Microphone Basics: Type, Frequency Response, and Polar Patterns.

Hello everybody! My names Dionisis, Im from Greece, I play the guitar and the drums, and
these days Im trying to figure out how to make a trumpet sound right! I joined the course to get an idea
on how to start simple recordings in my humble practice room for my band and other projects.
Therefore what I found most interesting in the first weeks lessons was the info on microphone basics:
type, frequency response and polar patterns. So, lets dive in that subject!
1. Types
A microphone is an acoustic-to-electric transducer that converts sound in air into an electrical
signal. There are many types of microphones for all vices, such as dynamic, condenser (with large or
small diaphragm), ribbon, carbon, piezo, USB, etc. but I wish to focus on the types youre most likely to
find yourself recording with in studios, and these are the dynamic and condenser ones.
Dynamic
A Dynamic microphone gets its name from the fact that sound waves cause movement of
a thin metallic diaphragm in an attached coil of wire that dynamically moves inside a permanent magnet
to change acoustic energy into electronic energy. They usually have a resonant peak in the mid-
frequency response and are weak in the high-frequency response beyond 10 kHz, because the
diaphragm is relatively heavy and that means that it can't respond to sound waves quickly. Dynamic
mics can be fairly inexpensive, and can take a beating without breaking (always a plus in both recording
sessions and gigs!). They also don't require any external power to enable them to work.
Picture of a dynamic mic (Audio Technica AE6100)


Picture of the same dynamic mics insides (notice the diaphragm with the magnet inside)


Condenser
All Condensers use two electrically charged plates, one that can move which acts as a
diaphragm and one that's fixed. Because the sound wave is varying an electric charge instead of
moving a diaphragm through a magnet, it can respond faster and therefore have a better high-
frequency response and the ability to capture sounds of very quick attack types, like drums and
cymbals. Condenser mics come in small diaphragm and large diaphragm versions. The small diaphragm
versions have a single pickup pattern, while the large diaphragm versions have multiple pickup patterns.
The small diaphragm versions also have a slightly lower frequency response, while large
diaphragm versions have a presence peak in the 8 to 12 kHz range, which makes them a favorite for
vocalists. One of the downsides to condenser mics is that since they're electronic by nature, they
require either internal or external power to operate. They are affected by humidity and temperature.





Picture of condenser mic (AKG C 414 XLII)


Picture of the same mics insides (notice its obvious electronic nature and the plate)


2. Frequency Response
Frequency response is a very important factor to consider when purchasing a microphone and it
refers to the way a microphone responds to different frequencies. Both condenser and dynamic mics
have very different frequency responses and are therefore used to cover different needs.
The following frequency response chart is a for a dynamic mic (Audio Technica AE6100)They are
typically used to record instruments in the low to mid frequency ranges, such as drums, bass, and
electric guitar.

The following frequency response chart is for a condenser mic (AKG C414 XLII). Condenser mics
try to pick up sounds from as many frequencies as possible. We can see it has a pretty flat frequency
response and very little attenuation compared to the dynamic microphone.

3. Polar Patterns
The Polar Pattern of a microphone determines how the microphone perceives sound 360
degrees around the capsule (what areas around the microphone it picks up well and what areas it
rejects) and ultimately helps decide on a microphones use and application. Some microphones have
multiple polar patterns while others are designed for one specific pattern. The most usual polar patterns
are the following
i) Cardioid
The most directional pattern and the best choice when rejection of sounds from the
back (180
o
) is required.

ii) Omni-directional
This means that the microphone will pick up sound from all directions, making
the sound more natural, but also requiring the room conditions to be perfect for
recording.



iii) Bidirectional (Figure eight)
Picks up sound from the front and the back of the microphone.

iv) Hypercardioid and Supercardioid
A pattern between the cardioid and bidirectional, with varying rejection from the back
of the microphone.






4. In Practise
Because all theory and no action is boring, lets test all we learned today by checking out the
specifications sheet of one microphone and see what we can dig out. I chose the Shure SM57 because
apart from being one of the industrys standards, it also happens to be the only serious microphone I
own,(ab-)use and love.

So lets see. We can now see that this is an unidirectional dynamic mic (yes, I know, its on the
information text!). But even if we didnt have the description, we could see from the frequency curve
that this is a dynamic mic that best picks up the low to mid frequencies (such as drums, bass and electric
guitar). Specifically the mics response is somewhat flat in the 150 to 1200 range. Anything below 150 is
rolled off (cut). There is also a boost (or bump) starting around the 2 kHz 3 kHz mark. Finally, it
shows no response below 40 Hz or above 15 kHz. With all that in mind we see that the snare drum for
example is a perfect pairing for the SM57. The fundamental frequencies for the snare occur in the 150-
250 Hz range. Therefore, the SM57 would capture these key frequencies as they are, without boosting
or cutting them. The snap sound of a snare drum occurs in the higher frequency range in which the
SM57 provides via the boost. Finally, because of the location of the snare drum to the kick drum, the
microphone is prone to pick up the low frequencies of the kick drum. The SM57 provides roll off of
frequencies in that low range. Therefore, the SM57 is capturing the true sound of the snare,
accentuating the snap, and dropping out the lows from the kick drum. Also from the polar curve we
immediately see this is a cardioid-polar-curve microphone so we understand better as to how best
position it.
5. Conclusion
I hope with this present article some basic knowledge about microphones was covered well
enough to get you interested. Happy recordings!






Sources
http://www.lynda.com/Audio-Audio-Engineering-tutorials/Microphone-directional-response-
basics/95612/115115-4.html
http://en.wikipedia.org/wiki/Microphone
http://brashleraudio.wordpress.com/category/microphones/
http://blog.cakewalk.com/what-is-a-polar-pattern/
http://www.behindthemixer.com/importance-microphone-frequency-response/