For this assignment we had to record an instrument in different locations using different types of microphones. We recorded in a classroom, a performance hall, and outside.
The types of microphones we used were: a Shure SM58, a C1000s, D112, and a SM58 Stereo. We recorded a guitar in all of these different locations using the different microphones.
We first recorded the guitar in the classroom which had no echo effect as the room was very small. At first we used the Shure SM58. Then we used the C1000s, the D112, and finally the SM58 Stereo. The Shure SM58 is typically used to record live sets. The frequency is tailored for vocals and bass rolloff.
For the performance hall we recorded in the theatre. This gave each recording an echo as the sound had further to travel. We started off using the Shure SM58. We then went on to record using the C1000s, the D112, and the SM58. In these recordings there may have been background noise as there were other people in the theatre.
For the outside recording we stood outside the front of the sixth form. It was slightly windy therefore the quality and the sound of the recordings were affected. We started off using the Shure SM58, the C1000s, the D112 and finally the SM58 Stereo.
Shure SM58: The Shure SM58 is an ideal choice for professional vocal artists in any live performance setting. It has a frequency response specifically tailored for vocals with brightened midrange and bass rolloff. The uniform cardioid pickup pattern isolates the main source of sound and minimalises any background noise. The handling noise is cut down by the pneumatic shock-mount system so the overall recording isn't affected. The frequency response range is 50 to 15,000 Hz.
C1000s: This is a small diaphragm multipurpose condenser microphone. It is suitable for recording live-sound applications as well as video recordings. If there is no phantom power available the microphone can power itself using two batteries. The polar pattern can be changed from cardioid to hyper-cardioid, and the three different frequency settings add more clarity to speech and instrument sounds.
D112: The D112 is mainly used for recording bass drum and bass guitar on stage. It can handle more than 160 dB without distorting the sound. The large diaphragm has a very low resonance frequency that delivers a powerful response below 100Hz. The bass resonance volume chamber creates a unique, punchy sound.
Polar patterns:
The polar pattern of the microphone refers to the sensitivity to sound relative to the direction/angle from which the sounds arrives. The most common types are Omnidirectional, Cardioid, and Supercardioid.
Cardioid:
This has the most sensitivity at the front, and is least sensitive at the back. It isolates unwanted sound, and is much more resistant to feedback than other microphones.
Supercardioid:
These microphones have a narrower pickup than normal cardioid microphones. They also have a greater rejection of ambient sound. They also have some pickup at the back of the microphone. These are most useful when single source sounds need to be picked up in loud environments.
Omnidirectional:
The omnidirectional microphone has equal output/sensitivity from all directions. However this microphone does pick up feedback.
For task 2 we had to record at least three different instruments in the recording studio. We had to record using the same microphones as we did in task one. We recorded a cymbal, a bongo, a tambourine, a guitar and a piano recording. We recorded each instrument 3 times to ensure we got the best possible recording and eliminated as much background noise as possible. We also used Cubase to cut the track down, so you don't hear people talking at the start of each track. We used dynamic microphones to record these tracks.
Link to SoundCloud Recordings:
https://soundcloud.com/user-467455279
For the performance hall we recorded in the theatre. This gave each recording an echo as the sound had further to travel. We started off using the Shure SM58. We then went on to record using the C1000s, the D112, and the SM58. In these recordings there may have been background noise as there were other people in the theatre.
For the outside recording we stood outside the front of the sixth form. It was slightly windy therefore the quality and the sound of the recordings were affected. We started off using the Shure SM58, the C1000s, the D112 and finally the SM58 Stereo.
Shure SM58: The Shure SM58 is an ideal choice for professional vocal artists in any live performance setting. It has a frequency response specifically tailored for vocals with brightened midrange and bass rolloff. The uniform cardioid pickup pattern isolates the main source of sound and minimalises any background noise. The handling noise is cut down by the pneumatic shock-mount system so the overall recording isn't affected. The frequency response range is 50 to 15,000 Hz.
C1000s: This is a small diaphragm multipurpose condenser microphone. It is suitable for recording live-sound applications as well as video recordings. If there is no phantom power available the microphone can power itself using two batteries. The polar pattern can be changed from cardioid to hyper-cardioid, and the three different frequency settings add more clarity to speech and instrument sounds.
D112: The D112 is mainly used for recording bass drum and bass guitar on stage. It can handle more than 160 dB without distorting the sound. The large diaphragm has a very low resonance frequency that delivers a powerful response below 100Hz. The bass resonance volume chamber creates a unique, punchy sound.
Polar patterns:
The polar pattern of the microphone refers to the sensitivity to sound relative to the direction/angle from which the sounds arrives. The most common types are Omnidirectional, Cardioid, and Supercardioid.
Cardioid:
This has the most sensitivity at the front, and is least sensitive at the back. It isolates unwanted sound, and is much more resistant to feedback than other microphones.
Supercardioid:
These microphones have a narrower pickup than normal cardioid microphones. They also have a greater rejection of ambient sound. They also have some pickup at the back of the microphone. These are most useful when single source sounds need to be picked up in loud environments.
Omnidirectional:
The omnidirectional microphone has equal output/sensitivity from all directions. However this microphone does pick up feedback.
For task 2 we had to record at least three different instruments in the recording studio. We had to record using the same microphones as we did in task one. We recorded a cymbal, a bongo, a tambourine, a guitar and a piano recording. We recorded each instrument 3 times to ensure we got the best possible recording and eliminated as much background noise as possible. We also used Cubase to cut the track down, so you don't hear people talking at the start of each track. We used dynamic microphones to record these tracks.
Link to SoundCloud Recordings:
https://soundcloud.com/user-467455279
