Music & Audio Advice Microphone Selection and Placement Questions and Answers

Question 1

A recording engineer wants to capture the detailed nuances and high-frequency content of a fingerpicked acoustic guitar in a studio setting. Which type of microphone is generally the most suitable choice for this application?

Accepted Answer

Small-diaphragm condenser microphone

Answer

Small-diaphragm condenser microphones, like the Shure SM81 or Neumann KM 184, are highly favored for recording acoustic guitars due to their excellent transient response, wide frequency range, and ability to capture high-frequency detail with accuracy. Dynamic mics are more suited for high SPL sources like guitar amps, and ribbon mics tend to have a warmer, darker character, which might not be ideal for capturing bright nuances. PZM mics are typically used for capturing room ambience or conference audio.

Question 2

When recording a vocalist, moving a directional microphone (like a cardioid) very close to the sound source results in an increase in low-frequency response. What is this phenomenon called?

Accepted Answer

Proximity effect

Answer

The proximity effect is the term for the increase in bass or low-frequency response when a directional microphone is moved closer to a sound source. This is a characteristic of pressure-gradient (directional) microphones and does not occur with pressure-operated (omnidirectional) microphones. It is often used creatively by vocalists and announcers to add warmth or weight to their voice.

Question 3

An audio engineer is tasked with recording a large symphony orchestra and wants to achieve a wide, spacious, and natural stereo image. Which of the following stereo microphone techniques is specifically designed for this purpose, typically utilizing three omnidirectional microphones on a T-shaped bar?

Accepted Answer

Decca Tree

Answer

The Decca Tree is a classic stereo miking technique developed at Decca Studios specifically for recording orchestras. It traditionally uses three omnidirectional microphones (often Neumann M 50s) arranged on a T-shaped bar suspended above the conductor's position to capture a wide and detailed stereo image with a solid center.

Question 4

In a live performance setting with high stage volume from monitors and other instruments, a vocalist needs a microphone that provides maximum rejection of sound from the sides and rear. Which polar pattern would be the most effective choice?

Accepted Answer

Supercardioid

Answer

A supercardioid polar pattern offers the most rejection of sound from the sides (at 120-126 degrees off-axis) compared to a standard cardioid. While it does have a small lobe of sensitivity to the direct rear, its overall directionality is tighter, making it excellent for isolating a sound source and minimizing feedback in loud environments. Omnidirectional mics pick up sound from all directions, and Figure-8 mics pick up from the front and rear, making them unsuitable for this scenario.

Question 5

A recording engineer wants to capture both the low-end 'thump' and the high-end 'click' of a kick drum. A common two-mic technique involves placing one microphone inside the drum focused on the beater and another microphone just outside the resonant head's port hole. What is the primary purpose of the microphone placed inside, aimed at the beater?

Accepted Answer

To primarily capture the attack and high-frequency 'click' of the beater.

Answer

Placing a microphone inside a kick drum and pointing it toward the beater is a standard technique to capture the attack, or the 'click,' of the beater hitting the drum head. This placement emphasizes the transient and higher-frequency components of the sound, which can then be blended with a second microphone placed outside the drum that captures more of the low-end body and resonance.

Music & Audio Advice Practice Test

Music & Audio Advice Practice Test

Music & Audio Advice Microphone Selection and Placement Questions and Answers