年表作成・共有サービス - pastport

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When it comes to the number one weapon in the hands of a recording engineer, it is the recording microphone. When recording, the quality of the microphone determines the overall quality of your recording. The sound recorded by a poor microphone cannot be improved no matter how you repair it later. Therefore, being proficient in microphones has become a necessary skill for recording engineers. Recording should be at least 70% important in the entire music production process. In the recording, the microphone should also have a proportion of more than 70%. In many cases, what is done in the post is just to make up for the lack of microphones in pre-recording or improper use. If we can use the lav mic well in the recording, we will be able to make it easier later on. A recording engineer should know as much about a recording microphone as a soldier knows about his own gun.

1. The directivity of the recording microphone

All microphones have a place to receive sound signals, here we call it the head, and the general position is behind the diaphragm. The capsule has three structures, one is a single-sided pressure-receiving type, and only one end is open so that only one side of the diaphragm can receive the sound pressure. Fully open, that is, both sides of the diaphragm can accept sounds from various angles. The last one, the specific principle will be described in detail later.

There is only one side of the diaphragm that can receive sound pressure, and the sound waves on the back will travel to the front, so they can also be sensed. In this way, sound from any direction can be picked up, so we call this directivity omnidirectional, or use a circle pattern instead. The diaphragm can receive various sounds on both sides, and the sound waves from both sides are respectively wound to the front and back sides, thereby generating the same pressure. The last case is that the backside sound waves are allowed to pass through the diaphragm, thus canceling out the sound waves going around the front side. Therefore, in this case, the rear sound cannot be picked up. This is a cardioid pointing microphone, and a heart pattern is generally used instead.

The head not only determines the direction but also determines the characteristics of the timbre. The single-sided pressure-accepting capsule can pick up natural and clear sounds, with excellent depth and realism, and low-frequency control is also very good. The pressure angle-accepting capsule will have a proximity effect. If used properly, it will have a low frequency, which can control the frequency response very naturally, but if it is not used properly, the effect will be very bad.

2. Recording microphones, headphones, and speakers

When you see this title, you will feel confused. Are these three related? The microphone is recording, and the headphones and speakers are playing back sound, which seems to be the opposite and completely irrelevant. But if we analyze their principles in detail, we will find similarities. Headphones and speakers both convert digital signals into vibrations of the diaphragm and make sounds, while microphones convert the vibrations of the diaphragm into digital signals. The difference between the two is only that the signal flow is reversed, which means that there will be some duplication of the characteristics of the two. The analysis of the relationship between the three is mainly to compare with headphones or speakers in the future, so as to have a deeper understanding of their characteristics.