00;00;00;07 - 00;00;04;14
Speaker 2
Hegemony.
00;00;04;16 - 00;00;06;22
Speaker 1
Hi, there. What's on your mind?
00;00;06;24 - 00;00;12;10
Speaker 2
I'm recording this for a podcast. Is that okay?
00;00;12;12 - 00;00;17;13
Speaker 1
Sounds great. What kind of podcast are you thinking about?
00;00;17;15 - 00;00;34;18
Speaker 2
I would like to learn about different kind of, equipment. Especially microphones. The sound designers use when producing content.
00;00;34;20 - 00;00;52;25
Speaker 1
Sounds like a great topic. Let's dive in. Sound designers use a wide range of microphones to capture different sounds and create unique effects. We can talk about specific types of microphones, or maybe focus on which mikes are best for certain kinds of sounds. What would you prefer?
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Speaker 2
Let's pretend that I don't really know about mikes. Let's let's and start me off kind of, simple and broad and then we'll get deeper from there.
00;01;06;25 - 00;01;26;23
Speaker 1
Okay. Sounds like a plan. Let's start with the basics. Microphones are basically devices that capture sound and turn it into an electrical signal. There are tons of different types, each with its own strengths and weaknesses. Some are great for recording vocals, others for instruments, and some are even designed for things like capturing sound underwater. We can start with the most common types if you want.
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Speaker 1
Or we can focus on microphones for a specific purpose, like recording music or podcasts. What do you think?
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Speaker 2
Let's go through the different types first.
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Speaker 1
All right. Let's start with the most common type. First up you've got dynamic microphones. These are your workhorses. Tough, reliable and great for loud sounds like drums or guitars. Then there are condenser microphone. Super sensitive and detailed. Perfect for vocals or acoustic instruments in a studio. And finally, ribbon microphone. They have a warm vintage sound, but they're also the most delicate of the bunch.
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Speaker 1
Want to start with dynamic mics and go from there?
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Speaker 2
Yes, please.
00;02;08;08 - 00;02;24;03
Speaker 1
Okay. Dynamic microphones are the rugged workhorses of the microphone world. They're built to handle loud sounds, so they're perfect for things like live music performances or recording drums. Think of them as the reliable, tough mics that can take a beating. Want to know how they work?
00;02;24;05 - 00;02;28;21
Speaker 2
Okay, let's do it.
00;02;28;24 - 00;02;47;11
Speaker 1
All right, so inside a dynamic microphone, there's a diaphragm connected to a coil of wire. When sound waves hit the diaphragm, it vibrates. And that moves the coil within a magnetic field. This movement generates a tiny electrical signal that mirrors the sound waves. It's like a tiny sound powered generator.
00;02;47;14 - 00;02;52;16
Speaker 2
Or the different kind of dynamic mics.
00;02;52;19 - 00;03;12;14
Speaker 1
Yes, there are a few different types of dynamic microphones. The most common one is called a moving coil dynamic microphone. There are also ribbon dynamic microphones, which use a thin ribbon instead of a coil. And finally, there are dynamic microphones that use special materials to make them better at capturing specific sounds.
00;03;12;17 - 00;03;19;25
Speaker 2
Can you tell me about the pros and cons of each of those types?
00;03;19;28 - 00;03;40;28
Speaker 1
Sure thing. Moving coil mics are like the reliable workhorses of the microphone world. They're tough, can handle loud sounds without distorting, and they're usually more affordable. But they might not capture super subtle details like other mics. Ribbon mics, on the other hand, have a warm, smooth sound that's great for vocals and acoustic instruments. However, they're more fragile and can be pricey.
00;03;41;03 - 00;03;58;03
Speaker 1
As for the special material dynamic mics, they often excel in specific areas. For example, some are designed to handle extremely high sound pressure levels, while others are optimized for capturing speech. The downside is they might not be as versatile as a general purpose dynamic mic.
00;03;58;05 - 00;04;03;24
Speaker 2
Okay, let's talk about condenser mics now.
00;04;03;26 - 00;04;21;29
Speaker 1
All right. Condenser microphones are the sensitive souls of the microphone world. They capture a wider range of frequencies and pick up subtle nuances in sound, making them a favorite for studio recordings, vocals, and acoustic instruments. Think of them as the high detailed, delicate mics that capture every little sound. Want to know how they work?
00;04;22;01 - 00;04;27;25
Speaker 2
Yes, please.
00;04;27;27 - 00;04;30;13
Speaker 1
The answer to those.
00;04;30;15 - 00;04;37;00
Speaker 2
Gemini in English, please stop.
00;04;37;02 - 00;04;55;23
Speaker 1
Sure thing. Inside a condenser microphone, there's a really thin diaphragm that vibrates when sound waves hit it. This vibration changes the distance between the diaphragm and a back plate, which creates an electrical signal. It's kind of like a tiny, super precise motion sensor.
00;04;55;25 - 00;05;03;08
Speaker 2
What's the difference between small and large condenser mics?
