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These are the user uploaded subtitles that are being translated: 1 00:00:02,639 --> 00:00:06,389 how badly did i whack that up 2 00:00:06,399 --> 00:00:09,200 hi i'm steve albini and today we're 3 00:00:09,200 --> 00:00:10,719 going to be talking about miking speaker 4 00:00:10,719 --> 00:00:13,350 cabinets 5 00:00:13,360 --> 00:00:14,480 one of the first things you need to 6 00:00:14,480 --> 00:00:15,759 decide when you're putting a microphone 7 00:00:15,759 --> 00:00:16,480 on a cabinet 8 00:00:16,480 --> 00:00:18,240 is physically where to place the 9 00:00:18,240 --> 00:00:20,240 microphone that is 10 00:00:20,240 --> 00:00:21,600 what part of the speaker you're going to 11 00:00:21,600 --> 00:00:23,439 be pointing at and 12 00:00:23,439 --> 00:00:24,960 what distance you're going to be working 13 00:00:24,960 --> 00:00:26,960 from so 14 00:00:26,960 --> 00:00:28,400 considering the placement of the 15 00:00:28,400 --> 00:00:30,000 microphone across the face of the 16 00:00:30,000 --> 00:00:31,199 speaker 17 00:00:31,199 --> 00:00:34,079 the center of the speaker cone is going 18 00:00:34,079 --> 00:00:34,960 to be moving 19 00:00:34,960 --> 00:00:37,760 in and out of the magnetic gap the most 20 00:00:37,760 --> 00:00:39,120 accurately that is 21 00:00:39,120 --> 00:00:40,399 it's going to be the most tightly 22 00:00:40,399 --> 00:00:42,320 controlled by the mag electromagnetic 23 00:00:42,320 --> 00:00:43,120 effects 24 00:00:43,120 --> 00:00:44,480 and the movement of the center of the 25 00:00:44,480 --> 00:00:46,320 speaker is going to be the most accurate 26 00:00:46,320 --> 00:00:49,039 representation of the input signal 27 00:00:49,039 --> 00:00:51,039 as you move out toward the perimeter of 28 00:00:51,039 --> 00:00:52,719 the speaker there are a lot of other 29 00:00:52,719 --> 00:00:53,920 effects that creep in 30 00:00:53,920 --> 00:00:56,480 the speaker itself can ripple or crumple 31 00:00:56,480 --> 00:00:58,480 there can be a harmonic mode generated 32 00:00:58,480 --> 00:01:00,399 around the perimeter of the speaker 33 00:01:00,399 --> 00:01:03,280 the mechanical installation can cause 34 00:01:03,280 --> 00:01:05,199 noise or damping 35 00:01:05,199 --> 00:01:07,360 all of those things argue that the 36 00:01:07,360 --> 00:01:08,960 perimeter of the speaker is going to be 37 00:01:08,960 --> 00:01:10,720 a less accurate representation of the 38 00:01:10,720 --> 00:01:11,680 input signal 39 00:01:11,680 --> 00:01:13,600 than the center of the speaker and all 40 00:01:13,600 --> 00:01:15,280 of those things argue for pointing the 41 00:01:15,280 --> 00:01:16,720 microphone toward the center of the 42 00:01:16,720 --> 00:01:17,759 speaker 43 00:01:17,759 --> 00:01:21,680 now those things those irregularities 44 00:01:21,680 --> 00:01:23,360 do contribute to the sound quality of 45 00:01:23,360 --> 00:01:26,159 the cabinet and the speaker overall when 46 00:01:26,159 --> 00:01:27,360 you're listening to a 47 00:01:27,360 --> 00:01:29,360 loudspeaker you're typically listening 48 00:01:29,360 --> 00:01:30,560 at a distance 49 00:01:30,560 --> 00:01:32,720 so if the guitar player is fond of their 50 00:01:32,720 --> 00:01:33,920 guitar sound 51 00:01:33,920 --> 00:01:35,520 that normally means that they've been 52 00:01:35,520 --> 00:01:37,520 hearing it at a distance and they like 53 00:01:37,520 --> 00:01:39,280 the sound of it at a distance 54 00:01:39,280 --> 00:01:42,399 so to capture that sound 55 00:01:42,399 --> 00:01:44,640 that argues for backing the microphone 56 00:01:44,640 --> 00:01:46,320 off from the loudspeaker slightly 57 00:01:46,320 --> 00:01:48,720 there's an added benefit to that when 58 00:01:48,720 --> 00:01:50,320 the microphone is very close to the 59 00:01:50,320 --> 00:01:51,600 loudspeaker 60 00:01:51,600 --> 00:01:56,000 it's hearing all of these eccentricities 61 00:01:56,000 --> 00:01:58,880 at their most at their highest level and 62 00:01:58,880 --> 00:02:01,119 also the microphone can be exaggerating 63 00:02:01,119 --> 00:02:03,200 one or more of these eccentric sound 64 00:02:03,200 --> 00:02:06,799 effects there are also internal cabinet 