, chances are you are unaware of the many microphone types and the differences between them. Many of these differences can affect your choice of instrument microphones or any other type, for that matter. In this article we look at what you need to look for before purchasing your microphones.
You need to understand these terms. Transient response - how a microphone reproduces speed of voice/instrument. If you want a more technical definition, the transient response of a microphone is its ability to respond to rapidly changing sound waves. Frequency response - how a microphone responds to different frequencies. Sound Pressure Levels (SPLs) - could be defined as a measure of the strength or intensity of sound. I could get technical here, but suffice it to say that, for the average person, loudness or volume are good words to associate here.
Now, we first are going to discuss condenser microphones. These are the most common type of microphone you will find in studios. Relatively speaking, they have a wide frequency and transient response. This is part of the reason you do not typically find them outside studios because they are very sensitive to ambient noise (i.e. another instrument all the way across the stage). It is also good to note that they are quite fragile. As far as their cost, generally condenser mics are rather expensive. Cheap condenser microphone can be found, but you will most likely hear the "cheapness" in how it reproduces sound. Condenser mics are great proof of the adage, "you get what you pay for".
Each kind of microphone has its specific function. However, since different microphones are often designed for different purposes and environments, these factors need to be considered by prospective purchasers. For example, while an SM58 may be ideally suited for vocals, a Shure PGDMK6 Drum Microphone Kit may be more appropriate for miking up a snare, toms and bass drum. If for example you are a drummer, and you want to mic your kits, then you may have a number of issues to consider, such as whether they want to use a standard set of condenser mics or mics that are designed specifically for this instrument, complete with clips. With the various options available, as well as the infinite numbers of possible drum configurations, players may be well advised to research what is on the market thoroughly before deciding what best meets their needs.
Another issue to consider is whether users want low or high impedance mics. The former can transmit signals over hundreds of feet without any noticeable deterioration in sound quality. However, the signal on more affordable high impedance mics can deteriorate if cables over more than 20-feet are used. Vocalists and musicians may also need to consider how sensitive mics are to sounds from certain directions. A unidirectional mic is undoubtedly more suitable for stage purposes, as the cardoid polar pattern helps it to ignore some external sounds, such as those created by other instruments in a live scenario.
You will have to search that the reaction is of minimum capacity which is between 100 Hz to that of 8KHZz. You must get hold of a stereo set when the headset is your choice. The head set patterns of microphones are more affordable than any other choice and when you are looking for the microphone that will not become heavy on your pocket then these models are the best. So now with the microphone near you can beat all the distances by talking through it.
You need to understand these terms. Transient response - how a microphone reproduces speed of voice/instrument. If you want a more technical definition, the transient response of a microphone is its ability to respond to rapidly changing sound waves. Frequency response - how a microphone responds to different frequencies. Sound Pressure Levels (SPLs) - could be defined as a measure of the strength or intensity of sound. I could get technical here, but suffice it to say that, for the average person, loudness or volume are good words to associate here.
Now, we first are going to discuss condenser microphones. These are the most common type of microphone you will find in studios. Relatively speaking, they have a wide frequency and transient response. This is part of the reason you do not typically find them outside studios because they are very sensitive to ambient noise (i.e. another instrument all the way across the stage). It is also good to note that they are quite fragile. As far as their cost, generally condenser mics are rather expensive. Cheap condenser microphone can be found, but you will most likely hear the "cheapness" in how it reproduces sound. Condenser mics are great proof of the adage, "you get what you pay for".
Each kind of microphone has its specific function. However, since different microphones are often designed for different purposes and environments, these factors need to be considered by prospective purchasers. For example, while an SM58 may be ideally suited for vocals, a Shure PGDMK6 Drum Microphone Kit may be more appropriate for miking up a snare, toms and bass drum. If for example you are a drummer, and you want to mic your kits, then you may have a number of issues to consider, such as whether they want to use a standard set of condenser mics or mics that are designed specifically for this instrument, complete with clips. With the various options available, as well as the infinite numbers of possible drum configurations, players may be well advised to research what is on the market thoroughly before deciding what best meets their needs.
Another issue to consider is whether users want low or high impedance mics. The former can transmit signals over hundreds of feet without any noticeable deterioration in sound quality. However, the signal on more affordable high impedance mics can deteriorate if cables over more than 20-feet are used. Vocalists and musicians may also need to consider how sensitive mics are to sounds from certain directions. A unidirectional mic is undoubtedly more suitable for stage purposes, as the cardoid polar pattern helps it to ignore some external sounds, such as those created by other instruments in a live scenario.
You will have to search that the reaction is of minimum capacity which is between 100 Hz to that of 8KHZz. You must get hold of a stereo set when the headset is your choice. The head set patterns of microphones are more affordable than any other choice and when you are looking for the microphone that will not become heavy on your pocket then these models are the best. So now with the microphone near you can beat all the distances by talking through it.
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pictures of microphones One way of eliminating the undesired sound is by forming a secondary and primary microphone. Noise cancelling microphones are unidirectional microphones Another feature of these involves the response that is used.
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