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Speaker 1
The main difference is the size of the diaphragm inside the microphone. Large diaphragm condensers usually have a warmer, smoother sound and are great for vocals. Small diaphragm condensers are more precise and have a flatter frequency response. So they're often used for instruments or situations where you want a really accurate sound.
00;05;21;17 - 00;05;29;14
Speaker 2
Give me an example of a situation where I would want a really accurate sound.
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Speaker 1
Sure. Imagine you're recording a classical guitar piece. You'd want a small diaphragm condenser to capture all the subtle nuances of the performance, from the delicate fingerpicking to the warm resonance of the guitar's body. Or if you're recording a drum kit, you might use small diaphragm condensers as overheads to get a clear and balanced picture of the entire kit.
00;05;57;20 - 00;06;05;11
Speaker 2
What about with a large condenser? When? When you, want to use that?
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Speaker 1
Large diaphragm condensers are your go to for vocals in a studio setting. They capture a lot of detail and have a warm, smooth sound that's flattering to the human voice. You'd also use them for acoustic instruments, where you want to capture the full body and richness of the sound.
00;06;23;07 - 00;06;37;23
Speaker 2
So the large diaphragm condensers just smooth out the sound a little bit to get rid of the imperfections and the small diaphragm condenser mics. Keep everything.
00;06;37;25 - 00;06;57;00
Speaker 1
That's right. Large diaphragm condensers tend to have a smoother, more forgiving sound, which can be great for vocals. Small diaphragm condensers are all about capturing the truth. They'll give you a very accurate representation of the sound source, warts and all.
00;06;57;02 - 00;07;13;25
Speaker 2
Okay, so when you talk about a ribbon microphone, is there, a ribbon microphone category as well as a ribbon microphone within the dynamic category or those the same.
00;07;13;27 - 00;07;36;00
Speaker 1
That's a great question. It can get a little confusing. A ribbon microphone is a type of dynamic microphone, but it's such a distinct design that it's often considered its own separate category, too. Think of it like this. All ribbon mics are dynamic mics, but not all dynamic mics. A ribbon mics.
00;07;36;02 - 00;07;47;04
Speaker 2
Okay. What is a situation in which it would, a ribbon mic would work very well.
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Speaker 1
Ribbon mics excel at capturing warm, smooth sound, making them a great choice for recording vocals, especially if you want a vintage vibe. They also shine on brass instruments and strings, adding a touch of classic character.
00;08;04;17 - 00;08;10;00
Speaker 2
How does it give a vintage vibe?
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Speaker 1
Ribbon mics tend to have a slightly rolled off high end, which gives them a warmer, less bright sound compared to condenser mics. This can add a classic retro feel to your recordings, reminiscent of older records.
00;08;23;17 - 00;08;32;08
Speaker 2
Okay, can you explain what you mean by a rolled off high end?
00;08;32;10 - 00;08;50;26
Speaker 1
Sure. Imagine a sound wave as a line on a graph, with the height of the line representing the loudness of the sound at different frequencies. A rolled off high end means that the line starts to slope downwards at the higher frequencies, indicating that those high pitch sounds are being recorded at a lower volume compared to the rest of the sound.
00;08;50;29 - 00;08;57;21
Speaker 2
Is that what an EQ does when you mess with an EQ?
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Speaker 1
When you're working with an EQ, you're essentially boosting or cutting certain frequencies in your audio. Think of it like a set of volume controls for different parts of the sound spectrum. So if you want to make the bass sound heavier, you'd boost the low frequencies. If you want to make a vocal track sound brighter, you'd boost the high frequencies.
00;09;17;06 - 00;09;27;19
Speaker 2
Okay, in what kind of situations do you recommend multiple mics, or is it always good to have multiple mics?
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Speaker 1
Multiple mics can be useful in a few scenarios. For example, if you're recording a band, you might want separate mics for each instrument to have more control over the mics. Or if you're recording a podcast with multiple speakers, individual mics can help ensure everyone's voice is clear. However, it's not always necessary. Sometimes a single well-placed might can do the trick.
00;09;55;16 - 00;10;04;15
Speaker 2
How do you listen back to multiple mics on, in real time?
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Speaker 1
You'll need an audio interface with multiple inputs to connect your mics to your computer. Then you can use a digital audio workstation to software to record and monitor them simultaneously. Mostly what you create separate tracks for each mic so you can adjust their levels and panning independently.
00;10;21;17 - 00;10;34;11
Speaker 2
But physically, how do you hook those? Like, say you have three different mics. How do you hook them in?
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Speaker 1
Typically, you'll use XLR cables to connect each microphone to an audio interface. The interface then plugs into your computer via a USB or Thunderbolt. The interface has preamps that boost the microphone signal to a usable level, and it converts the analog signal to digital so your computer can record it.
00;10;52;23 - 00;11;01;22
Speaker 2
If I were to search one of these things on Google, what I what would I look for to buy?