65 00:02:06,799 --> 00:02:08,399 reflections that is where the sound is 66 00:02:08,399 --> 00:02:10,479 bouncing around inside the cabinet 67 00:02:10,479 --> 00:02:12,160 and where the sound is bouncing off of 68 00:02:12,160 --> 00:02:15,040 the mechanical frame of the speaker 69 00:02:15,040 --> 00:02:18,400 and those short reflections create comb 70 00:02:18,400 --> 00:02:19,760 filtering effects and can 71 00:02:19,760 --> 00:02:23,200 dull the sound quality as you move away 72 00:02:23,200 --> 00:02:24,720 from the loudspeaker 73 00:02:24,720 --> 00:02:27,760 all of those effects sort of sum 74 00:02:27,760 --> 00:02:30,879 into a general cabinet sound that is the 75 00:02:30,879 --> 00:02:32,080 sound of the cabinet as 76 00:02:32,080 --> 00:02:34,480 at a distance is where all of those 77 00:02:34,480 --> 00:02:35,680 effects have combined 78 00:02:35,680 --> 00:02:38,959 and summed into a single sound which you 79 00:02:38,959 --> 00:02:40,640 can identify as the sound quality of 80 00:02:40,640 --> 00:02:42,319 that speaker 81 00:02:42,319 --> 00:02:45,200 so if you're trying to capture the sound 82 00:02:45,200 --> 00:02:48,640 quality of a specific speaker cabinet 83 00:02:48,640 --> 00:02:51,360 my default is to start with the 84 00:02:51,360 --> 00:02:53,519 microphone at the center of the speaker 85 00:02:53,519 --> 00:02:55,760 and then back it off to a distance where 86 00:02:55,760 --> 00:02:57,920 i can hear with my ear 87 00:02:57,920 --> 00:03:01,360 that the effects of the local 88 00:03:01,360 --> 00:03:04,000 resonances and oddities of the cabinet 89 00:03:04,000 --> 00:03:05,280 have sort of combined 90 00:03:05,280 --> 00:03:08,959 into a single sound that translates to a 91 00:03:08,959 --> 00:03:11,280 working distance typically of 12 to 14 92 00:03:11,280 --> 00:03:14,319 inches for a guitar cabinet 93 00:03:14,319 --> 00:03:16,720 for a smaller amplifier system like a 94 00:03:16,720 --> 00:03:18,159 small combo amplifier 95 00:03:18,159 --> 00:03:20,800 the working distance can be a bit closer 96 00:03:20,800 --> 00:03:22,720 let's go into studio a and i'll show you 97 00:03:22,720 --> 00:03:24,239 how i set a microphone up on a 98 00:03:24,239 --> 00:03:29,190 loudspeaker 99 00:03:29,200 --> 00:03:31,120 so this is the amplifier that i want to 100 00:03:31,120 --> 00:03:33,440 put a microphone on 101 00:03:33,440 --> 00:03:36,080 i put it up on this chair so that it 102 00:03:36,080 --> 00:03:36,720 will be 103 00:03:36,720 --> 00:03:38,159 closer to the working height of the 104 00:03:38,159 --> 00:03:39,680 microphone stands and i won't have to 105 00:03:39,680 --> 00:03:41,040 stoop so much 106 00:03:41,040 --> 00:03:43,280 and whenever i do that i like to secure 107 00:03:43,280 --> 00:03:45,440 a small amplifier with a strip of gaffer 108 00:03:45,440 --> 00:03:46,959 tape on the front and back of the 109 00:03:46,959 --> 00:03:48,000 amplifier 110 00:03:48,000 --> 00:03:49,519 so that the working vibration of the 111 00:03:49,519 --> 00:03:51,360 amplifier doesn't cause it to move off 112 00:03:51,360 --> 00:03:52,959 axis from the microphone 113 00:03:52,959 --> 00:03:54,239 the first thing i need to do is figure 114 00:03:54,239 --> 00:03:55,599 out where the center of the speaker cone 115 00:03:55,599 --> 00:03:56,879 is if i'm going to put the microphone in 116 00:03:56,879 --> 00:03:58,239 front of it 117 00:03:58,239 --> 00:04:00,560 a couple of ways to do that if you put 118 00:04:00,560 --> 00:04:02,000 your hand around the back of the small 119 00:04:02,000 --> 00:04:04,000 amp like this you can feel the center of 120 00:04:04,000 --> 00:04:05,040 the magnet 121 00:04:05,040 --> 00:04:07,360 on the back of the speaker and if you 122 00:04:07,360 --> 00:04:08,879 point your finger there 123 00:04:08,879 --> 00:04:10,000 you can put your finger in a 124 00:04:10,000 --> 00:04:11,840 corresponding position on the front 125 00:04:11,840 --> 00:04:13,280 opposite that other finger 126 00:04:13,280 --> 00:04:14,400 and that'll find the center of the 127 00:04:14,400 --> 00:04:17,280 speaker you can also just look through 128 00:04:17,280 --> 00:04:18,400 the grille but 129 00:04:18,400 --> 00:04:20,400 