00;11;01;24 - 00;11;15;24
Speaker 1
If you're looking to buy a specific type of microphone, you could search for something like condenser microphone for vocals or dynamic microphone for live performance. You could also include the brand name if you have a preference, like sure as a 58 dynamic microphone.
00;11;15;26 - 00;11;25;27
Speaker 2
No. The thing that I would hook all the microphones into that fed into my computer.
00;11;25;29 - 00;11;44;02
Speaker 1
You'd be looking for an audio interface with multiple inputs. Focus rates, Scarlett, PreSonus Studio, and Universal Audio Apollo are some popular brands. You can also search for interfaces with a specific number of inputs, like a four input audio interface.
00;11;44;05 - 00;11;49;18
Speaker 2
Can you tell me the brand names again?
00;11;49;20 - 00;12;05;07
Speaker 1
Some popular brands are focus, Rate Scarlett, PreSonus Studio, and Universal Audio. Apollo.
00;12;05;10 - 00;12;29;24
Speaker 2
Okay, so, right now I am talking into a zoom H1, and, and I have you on just like a little speaker. I think it's an anchor speaker. And we're both talking straight into this mic.
00;12;29;26 - 00;12;43;22
Speaker 1
Okay, that makes sense. The zoom h1 n is a portable recorder with built in mics, and the anchor speaker is for playback. So you're using the H1 ns microphones to capture both your voices and monitoring through the speaker. Is that right?
00;12;43;24 - 00;12;56;21
Speaker 2
Yeah. You were speaking through voice mode on Gemini, and the H1 and is picking both of us up.
00;12;56;24 - 00;13;08;03
Speaker 1
Yeah that's correct. I'm using voice mode, and the H1 n is capturing both of our voices. How's the audio quality sounding to you?
00;13;08;05 - 00;13;18;27
Speaker 2
I think it could be a richer sound. And I'd really like to kind of take it to the next level.
00;13;18;29 - 00;13;31;20
Speaker 1
Okay, so you're looking for a richer sound and want to take your audio to the next level. To help me give you the best advice. Could you tell me a bit more about what you're recording? Are you focusing on vocals, instruments, or something else entirely?
00;13;31;22 - 00;13;38;19
Speaker 2
No, we're recording this conversation.
00;13;38;22 - 00;14;01;17
Speaker 1
Got it. In that case, since you're recording a conversation, you want to focus on capturing clear vocals with minimal background noise. A couple of well-placed dynamic microphones would likely be a good starting point. They're less sensitive to room noise than condenser mics, and they're durable enough to handle the wear and tear. Regular use. Would you like me to recommend a couple of specific dynamic microphones that are popular for spoken word recording?
00;14;01;20 - 00;14;08;18
Speaker 2
What kind of microphone does an H1 end have on it?
00;14;08;20 - 00;14;23;05
Speaker 1
The zoom h1 n has built in stereo condenser microphone. They're arranged in an X-Y pattern, which helps capture a wide stereo image.
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Speaker 2
Do you know if they are large or small? Diaphragm.
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Speaker 1
Unfortunately, zoom doesn't specify the exact diaphragm size of the H1 and microphone. However, given its compact size, it's safe to say they're on the smaller side.
00;14;49;16 - 00;15;26;24
Speaker 2
Okay, so ideally I would like to potentially have a mic for both of us. Well, each of us I should say so. One mic for you and one for Mike for me. Potentially upgrade your speaker. And I kind of like having an ambient sound, but I would like it to be clearer and more controllable. So I was thinking about putting, the H1 and farther away and maybe even outside to pick up.
00;15;26;27 - 00;15;27;18
Speaker 2
Yeah. Okay.
00;15;27;18 - 00;15;53;21
Speaker 1
It sounds like you're looking for a more professional podcasting setup. You want individual microphones for each of you. Improved monitoring and better control over the room's ambiance. Let's break that down first for individual mics. Do you prefer the warm sound of dynamic mics or the detailed sound of condensers? Also, what's your budget for the microphones and speakers?
00;15;53;23 - 00;16;09;24
Speaker 2
Budget? I don't really know, but it's definitely not in the thousands. I would say low hundreds for, a microphone and, yeah.
00;16;09;26 - 00;16;31;07
Speaker 1
Got it. So you're looking in the low hundreds per microphone. That's a good starting point for dynamic mics. The sure, FM 58 is a classic choice known for its durability and good sound quality. The road pod mic is another popular option, especially designed for podcasting for condenser mics in that range. The Audio-Technica At 2020 is a solid choice, offering good detail and clarity.
00;16;31;11 - 00;16;37;09
Speaker 1
Would you like me to find some speaker recommendations in a similar price range?
00;16;37;12 - 00;16;43;26
Speaker 2
What do you think about, potentially using a ribbon mic?
00;16;43;29 - 00;16;59;07
Speaker 1
If you're going for a warmer, more intimate sound. A ribbon mic could be a great choice. They're especially good for vocals, but they can also add a nice vintage vibe to acoustic instruments. The downside is they're more fragile and generally more expensive than dynamic mics.