if you can't see through the grille you 130 00:04:20,400 --> 00:04:21,840 can use a light like the one on your 131 00:04:21,840 --> 00:04:22,560 cell phone 132 00:04:22,560 --> 00:04:24,080 which will show you precisely where the 133 00:04:24,080 --> 00:04:25,840 center of the speaker is and once you've 134 00:04:25,840 --> 00:04:27,199 found the center of the speaker you'll 135 00:04:27,199 --> 00:04:33,030 know where to put your microphone 136 00:04:33,040 --> 00:04:34,400 now this microphone is going to be at a 137 00:04:34,400 --> 00:04:36,560 working distance and it can be difficult 138 00:04:36,560 --> 00:04:38,000 to tell 139 00:04:38,000 --> 00:04:40,240 at a working distance whether you're on 140 00:04:40,240 --> 00:04:42,240 the center line of the speaker or not 141 00:04:42,240 --> 00:04:43,600 so what i like to do is i like to bring 142 00:04:43,600 --> 00:04:46,560 the microphone right up close 143 00:04:46,560 --> 00:04:47,680 line it up with the center of the 144 00:04:47,680 --> 00:04:49,600 speaker and once i'm certain that it's 145 00:04:49,600 --> 00:04:51,360 lined up i can move it back along that 146 00:04:51,360 --> 00:04:54,320 axis to any working distance 147 00:04:54,320 --> 00:04:56,400 now this mic stand is all is adjusted 148 00:04:56,400 --> 00:04:58,160 all the way to the bottom 149 00:04:58,160 --> 00:04:59,520 and it might seem that i wouldn't be 150 00:04:59,520 --> 00:05:00,880 able to get this microphone in front of 151 00:05:00,880 --> 00:05:02,800 the center of the speaker 152 00:05:02,800 --> 00:05:04,880 but there's an extra little adjustment 153 00:05:04,880 --> 00:05:06,720 here this screw which is normally used 154 00:05:06,720 --> 00:05:09,520 to collapse the mic stand for storage 155 00:05:09,520 --> 00:05:11,280 if you loosen that you can lower the 156 00:05:11,280 --> 00:05:14,639 center post of the mic stand 157 00:05:14,639 --> 00:05:16,639 and get even a big microphone like this 158 00:05:16,639 --> 00:05:18,320 down in line with the center line of the 159 00:05:18,320 --> 00:05:19,520 speaker 160 00:05:19,520 --> 00:05:21,120 now that i'm centered on the speaker i 161 00:05:21,120 --> 00:05:22,479 can move this back to any working 162 00:05:22,479 --> 00:05:23,759 distance 163 00:05:23,759 --> 00:05:28,560 oh wait a minute one more thing 164 00:05:28,560 --> 00:05:31,039 the working distance of the microphone 165 00:05:31,039 --> 00:05:32,800 can have a tremendous effect on the 166 00:05:32,800 --> 00:05:34,400 sound quality 167 00:05:34,400 --> 00:05:36,720 you can use this to your advantage to 168 00:05:36,720 --> 00:05:38,160 improve the sound quality 169 00:05:38,160 --> 00:05:40,560 of a thin or weak sounding amplifier for 170 00:05:40,560 --> 00:05:41,680 example 171 00:05:41,680 --> 00:05:43,199 you can take advantage of a principle 172 00:05:43,199 --> 00:05:45,520 called the proximity effect 173 00:05:45,520 --> 00:05:46,800 all microphones exhibit this 174 00:05:46,800 --> 00:05:49,039 characteristic some more than others 175 00:05:49,039 --> 00:05:51,280 but at a closer working distance you 176 00:05:51,280 --> 00:05:53,680 tend to get more low frequency response 177 00:05:53,680 --> 00:05:56,880 that's the proximity effect figure eight 178 00:05:56,880 --> 00:05:58,319 microphones 179 00:05:58,319 --> 00:06:00,000 tend to have more proximity effect than 180 00:06:00,000 --> 00:06:01,520 directional microphones 181 00:06:01,520 --> 00:06:02,960 omnidirectional microphones have the 182 00:06:02,960 --> 00:06:05,280 least proximity effect 183 00:06:05,280 --> 00:06:07,919 so as the microphone gets closer to the 184 00:06:07,919 --> 00:06:08,880 loudspeaker 185 00:06:08,880 --> 00:06:10,800 it exaggerates the low frequencies and 186 00:06:10,800 --> 00:06:12,479 if the mic if the amplifier sounds kind 187 00:06:12,479 --> 00:06:13,680 of weak 188 00:06:13,680 --> 00:06:15,919 kind of thin then you can beef it up 189 00:06:15,919 --> 00:06:17,440 slightly by using a microphone with a 190 00:06:17,440 --> 00:06:20,639 greater proximity effect the microphones 191 00:06:20,639 --> 00:06:22,400 with the greatest proximity effect are 192 00:06:22,400 --> 00:06:23,039 those 193 00:06:23,039 --> 00:06:26,400 that are in a physically large housing 194 00:06:26,400 --> 00:06:28,400 as the microphone gets close to the 195 00:06:28,400 --> 00:06:31,120 loudspeaker 196 00:06:31,120 --> 00:06:33,440 the polar pattern is created by the 197 00:06:33,440 --> 00:06:35,440 sound striking the front of the loud 198 00:06:35,440 --> 00:06:37,759 front of the microphone and some of the 199 00:06:37,759 --> 00:06:39,120 sound traveling around 200 00:06:39,120 --> 00:06:41,600 to the back of the microphone and the 201 00:06:41,600 --> 00:06:43,120 interference of those two is what 202 00:06:43,120 --> 00:06:44,319 creates the polar pattern of the 203 00:06:44,319 --> 00:06:46,319 microphone 204 00:06:46,319 --> 00:06:48,000 if the microphone is in a physically 205 00:06:48,000 --> 00:06:50,400 large housing that is if it's a ribbon 206 00:06:50,400 --> 00:06:51,919 microphone with a large magnetic 207 00:06:51,919 --> 00:06:54,319 armature 208 00:06:54,319 --> 00:06:55,759 then the sound gets to the front of the 209 00:06:55,759 --> 00:06:58,000 microphone the working element 210 00:06:58,000 --> 00:07:00,720 fairly quickly but it has a relatively 211 00:07:00,720 --> 00:07:01,199 long 212 00:07:01,199 --> 00:07:02,800 distance to travel to get around to the 213 00:07:02,800 --> 00:07:05,520 back of the microphone 214 00:07:05,520 --> 00:07:08,800 that tends to make the rear pattern 215 00:07:08,800 --> 00:07:12,000 less in as the 216 00:07:12,000 --> 00:07:13,919 microphone gets closer that is 217 00:07:13,919 --> 00:07:15,599 microphones tend to lose their 218 00:07:15,599 --> 00:07:17,520 directional qualities the closer they 219 00:07:17,520 --> 00:07:20,160 get to the sound source 220 00:07:20,160 --> 00:07:22,000 and it also tends to exaggerate the 221 00:07:22,000 --> 00:07:23,599 proximity effect 222 00:07:23,599 --> 00:07:26,240 so for the greatest proximity effect you 223 00:07:26,240 --> 00:07:26,960 would use 224 00:07:26,960 --> 00:07:29,520 a bi-directional microphone say a ribbon 225 00:07:29,520 --> 00:07:30,800 microphone 226 00:07:30,800 --> 00:07:33,280 with a large magnetic armature that is a 227 00:07:33,280 --> 00:07:34,800 large footprint 228 00:07:34,800 --> 00:07:37,440 because that would make for the the 229 00:07:37,440 --> 00:07:38,479 greatest acoustic 230 00:07:38,479 --> 00:07:42,160 shadow and the most exaggerated 231 00:07:42,160 --> 00:07:47,909 proximity effect 232 00:07:47,919 --> 00:07:49,440 let's go back into the studio and i'll 233 00:07:49,440 --> 00:07:50,879 show you some more useful microphone 234 00:07:50,879 --> 00:07:55,270 techniques 235 00:07:55,280 --> 00:07:57,120 a normal working distance for me for a 236 00:07:57,120 --> 00:07:58,479 cabinet like this 237 00:07:58,479 --> 00:08:01,599 would be 12 to 14 inches something 238 00:08:01,599 --> 00:08:04,479 like that if i wanted to emphasize the 239 00:08:04,479 --> 00:08:06,240 low frequencies using the proximity 240 00:08:06,240 --> 00:08:06,720 effect 241 00:08:06,720 --> 00:08:08,400 to make this amplifier sound bigger or 242 00:08:08,400 --> 00:08:11,039 heavier i can choke the microphone 243 00:08:11,039 --> 00:08:14,550 right up on top of the speaker 244 00:08:14,560 --> 00:08:32,539 proximity effect on a small combo amp 245 00:08:32,549 --> 00:08:38,839 [Music] 246 00:08:38,839 --> 00:08:41,990 no 247 00:08:42,000 --> 00:08:45,279 okay this is a bass amplifier 248 00:08:45,279 --> 00:08:46,800 uh in this instance it's for a bass 249 00:08:46,800 --> 00:08:48,399 guitar but it could be 250 00:08:48,399 --> 00:08:51,760 for an electric keyboard uh an organ 251 00:08:51,760 --> 00:08:55,839 a electric piano or rhodes a wurlitzer 252 00:08:55,839 --> 00:08:57,519 synthesizer any of those instruments 253 00:08:57,519 --> 00:08:59,760 that needs a good bass response you 254 00:08:59,760 --> 00:09:01,519 could be using a bass amplifier for live 255 00:09:01,519 --> 00:09:03,600 monitoring 256 00:09:03,600 --> 00:09:04,880 with any of those instruments it's 257 00:09:04,880 --> 00:09:06,399 important to record the lowest 258 00:09:06,399 --> 00:09:07,360 frequencies 259 00:09:07,360 --> 00:09:09,680 with accuracy so i tend to use a 260 00:09:09,680 --> 00:09:12,880 microphone like this the buyer m380 261 00:09:12,880 --> 00:09:14,560 it's a microphone with good low 262 00:09:14,560 --> 00:09:16,240 frequency response but it's also a 263 00:09:16,240 --> 00:09:18,000 figure eight microphone 264 00:09:18,000 --> 00:09:19,519 so i can move it very close to the 265 00:09:19,519 --> 00:09:20,880 speaker and take advantage of the 266 00:09:20,880 --> 00:09:22,959 proximity effect to extend the low 267 00:09:22,959 --> 00:09:24,640 frequency response 268 00:09:24,640 --> 00:09:26,240 so this microphone is going to be very 269 00:09:26,240 --> 00:09:27,839 heavy in low frequencies 270 00:09:27,839 --> 00:09:29,279 and i can be certain that even the 271 00:09:29,279 --> 00:09:30,720 lowest notes are going to be accurately 272 00:09:30,720 --> 00:09:32,320 recorded 273 00:09:32,320 --> 00:09:33,839 now there is high frequency detail 274 00:09:33,839 --> 00:09:35,440 coming out of the amplifier as well and 275 00:09:35,440 --> 00:09:36,959 if you lose that information you can 276 00:09:36,959 --> 00:09:39,360 lose the articulation of the notes 277 00:09:39,360 --> 00:09:41,200 so i tend to also use a brighter 278 00:09:41,200 --> 00:09:42,480 microphone like this 279 00:09:42,480 --> 00:09:45,920 the sennheiser 421 and record them 280 00:09:45,920 --> 00:09:47,600 simultaneously with their diaphragms 281 00:09:47,600 --> 00:09:50,399 aligned so they stay in phase 282 00:09:50,399 --> 00:09:52,399 then in the control room i can balance 283 00:09:52,399 --> 00:09:54,240 these two microphones against each other 284 00:09:54,240 --> 00:09:56,720 and synthesize the most accurate 285 00:09:56,720 --> 00:09:59,120 representation of the speaker 286 00:09:59,120 --> 00:10:00,560 you can think of it as something like 287 00:10:00,560 --> 00:10:02,720 the woofer and tweeter in a hi-fi 288 00:10:02,720 --> 00:10:03,519 speaker 289 00:10:03,519 --> 00:10:05,200 where you have one driver that's 290 00:10:05,200 --> 00:10:06,720 covering the low frequencies and another 291 00:10:06,720 --> 00:10:08,640 one that's covering the high frequencies 292 00:10:08,640 --> 00:10:10,720 and the blend of the two of them gives 293 00:10:10,720 --> 00:10:12,880 you the most accurate representation 294 00:10:12,880 --> 00:10:16,240 buyer m380 low frequency response at 295 00:10:16,240 --> 00:10:19,690 close distance 296 00:10:19,690 --> 00:10:32,959 [Music] 297 00:10:32,959 --> 00:10:49,680 sennheiser 421 high frequency detail 298 00:10:49,690 --> 00:10:51,839 [Music] 299 00:10:51,839 --> 00:11:05,650 both mics 300 00:11:05,660 --> 00:11:12,829 [Music] 301 00:11:12,839 --> 00:11:14,079 ah 302 00:11:14,079 --> 00:11:17,360 is a little tiny amplifier 303 00:11:17,360 --> 00:11:21,200 this is a ribbon microphone the stc 4038 304 00:11:21,200 --> 00:11:23,519 with a figure eight pattern and a large 305 00:11:23,519 --> 00:11:24,720 armature 306 00:11:24,720 --> 00:11:28,240 so it will exhibit the proximity effect 307 00:11:28,240 --> 00:11:30,160 and the acoustic shadowing that i 308 00:11:30,160 --> 00:11:32,560 described earlier 309 00:11:32,560 --> 00:11:35,600 at a normal working distance this 310 00:11:35,600 --> 00:11:37,760 microphone will be picking up the guitar 311 00:11:37,760 --> 00:11:40,079 from the front lobe but the rear lobe 312 00:11:40,079 --> 00:11:40,800 will be 313 00:11:40,800 --> 00:11:42,720 picking up the free field ambient sound 314 00:11:42,720 --> 00:11:44,399 of the room 315 00:11:44,399 --> 00:11:46,640 so if i want a more ambient sound off of 316 00:11:46,640 --> 00:11:47,600 this signal 317 00:11:47,600 --> 00:11:50,000 i can just move this microphone back the 318 00:11:50,000 --> 00:11:50,639 front 319 00:11:50,639 --> 00:11:52,399 lobe will still be picking up the direct 320 00:11:52,399 --> 00:11:54,320 signal of the mic of the amplifier 321 00:11:54,320 --> 00:11:56,079 but the rear lobe will be picking up 322 00:11:56,079 --> 00:11:58,240 relatively more of the ambient sound in 323 00:11:58,240 --> 00:11:59,200 the room 324 00:11:59,200 --> 00:12:00,959 so you have a great deal of flexibility 325 00:12:00,959 --> 00:12:02,560 with the placement of a microphone like 326 00:12:02,560 --> 00:12:03,120 