00;16;59;09 - 00;17;16;21
Speaker 2
Okay. Quick tangent sometimes when my phone is too close to the microphone, it makes like a clicking buzzing sound. What is that?
00;17;16;23 - 00;17;31;03
Speaker 1
That clicking or buzzing sound is likely radio frequency interference. Your phone emits electromagnetic waves, and when it's too close to a microphone, especially an unshielded one, those waves can get picked up as unwanted noise.
00;17;31;05 - 00;17;40;12
Speaker 2
How do I avoid that if I need my phone to be somewhere near me?
00;17;40;15 - 00;17;58;27
Speaker 1
You could try putting your phone in airplane mode to minimize its radio emissions. If you need to keep it connected, try moving it a bit further away from the microphone and experiment with the orientation to see if that reduces the interference.
00;17;58;29 - 00;18;07;22
Speaker 2
With the type of microphone that I use affect how much it gets picked up.
00;18;07;25 - 00;18;21;27
Speaker 1
Yes, absolutely. Dynamic microphones are generally less susceptible to picking up interference than condenser microphone. So if you're dealing with a lot of potential interference, a dynamic mic might be a better choice.
00;18;21;29 - 00;18;35;27
Speaker 2
I find that, I will get more interference if the charger that's in my phone has a poor connection.
00;18;36;00 - 00;18;53;29
Speaker 1
That's a common issue. Chargers, especially the cheaper ones, can introduce noise into the electrical system. This noise can then be picked up by your microphone as buzzing or humming. It's worse when the charger is actively charging your phone.
00;18;54;01 - 00;19;00;09
Speaker 2
Can I put a barrier around the phone?
00;19;00;11 - 00;19;15;25
Speaker 1
Unfortunately, a simple barrier won't block the radio waves entirely. They can pass through most materials. You might have some luck with a specially designed RF shielding pouch, but those can be pricey and might not eliminate the problem completely.
00;19;15;28 - 00;19;32;25
Speaker 2
How do professionals avoid RF interference?
00;19;32;27 - 00;19;46;29
Speaker 2
Gemini. How do professional sound guys or gals sound designers avoid RF interference?
00;19;47;02 - 00;20;06;16
Speaker 1
Professionals use a few tricks. They rely on balanced cables, which are less prone to interference. They also keep audio cables away from power cords and other potential sources of noise. Sometimes they even use special shielding materials or filters to block out unwanted frequencies.
00;20;06;18 - 00;20;13;08
Speaker 2
What is a balanced cable?
00;20;13;10 - 00;20;32;11
Speaker 1
Balanced cables have three wires inside to carry the audio signal and one x to the ground. This design help cancel out any interference picked up along the way, resulting in a cleaner signal, especially for longer cable runs.
00;20;32;13 - 00;20;37;23
Speaker 2
What about using UHF?
00;20;37;26 - 00;20;58;06
Speaker 1
UHF, or ultra high frequency is another way to transmit audio wirelessly. It's often used for things like wireless microphones at concerts. It can be less prone to some types of interference compared to other wireless methods.
00;20;58;08 - 00;21;08;21
Speaker 2
So let's try and solve this cell phone. Creating a humming noise problem.
00;21;08;23 - 00;21;27;24
Speaker 1
All right. Let's troubleshoot that humming first. Try moving your phone further away from the microphone and any audio cables if that doesn't help. See if the hum changes when you plug or unplug your phone's charger. We might also want to check if any other electronic devices nearby could be causing interference.
00;21;27;27 - 00;21;37;21
Speaker 2
We're getting a different type of mic help or hurt.
00;21;37;23 - 00;21;49;05
Speaker 1
It could go either way. Some microphones are more sensitive to interference than others. Dynamic mics, for example, are generally less prone to picking up unwanted noise compared to condenser mics.
00;21;49;08 - 00;21;54;03
Speaker 2
What about ribbon mics?
00;21;54;05 - 00;22;16;28
Speaker 1
Ribbon mics are generally less susceptible to RF interference than condenser mics, but they can still pick up some unwanted noise. They're also more delicate, so you'll want to handle them with care.
00;22;17;00 - 00;22;42;10
Speaker 2
Okay. So let's get back to improving this studio of, me talking into the H1 and you talking into the h1 n from a speaker, but also picking up, some ambient from the environment around us, potentially separately.
00;22;42;13 - 00;23;00;04
Speaker 1
Okay, so you want to improve the sound quality of your podcast, focusing on your voice. My voice and the room ambiance. Let's start with the h1 n. It's a decent recorder, but for a more professional sound, you might want to consider using separate microphones for each of you. That would give you more control over the levels and clarity of your voices.
00;23;00;06 - 00;23;12;23
Speaker 1
As for the room ambiance, are you looking for a natural spatial sound or something more controlled and intimate?
00;23;12;26 - 00;23;25;06
Speaker 2
I think I'd like to be inside the room, but still pick up a bit of outside.