this 327 00:12:03,120 --> 00:12:05,440 changing the character of the sound if i 328 00:12:05,440 --> 00:12:07,920 bring it up close 329 00:12:07,920 --> 00:12:09,600 the acoustic shadow and the proximity 330 00:12:09,600 --> 00:12:11,120 effect will exaggerate 331 00:12:11,120 --> 00:12:12,880 the bass response of the amplifier 332 00:12:12,880 --> 00:12:15,519 making this small amplifier sound bigger 333 00:12:15,519 --> 00:12:17,279 at a normal working distance i'll get an 334 00:12:17,279 --> 00:12:18,880 accurate representation of the sound of 335 00:12:18,880 --> 00:12:19,920 this amp 336 00:12:19,920 --> 00:12:21,279 and if i move the microphone a little 337 00:12:21,279 --> 00:12:23,360 farther back i'll be using 338 00:12:23,360 --> 00:12:25,200 more of the rear lobe of the microphone 339 00:12:25,200 --> 00:12:27,120 and less of the front lobe and i'll get 340 00:12:27,120 --> 00:12:38,850 a more ambient sound 341 00:12:38,850 --> 00:12:50,829 [Music] 342 00:12:50,839 --> 00:13:00,420 so 343 00:13:00,430 --> 00:13:04,829 [Music] 344 00:13:04,839 --> 00:13:08,200 so 345 00:13:08,210 --> 00:13:18,550 [Music] 346 00:13:18,560 --> 00:13:27,590 i blew that my performance 347 00:13:27,600 --> 00:13:29,279 this is a bigger cabinet with two 348 00:13:29,279 --> 00:13:31,839 speakers with multiple speakers in it 349 00:13:31,839 --> 00:13:33,760 and that gives you the option of using 350 00:13:33,760 --> 00:13:35,120 multiple microphones on different 351 00:13:35,120 --> 00:13:36,399 speakers 352 00:13:36,399 --> 00:13:37,760 the speakers themselves might be 353 00:13:37,760 --> 00:13:39,920 different with different sound qualities 354 00:13:39,920 --> 00:13:41,440 and you may want to record them 355 00:13:41,440 --> 00:13:43,360 separately or you may want to take 356 00:13:43,360 --> 00:13:44,399 advantage 357 00:13:44,399 --> 00:13:46,800 of different sound quality microphones 358 00:13:46,800 --> 00:13:48,000 either for balancing 359 00:13:48,000 --> 00:13:50,800 later or to synthesize a stereo image 360 00:13:50,800 --> 00:13:52,079 from a mono signal 361 00:13:52,079 --> 00:13:53,760 in this case i have a ribbon microphone 362 00:13:53,760 --> 00:13:57,360 here and a condenser microphone here 363 00:13:57,360 --> 00:13:58,880 the ribbon microphone will be slightly 364 00:13:58,880 --> 00:14:00,880 darker slightly heavier the condenser 365 00:14:00,880 --> 00:14:02,240 microphone will be slightly brighter 366 00:14:02,240 --> 00:14:03,360 slightly 367 00:14:03,360 --> 00:14:06,720 slightly more high energy more high-end 368 00:14:06,720 --> 00:14:09,430 energy 369 00:14:09,440 --> 00:14:12,639 anyway i've also got a microphone at a 370 00:14:12,639 --> 00:14:14,320 distance picking up the ambient sound in 371 00:14:14,320 --> 00:14:15,199 the room 372 00:14:15,199 --> 00:14:16,480 that microphone is over there by the 373 00:14:16,480 --> 00:14:21,030 conga drum 374 00:14:21,040 --> 00:14:23,519 i have this microphone on the floor so 375 00:14:23,519 --> 00:14:24,880 that its pickup pattern 376 00:14:24,880 --> 00:14:26,639 normally omnidirectional becomes 377 00:14:26,639 --> 00:14:28,639 hemispherical that is it's picking up 378 00:14:28,639 --> 00:14:30,000 the reflected sound from all the 379 00:14:30,000 --> 00:14:31,199 surfaces in the room 380 00:14:31,199 --> 00:14:33,360 above the floor it's not hearing any of 381 00:14:33,360 --> 00:14:35,279 the reflections off of the floor 382 00:14:35,279 --> 00:14:36,800 those would be near field reflections 383 00:14:36,800 --> 00:14:38,240 which would cause coloration of the 384 00:14:38,240 --> 00:14:39,680 sound 385 00:14:39,680 --> 00:14:40,959 it's a good practice when you're putting 386 00:14:40,959 --> 00:14:43,040 a microphone on the floor to put a stand 387 00:14:43,040 --> 00:14:43,920 or get 388 00:14:43,920 --> 00:14:45,680 or some piece of hardware over the top 389 00:14:45,680 --> 00:14:46,959 of the microphone 390 00:14:46,959 --> 00:14:49,279 acoustically it's basically transparent 391 00:14:49,279 --> 00:14:50,959 but it prevents people from stepping on 392 00:14:50,959 --> 00:15:10,010 the microphone accidentally 393 00:15:10,020 --> 00:15:19,520 [Music] 394 00:15:19,520 --> 00:15:19,930 [Applause] 395 00:15:19,930 --> 00:15:38,829 [Music] 396 00:15:38,839 --> 00:15:40,160 ah 397 00:15:40,160 --> 00:15:42,880 a combo amplifier like this ac 30 or a 398 00:15:42,880 --> 00:15:44,320 fender twin 399 00:15:44,320 --> 00:15:47,279 sometimes has two speakers now you can 400 00:15:47,279 --> 00:15:49,199 record those two speakers independently 401 00:15:49,199 --> 00:15:51,440 or you can record one of them 402 00:15:51,440 --> 00:15:53,600 but if what you're after is the overall 403 00:15:53,600 --> 00:15:56,160 sound of that amplifier 404 00:15:56,160 --> 00:15:58,000 at a at some distance away from those 405 00:15:58,000 --> 00:15:59,279 two speakers 406 00:15:59,279 --> 00:16:01,759 the sound of them sums into a phantom 407 00:16:01,759 --> 00:16:03,120 center 408 00:16:03,120 --> 00:16:04,959 that is if you're close very close to 409 00:16:04,959 --> 00:16:06,880 the cabinet you can hear the two 410 00:16:06,880 --> 00:16:08,480 speakers discreetly 411 00:16:08,480 --> 00:16:10,639 but if you back up just a little bit 412 00:16:10,639 --> 00:16:12,480 you'll find a point where 413 00:16:12,480 --> 00:16:14,079 between midpoint between those two 414 00:16:14,079 --> 00:16:16,320 speakers you're hearing both speakers 415 00:16:16,320 --> 00:16:18,320 and the whole of the cabinet 416 00:16:18,320 --> 00:16:21,040 from a single point that phantom center 417 00:16:21,040 --> 00:16:22,480 is a good place to put a microphone if 418 00:16:22,480 --> 00:16:23,759 you want to use one microphone to pick 419 00:16:23,759 --> 00:16:25,600 up that amp 420 00:16:25,600 --> 00:16:27,759 you can find that center by crouching 421 00:16:27,759 --> 00:16:30,079 down and moving your head back and forth 422 00:16:30,079 --> 00:16:31,360 and you will be able to hear very 423 00:16:31,360 --> 00:16:33,360 clearly the point at which all the sound 424 00:16:33,360 --> 00:16:36,000 from the cabinet sums to a single point 425 00:16:36,000 --> 00:16:37,040 and that's how you know where to put 426 00:16:37,040 --> 00:16:46,550 this microphone 427 00:16:46,560 --> 00:16:48,639 i'm not going to do the jumping thing 428 00:16:48,639 --> 00:16:50,079 that started to hurt 429 00:16:50,079 --> 00:16:53,120 after a while okay you may have noticed 430 00:16:53,120 --> 00:16:54,399 that in these 431 00:16:54,399 --> 00:16:57,199 demonstrations the microphone position 432 00:16:57,199 --> 00:16:58,959 relative to the speaker cabinet 433 00:16:58,959 --> 00:17:03,680 is and on that is the 434 00:17:03,680 --> 00:17:07,360 plane of the speaker cabinet 435 00:17:07,360 --> 00:17:09,520 is parallel to the plane of the 436 00:17:09,520 --> 00:17:13,990 microphone diaphragm 437 00:17:14,000 --> 00:17:16,319 when i first started working i didn't 438 00:17:16,319 --> 00:17:17,520 know what i was doing 439 00:17:17,520 --> 00:17:19,919 and so i mimicked the practices of other 440 00:17:19,919 --> 00:17:21,760 people that i'd observed 441 00:17:21,760 --> 00:17:25,039 and it was a very common practice for 442 00:17:25,039 --> 00:17:27,839 a speaker cabinet to be mic'd from the 443 00:17:27,839 --> 00:17:29,840 side with the microphone coming in at an 444 00:17:29,840 --> 00:17:31,440 angle 445 00:17:31,440 --> 00:17:33,600 if this is an overhead view of the 446 00:17:33,600 --> 00:17:34,799 cabinet 447 00:17:34,799 --> 00:17:36,880 the microphone would be very close to 448 00:17:36,880 --> 00:17:38,080 the speaker and 449 00:17:38,080 --> 00:17:42,230 sort of angled in from the side 450 00:17:42,240 --> 00:17:44,160 and when i tried that mic position i 451 00:17:44,160 --> 00:17:45,520 found it unsatisfying 452 00:17:45,520 --> 00:17:47,919 it didn't sound that clear i felt like i 453 00:17:47,919 --> 00:17:49,120 was 454 00:17:49,120 --> 00:17:53,120 uh reaching for the equalizer often 455 00:17:53,120 --> 00:17:56,240 and i started to think about why it 456 00:17:56,240 --> 00:17:57,840 didn't sound that good 457 00:17:57,840 --> 00:18:00,240 and experimenting in with moving the 458 00:18:00,240 --> 00:18:01,600 microphone position and i found that 459 00:18:01,600 --> 00:18:03,360 when i had the microphone 460 00:18:03,360 --> 00:18:05,919 more perpendicular