00;23;25;09 - 00;23;47;18
Speaker 1
Okay, that makes sense. You want a bit of that outside world in your recording, but not so much that it's distracting to get that balance. You could try using a couple of condenser microphones in an X-Y configuration. That setup captures a wider stereo image, including some of the room's natural reverb and those subtle outdoor sounds. You could also experiment with placing the H1 n a bit further away to add to the dedicated room mic.
00;23;47;24 - 00;23;53;12
Speaker 1
Do you have a particular type of sound in mind for the outdoor ambiance?
00;23;53;15 - 00;24;05;20
Speaker 2
When you say, take a couple condensers and put them in an X-Y configuration, what does that mean specifically?
00;24;05;23 - 00;24;28;16
Speaker 1
Essentially, you take two cardioid condenser mics and position them so their capsules are as close as possible, usually angled between 90 to 120 degrees. This creates a really focused stereo image where the sound sources are easily located.
00;24;28;19 - 00;25;08;05
Speaker 2
Okay, so let's say that we are sitting in a square room with us. Our backs against the wall and in front of us is the H1 and or microphone that we're speaking into. Where would you put the X-Y configuration of condensers to properly use what is happening? See what's happening in the room. Would you put it in front of us on the other side of the room?
00;25;08;08 - 00;25;27;15
Speaker 1
Okay. If you're backed against the wall, I'd suggest putting the X-Y mikes on the opposite wall facing you and the H1n1. That'll capture the room's reflections and give you a nice stereo image of the space. You could also try placing them off to one side, angled towards the center of the room for a slightly different perspective.
00;25;27;18 - 00;25;34;04
Speaker 2
What would make sense to the listener?
00;25;34;06 - 00;25;54;22
Speaker 1
That's a great question. It's all about capturing a realistic stereo image. When you use an X-Y setup, it's like having a pair of ears that are very close together. This helps the listener pinpoint where sound are coming from. Making things sound more natural and immersive.
00;25;54;25 - 00;26;04;03
Speaker 2
Could I place the listener in the room using this technique?
00;26;04;06 - 00;26;15;02
Speaker 1
Absolutely. The X-Y technique is fantastic for creating a sense of space. It lets the listener feel like they're right there in the room with you. Experience the natural sound of the environment.
00;26;20;10 - 00;26;32;26
Speaker 2
Okay. I think we're going to come back to that. How would you recommend picking up both of our voices?
00;26;32;28 - 00;26;54;17
Speaker 1
If you want to keep things simple. You could use a single omnidirectional microphone placed between you that would pick up both of your voices evenly, along with some of the room's natural ambiance or for more control, you could use separate cardioid microphones for each of you, positioned to minimize background noise.
00;26;54;20 - 00;27;16;07
Speaker 2
What type of is. Let's say we went with a separate cardio microphone because, well, let's say we went with separate cardioid microphones. What kind of cardioid microphones would you recommend?
00;27;16;09 - 00;27;35;10
Speaker 1
Well, if you're looking for a warm, classic sound, the SM 58 is a great dynamic cardioid mic. It's super durable and rejects background noise really well. On the other hand, a condenser mic like the rodent one A would give you a brighter, more detailed sound, but it might pick up more room reflections.
00;27;35;13 - 00;27;45;17
Speaker 2
And what kind of microphone can you give me? The specifics of what this Shure SM 58 is?
00;27;45;19 - 00;28;14;15
Speaker 1
The sheer SM 58 is a classic dynamic microphone known for its durability and warm sound. It's a cardioid mic, which means it picks up sound mainly from the front and rejects it from the sides and rear. This makes it great for isolating vocals in noisy environments.
00;28;14;17 - 00;28;28;17
Speaker 2
With audio recordings. Do you usually use a dynamic over a condenser?
00;28;28;20 - 00;28;44;09
Speaker 1
It really depends on the situation. Dynamic mics are great for loud sources, or when you want to minimize background noise, like in live performances or recording drums. Condenser mics are more sensitive and detailed, so they're often preferred for vocals or acoustic instruments in a studio setting.
00;28;44;11 - 00;29;01;15
Speaker 2
So why did you recommend, dynamic? If a, condenser is preferred for vocals?
00;29;01;17 - 00;29;24;12
Speaker 1
Dynamic mics like the SM 58 are great for vocals because they're less sensitive than condenser mics. This means they're less likely to pick up unwanted background noise, and they can handle loud sounds without distorting. They also have a tailored frequency response that emphasizes the warmth and clarity of vocals.
00;29;24;14 - 00;29;31;12
Speaker 2
Tell me about the tailored frequency response.
00;29;31;15 - 00;29;43;14
Speaker 1
Basically, it means the Mic is designed to boost certain frequencies that are common in vocals while reducing others. This helps your voice sound clear and present in the mix without getting muddy or harsh.
00;29;43;16 - 00;29;56;02
Speaker 2
What are some other, microphones, that are comparable to this one?