the sound was 461 00:18:05,919 --> 00:18:07,520 instantly brighter and clearer and 462 00:18:07,520 --> 00:18:09,600 sounded better to me 463 00:18:09,600 --> 00:18:12,640 um and if you imagine the 464 00:18:12,640 --> 00:18:16,710 the plane of the speaker 465 00:18:16,720 --> 00:18:22,710 emanating sound this away 466 00:18:22,720 --> 00:18:25,919 and if the microphone is at an angle 467 00:18:25,919 --> 00:18:28,799 then the angled diaphragm of the 468 00:18:28,799 --> 00:18:29,679 microphone 469 00:18:29,679 --> 00:18:33,679 is going to be getting 470 00:18:33,679 --> 00:18:37,280 sound across it at slightly different 471 00:18:37,280 --> 00:18:37,919 times 472 00:18:37,919 --> 00:18:40,320 and that's going to cause some phase 473 00:18:40,320 --> 00:18:41,600 cancellation and the very high 474 00:18:41,600 --> 00:18:43,360 frequencies 475 00:18:43,360 --> 00:18:45,360 uh and indeed i noticed that when i had 476 00:18:45,360 --> 00:18:46,480 the microphone at an 477 00:18:46,480 --> 00:18:49,679 at an angle it sounded duller and less 478 00:18:49,679 --> 00:18:51,039 precise to me 479 00:18:51,039 --> 00:18:52,799 but if the microphone is perpendicular 480 00:18:52,799 --> 00:18:54,960 to the plane of the speaker 481 00:18:54,960 --> 00:18:59,039 then you know within a very small error 482 00:18:59,039 --> 00:19:00,799 the whole of the diaphragm is being hit 483 00:19:00,799 --> 00:19:04,080 by the sound at the same time 484 00:19:04,080 --> 00:19:06,720 um and i believe this practice was 485 00:19:06,720 --> 00:19:07,600 derived 486 00:19:07,600 --> 00:19:11,679 from um live sound engineers having to 487 00:19:11,679 --> 00:19:13,760 keep the stage uncluttered in front of a 488 00:19:13,760 --> 00:19:15,280 speaker cabinet 489 00:19:15,280 --> 00:19:16,960 um the area in front of the speaker 490 00:19:16,960 --> 00:19:18,960 cabinet is prime real estate for 491 00:19:18,960 --> 00:19:21,120 dancing and other kinds of showmanship 492 00:19:21,120 --> 00:19:22,559 uh 493 00:19:22,559 --> 00:19:27,679 you know whatever people do on stage 494 00:19:27,679 --> 00:19:32,390 i've never been on stage so i don't know 495 00:19:32,400 --> 00:19:34,480 rather than put a microphone out in the 496 00:19:34,480 --> 00:19:36,080 middle of the stage where it could get 497 00:19:36,080 --> 00:19:37,520 kicked 498 00:19:37,520 --> 00:19:39,039 live sound engineers developed the 499 00:19:39,039 --> 00:19:40,640 practice of having the microphone off to 500 00:19:40,640 --> 00:19:42,320 the side of the speaker cabinet 501 00:19:42,320 --> 00:19:45,039 and then sneaking it in at an angle so 502 00:19:45,039 --> 00:19:46,559 as a kind of a defensive 503 00:19:46,559 --> 00:19:50,240 maneuver and then that just survived as 504 00:19:50,240 --> 00:19:51,520 received wisdom 505 00:19:51,520 --> 00:19:55,510 into the studio 506 00:19:55,520 --> 00:20:00,080 and all of my practices in the studio 507 00:20:00,080 --> 00:20:03,760 are derived from an iterative 508 00:20:03,760 --> 00:20:06,880 experimental process 509 00:20:06,880 --> 00:20:08,799 i would try something and if it didn't 510 00:20:08,799 --> 00:20:10,799 sound good i would try to think about 511 00:20:10,799 --> 00:20:14,000 why it didn't sound good and that would 512 00:20:14,000 --> 00:20:17,039 guide future experimentation and until 513 00:20:17,039 --> 00:20:17,760 eventually 514 00:20:17,760 --> 00:20:19,919 i developed a set of practices that i 515 00:20:19,919 --> 00:20:20,799 think 516 00:20:20,799 --> 00:20:24,640 are durable and versatile and can be 517 00:20:24,640 --> 00:20:26,960 used in a lot of different situations 518 00:20:26,960 --> 00:20:29,760 i encourage everybody to experiment with 519 00:20:29,760 --> 00:20:31,120 their studio practices 520 00:20:31,120 --> 00:20:34,240 because that's how the 521 00:20:34,240 --> 00:20:37,280 profession grows and 522 00:20:37,280 --> 00:20:40,320 matures we get better at things over 523 00:20:40,320 --> 00:20:41,120 time 524 00:20:41,120 --> 00:20:43,120 because we're bad at them at some point 525 00:20:43,120 --> 00:20:52,710 and we stop doing that 526 00:20:52,720 --> 00:20:54,799 you34115

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