00;29;56;04 - 00;30;12;24
Speaker 1
Sure. A couple of popular options are the Sennheiser E 835, which has a similar frequency response to the SM 58, but with a slightly brighter sound, and the AKG D5, which offers a super cardioid pattern for even better off axis rejection. Both of these are solid choices for live vocals.
00;30;12;26 - 00;30;19;17
Speaker 2
And what was the model number on the Sennheiser?
00;30;19;19 - 00;30;40;14
Speaker 1
The Sennheiser's model number is 835. It's a pretty solid mic, especially if you want something that's going to sound a bit brighter than the SM 58.
00;30;40;16 - 00;31;12;10
Speaker 2
Okay, so right now our position is we are both facing away from this wall towards the mic because we're speaking into the H1, and which is a kind of a little bit of a cardioid stereo mic facing towards us. But if we had a ribbon mic we could change our orientation and it might sound really great.
00;31;12;12 - 00;31;36;12
Speaker 1
You're right, a ribbon mic could give you some interesting options. They have a figure minus eight pattern, so they pick up sound from the front and back, but reject it from the sides. If you position it correctly, you could capture both of your voices and some of the room's ambiance. You might even try facing each other with the ribbon mic in between.
00;31;36;14 - 00;31;55;27
Speaker 2
Between. Each person talking into a shorter SM 58, or each person talking into either side of a ribbon mic. What would you recommend?
00;31;55;29 - 00;32;14;12
Speaker 1
It depends on the sound you want. The SM 58 will give you a more focused, isolated sound, while the ribbon mic will pick up more of the room and give you a more natural blended sound. Ribbon mikes can be a bit more delicate though, so you'll want to be careful with placement and handling.
00;32;14;15 - 00;32;27;10
Speaker 2
And what if you have a speaker with a generally lower voice and a speaker with a generally higher voice?
00;32;27;13 - 00;32;54;28
Speaker 1
In that case, I'd recommend using separate microphones. A dynamic mic like the. Sure SM 58 would be great for the lower voice speaker, as it can handle louder sounds without distorting for the higher voice speaker. A condenser mic like the road and T1 eight would capture the details and nuances of their voice.
00;32;55;01 - 00;33;16;18
Speaker 2
Okay, so in this situation, your voice on the voice side is a little bit higher. So you would recommend not using the. Sure. SM 58.
00;33;16;20 - 00;33;37;11
Speaker 1
That's right. The SM 58 is a great all around mic, but it might not be the best fit for every voice since your voice has a higher pitch. A condenser mic would likely capture more of its natural brightness and clarity.
00;33;37;13 - 00;33;57;01
Speaker 2
Okay, so let's go back to the idea of placing a listener in the room with us.
00;33;57;04 - 00;34;13;23
Speaker 2
Gemini. Let's go back to the concept of placing a listener in the room with us. How would you go about doing something like that?
00;34;13;26 - 00;34;20;11
Speaker 2
Gemini. Do you recall where we were?
00;34;20;14 - 00;34;37;10
Speaker 1
Yes. Of course. We were just discussing microphone recommendations for different vocal ranges. You asked if the short SM 58 would be suitable for your higher pitched voice, and I suggested that a condenser microphone would likely capture its natural brightness and clarity better.
00;34;37;12 - 00;34;46;17
Speaker 2
And you recommended the road and T1 a do you have any other recommendations?
00;34;46;19 - 00;35;07;13
Speaker 1
Definitely. The Audio-Technica At 2020 is another great condenser mic that's a bit more budget friendly. It's known for its clear, natural sound and versatility. Another option is the Neumann TLM 102, which is a bit pricier but offers a really smooth, professional sound. Would you like me to tell you more about the specs of a particular model?
00;35;07;15 - 00;35;14;26
Speaker 2
How much does the Audio-Technica at 2020 go for?
00;35;14;28 - 00;35;26;02
Speaker 1
The Audio-Technica At 2020 is a great budget friendly option, usually selling for around $100. Of course, prices can vary a bit depending on where you buy it.
00;35;26;05 - 00;35;33;06
Speaker 2
What about the shorter SM 58?
00;35;33;09 - 00;35;47;14
Speaker 1
The sheer SM 58 is a classic dynamic microphone known for its durability and warm sound. It's a cardioid mic, which means it picks up sound mainly from the front and rejects it from the sides and rear. This makes it great for isolating vocals in Gemini.
00;35;47;17 - 00;35;53;16
Speaker 2
The price of this microphone.
00;35;53;18 - 00;36;04;25
Speaker 1
The sure SM 58 is a classic, so it's usually around $100, but you might find it on sale or used for a bit less.
00;36;04;27 - 00;36;17;00
Speaker 2
What about ribbon microphones? I looked on eBay and it seems like they're all over the place in price.
00;36;17;02 - 00;36;33;05
Speaker 1
Yeah, ribbon mics can get pricey, but there are some solid options that won't break the bank. The LR 144 is a good entry level choice, and the SE electronics x1 AR is another popular option that offers a lot of bang for your buck.
00;36;33;07 - 00;36;42;11
Speaker 2
Can you tell me a little bit about each of those and give me a estimated current price?
00;36;42;13 - 00;37;09;14
Speaker 1
Certainly, the RM XLR 144 is a good entry level ribbon mic. It's known for its warm vintage sound and is quite affordable, usually around $100 to $150. The S electronics x1 R is a more versatile ribbon mic, offering a smoother high end response and greater durability. It typically sells for around $250 to $300. Keep in mind that prices can fluctuate a bit depending on the retailer and any current promotions.
00;37;09;16 - 00;37;20;01
Speaker 2
Can you tell me more about the s e electronics x1 R? I think you can call it.
00;37;20;03 - 00;37;43;01
Speaker 1
The S electronics x1 R is a modern ribbon microphone that's known for its versatility and durability. It has a smooth, natural sound with a figure minus eight polar pattern, which means it picks up sound from both the front and back. It's great for recording vocals, acoustic instruments, and even guitar, and it's a bit pricier than some other ribbon mics, but it's a solid choice for anyone looking for a high quality ribbon microphone.
00;37;43;03 - 00;37;55;04
Speaker 2
And what about all the used ribbon mics? It seems like there's a lot of those. How do you know which ones are good and which ones suck?
00;37;55;06 - 00;38;16;16
Speaker 1
Yeah, that's a good question. It can be tricky to navigate the used market, especially with ribbon mic. They're more fragile than other types. So you got to be careful. First off, stick with reputable brands like RCA, Kohl's or Beyerdynamic. They've been making ribbon mic for ages so they know their stuff. Also check the seller's feedback and see if they have any experience with vintage audio gear.
00;38;16;18 - 00;38;25;20
Speaker 1
If possible, ask for sound samples or a video of the mic in action. That way you can hear if it sound good and if the ribbon still in decent shape.
00;38;25;23 - 00;38;30;13
Speaker 2
What were the companies again?
00;38;30;16 - 00;38;38;15
Speaker 1
I mentioned RCA, Kohl's, and Beyerdynamic. They're all well known for making quality ribbon mics, so those are good brands to look out for.
00;38;38;17 - 00;38;44;01
Speaker 2
How do you spell the second one?
00;38;44;04 - 00;38;54;12
Speaker 1
It's spelled Cholesky.
00;38;54;14 - 00;39;07;12
Speaker 2
Okay. Let's explore the concept of, recording the room to place the listener in it with us.
00;39;07;14 - 00;39;30;09
Speaker 1
Okay. You're talking about capturing the ambiance of a space to create a sense of realism for the listener. This is a cool concept, and there are a few ways to approach it. One way is to use a stereo microphone technique like spaced pairs or HTF, to capture the width and depth of the room's natural reverberation. Another way is to use a surround sound setup with multiple microphones placed around the room to create a more immersive experience.
00;39;30;11 - 00;39;43;13
Speaker 1
You could even experiment with binaural recording, which uses a dummy head with microphones in its ears to create a 3D audio effect. What kind of vibe are you going for?
00;39;43;15 - 00;40;02;27
Speaker 2
Well, it's hard because I'd like to do that, but, I want people to be able to listen with a single earbud and it doesn't really mess it up.
00;40;02;29 - 00;40;20;27
Speaker 1
I see you're looking for a way to capture the room's ambiance in a way that translates well to mono playback. That's a bit trickier, but definitely doable. Instead of going for a wide stereo image, you could try a single omnidirectional microphone placed in the center of the room. This will capture the room's natural reverb and reflections in a more even way.
00;40;20;29 - 00;40;36;07
Speaker 1
You could also experiment with a mid side M.S. recording technique. This will give you a mono compatible signal, but still allow for some stereo width.
00;40;36;09 - 00;40;42;18
Speaker 2
Can you dig deeper into that last statement?
00;40;42;20 - 00;41;04;11
Speaker 1
Sure thing. So when you record with an omnidirectional mic, it picks up sound from all directions equally. This means you'll get a very even representation of the room's ambiance and reverb. It's a great way to capture a natural spatial sound. Now, with mid side recording, you use two microphones a cardioid mic facing forward that's the mid part and a figure minus eight mic placed sideways.
00;41;04;16 - 00;41;13;08
Speaker 1
That's the side part. This setup lets you control the width of the stereo image during mixing, and it's also completely mono compatible.
00;41;13;11 - 00;41;23;10
Speaker 2
That sounds really cool. I'd like to explore this mid side recording. I think you called it.
00;41;23;12 - 00;41;48;21
Speaker 1
All right let's dive into mid side recording. It's a really versatile technique that gives you a lot of control over the stereo image. You'll need two microphones for this. A cardioid mic and a figure minus eight mic. The cardioid mic, which will point directly at your sound source, captures the mid information the center of your recording. The figure minus eight mic placed perpendicular to the cardioid mic, captures the side information, the ambiance and reflections of the room.
00;41;48;24 - 00;42;11;22
Speaker 1
This setup creates a stereo image that's completely mono compatible, which is great for when you want your recordings to sound good on all kinds of playback systems.
00;42;11;24 - 00;42;28;26
Speaker 2
So would you place the figure eight mic? Next to the speakers with the top and bottom of the eight facing to the side.
00;42;28;29 - 00;42;50;15
Speaker 1
Yep. You got it. The figure minus eight mic needs to be positioned so that the sound source is coming into the sides of the microphone, where it's most sensitive and the null points the top and bottom of the eight feet are facing the front and back.
00;42;50;18 - 00;43;01;29
Speaker 2
Can you really go into detail on the role of each mic in this situation?
00;43;02;01 - 00;43;19;10
Speaker 1
In mid side recording, the cardioid mic captures the mid signal, which is basically the direct sound of whatever you're recording. Think of it as the center image in a stereo recording. The figure minus eight. Mike captures the side signal, which is the sound coming from the sides of your recording space. This adds width and spaciousness to your recording.
00;43;19;12 - 00;43;39;02
Speaker 1
You can adjust the balance between the mid and side signals when you're mixing. To control how wide or narrow the stereo image sound.
00;43;39;04 - 00;44;02;17
Speaker 2
Can you detail how this, creates a different sound than a single stereo or cardioid mic? In the place where you would have the other cardioid mic.
00;44;02;20 - 00;44;23;08
Speaker 1
With a single cardioid mic, you're capturing sound in a focused, directional way. It's great for isolating a sound source, but it won't give you much of a sense of the surrounding space. Mid side recording, on the other hand, captures both the direct sound and the ambient sound of the room. This creates a much more immersive and realistic listening experience.
00;44;23;11 - 00;44;31;12
Speaker 2
So if you want to turn up the room, you turn up the figure eight mic.
00;44;31;14 - 00;44;46;06
Speaker 1
Yep. That's right. The figure minus eight mic captures the side information, which is the room's ambiance, so turning it up will increase the sense of space in your recording. Just be careful not to overdo it or your recording might sound too muddy.
00;44;46;09 - 00;45;06;14
Speaker 2
Okay, so let's say this room isn't super, well, sonically insulated. How can we avoid the, like, obnoxious reverb echo of a room?
00;45;06;17 - 00;45;44;10
Speaker 1
In a less than ideal room. You'll want to focus on minimizing the room's natural reverb. One way to do this is by using a more directional microphone, like a cardioid, and placing it as close to the sound source as possible. This will help you capture more of the direct sound and less of the room's reflections. You can also try using acoustic treatment like moving blankets or foam panels to dampen some of the reflections.
00;45;44;12 - 00;46;27;25
Speaker 2
So, the way to get probably the best sound with also getting ambient is probably to do a decent time or a decent job insulating the room to reduce echo, and using cardioid mics on the people. But the problem is, I don't want to insulate it so well that you can't hear what's outside. But I do want to keep, the room from echoing from within.
00;46;27;27 - 00;46;54;27
Speaker 1
Yeah, that's definitely the best way to get a clean recording room. Treatment can make a huge difference in the final sound. Even simple things like hanging blankets on the walls or putting rugs on the floor can help to tame unwanted reflections.
00;46;55;00 - 00;47;08;22
Speaker 2
What if I want to let sounds into the room that I'm in? But I don't want the reverb from the walls.
00;47;08;24 - 00;47;30;05
Speaker 1
You could try opening a window or a door to let in some outside sound. This will add some natural ambiance to your recording. If you want to control the amount of reverb from the walls. You could try hanging some heavy blankets or curtains to absorb some of the sound waves.
00;47;30;07 - 00;47;45;04
Speaker 2
So an ideal way to pick up outside sound without picking up reverb is to insulate the room, but leave a couple openings.
00;47;45;06 - 00;47;59;20
Speaker 1
Yes, that's a good way to do it. You could even open a window slightly and then position your microphones so they're facing away from it. That way you'll pick up some of the outside sound, but not so much of the room's reverb.
00;47;59;22 - 00;48;07;07
Speaker 2
Say that again.
00;48;07;10 - 00;48;14;25
Speaker 2
Gemini, can you explain that a little bit? Simpler.
00;48;14;27 - 00;48;47;25
Speaker 1
Sure. So the key is to create a sort of sound barrier around your recording setup. This could be as simple as hanging some thick blankets or setting up some portable acoustic panels. The idea is to block the sound waves from bouncing off the walls and creating that echoey effect. You'll still want to leave a few gaps to let in some of that outside sound, but the barriers will help you control the overall ambiance of the room.
00;48;47;27 - 00;49;05;28
Speaker 2
Okay, cool. Super. Help me out. Thank you. Gemini. Is there anything that you would also like to let me know before we sign off today?
00;49;06;00 - 00;49;17;01
Speaker 1
You're welcome. Just remember, experimenting is key. Don't be afraid to try different MC placements and techniques to find what works best for your situation. Have fun with it.
00;49;17;04 - 00;49;18;25
Speaker 2
All right. Thanks, Gemini.