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have been sati sfied. Don't believe it. Good television audio needs at least as much
preparation and attention as the video portion. And, like any other production element,
tel evisi on audio should not simply be added-it should be integrated into the produc-
tion planning from the very beginning.
Section 9.1, How Mi crophones Hear,covers the sound pickup porti on of audio (from the
latin verb oudife, to hear"), including the electronic and operational characteri 5ti cs of
mi crophones. In Section 9. 2, How Microphones Work, you learn about the more techni -
cal aspects of sound-generating elements and the various microphone uses in ENG/EFP.
audio Thesoundportionof andit5 pr oduction. Tech-
nically,theelectlonicreproductionofaudiblesound.
cardioid HearHhapedpickupp.:Itlt'"1Ooraunidirectionalmi-
crophone.
condensermicrophone A microphonewhosediaphragm
consi st sofacondenserplatethatvibrareswith thesound
againstanotherfilled plale.call edthe
backpfore. Nso calledelectret orcapocilOr microphone.
dlre-ctInsertion R&OldingtechniQuewhereinthesoundsIg-
nalsofelectric instrument sarefeddirectlytothemixing
withouttheuseofspeakerand microphone.Also
direcr inpul.
dynamicmlcrophClfle A microphonewho\esoundpickupde-
viceconsistsofadiaphragmtha! isattachedtoamovabl e
coit. AsthediaphragmvibratesWith theairpressure frOm
the thecoil withini) ITI<Igneucfi eld.generat -
ing anelectriccurrent. Alsocall edmoving-coil mi crophone.
fishpole Asuspensitlndevice{Of amicrophone;themicisat-
tachedtoapoleandheldover thescenefor brielperiods.
flat response Measur eofami crophone's abilityto hearequall y
welloveritsentirefrNluency Is usedas a
measurefordevicesthatrecordandplaybackaspecific
frequencyrange.
foldback The returnofthetotalorpartialaudiomix 10the
talentthroughheadsetsorLEB. channel s.Al socalledcue
send.
frequencyresponse 01 therangeoffreQuenciesa
microphonecanhearand
headsetmicrophone Small butgood-quali tyomni- orunidi-
rectional micattached10 paddedearphones; Similar10a
telephoneheadsetbutwithahigher-qualitym.c.
Impedance Typeofresis tancetothesignalflow. Importantes-
peciallyinmalChinghigh- orlOW-Impedancemicrophones
wi th highorlow-impedance recorders.
lilIVillieremicrophone A small microphonethatcanbeclipped
ontoclothi ng.
omnidirectlonill Pickuppattern in which themicrophonecan
pickupsoundsequallywell fromall
phantompower Thepowerfor preampliflcationini! condenser
microphone, suppliedbytheaudioconsoleratherthana
battery.
pickuppattern Theterritoryaroundthemicrophonewithin
whichthemicrophonecan' hearequallywell,"thatis, NS
optimalsoundpickup.
polarpattern Therwodlmensional representat ionofamicro-
phonepickuppattern.
ribbonmi crophone A microphonewhosesoundpickupdeVICe
consistsof aribbonthatvibrateswiththesoundpressures
withinamagneticfield. Alsocalledvelocity mic.
shotgunmicrophone A highlydirectionalmicrophonefor
picking upsoundsfromarel at ivelygreatdistance.
systemmicrophone Microphoneconsistingofabaseupon
which several Ci)nbeattachedthalchangeitSsound
piCkupcharacteristic.
unidirectional Pi ckuppanernin whichthemi crophonecan
pickupsoundsbettCf fromthefront thanfrom thesi des
orback.
wirelessmicrophone A systemthatIfammllsaudio
overtheairratherthanIhroughrflicrophonecables. The
mic isatt ached\0asmalltransmitter, and thesignal sdre
received byasmall receiverconnectedtotheaudiocon-
sol eorrecordingdevice. AlsocalledRf (radio frequency) mic
orradIOm.e.
189
---...--..
9.1
How Microphones Hear
The pickup of live sounds is done through a vari ety of mi
crophones. How good or bad a particul ar mi crophone is
depends not only on how it is built but es pec ially on how
it used. Se,(ion 9. 1 focuses on the specific make and use
of micro phones.
.... HHTIIONI( (HAR.A.(TERISmS OF MI(ROPHONES
500nd gtlletollng elemenl) (dynam i(, condenstl. ond ribbon).
pid<up pouems (omnidirectional andunidi/ff/lOoof), polOf
poI/ems. pop filler, ond syslem microphones
.. CHARACTERISTICS Of MICROPHON ES
Mob-Ie microphonl'S (lavaliere, hond, boom, headser. ond
wire/el ll and , tationary microphonel (desk, SltJnd. hanging.
hidden. ond long-dinOfKf>)
ElECTRONIC CHARACTERISTICS OF MICROPHONES
Choosi ng the mos t appropr iate mi nophone. or mi t
(pronounced "mi ke"), and operating it for optimal s.ound
pickup rlt<j ui res thai you know about Ihree basiceleclronic
charJctt'ristics: l l ) sound-generati ng (' lemenlS, ( 2) pickup
patt erns, <l nd (3) microphone features,
SOUND GENERATING ELEMENTS
All microphones rramduce (convert) sound waves into
ckctric e/lergy, wllich is ampli fied and reconverted into
sound W;JVes by the loudspe-ahr. The init ial conve rsion is
accompli shed by the gCllCratillge/rlll cllt of the microphone.
190
There are three major t ypes of soond-conVt:rting syste1l1S,
which are lIsed tl) cl assify microphones: dYI1(l l llJc, condclJSCf,
and ribboll. Secti on 9.2 explores how the var ious of
micJOphones transduce sound inTO el ec trical signals.
Dynamic microphones These are Ihe most rugged. Dr-
lI(ullic micmplrollcs, also c;t lled mOI" lIg-coi/lIl icropllOnes,
can tol erate reasondbl ), we n the rough handli ng that tel e-
vision mi crophones frl!CJ uen tl y (though unin tentionally)
receive. They can be worked dose to the sound source
and still withstand hi gh sound levels without damage to
the microphone or excessive illPllt over/Gild (distorti on of
very high-volu ml? sounds) . They can dlso withstand fairly
('.\ treme As you can probably guess, the)' af C
an ideal outdoor mi c.
Condenser microphones Compared with J yn<"lmie
mics, condellser microphQlles are much more sensitive 10
physical shock, temperat ure change, and input ovel lll,ld,
but they usuall y produce hi gher-qualit y so und when
used at greater di stances from the sound source. Un li kt"
d}'namic mi es, the cC"l lldense r mic (or, more precisely, the
dec/rn conde/I ,:cr) n('cds a small ban,,) to power its built -
in preamplifier. Although these batteries last for about a
thousand hours, you should always keep on hand.
especially i f YOli are using conde nser mi..:s for ENG or ErV.
Ma ny times cundl' nser mit fail ures can be tra..:cd to a dead
or wrongl}' inserted batter y. SEE9.1
Condenser lil ieS can als.o be powered through the ap-
propriate vo/t ,Jge supplied by Iht'" audio console or mi.x:er
9. 1 POWER SUPPLY BATTERY FOR CONDENSER MICROPHONE
Many condenser microphones are powered by a battery rarn er
than from the console (phantom power); be sure to observe the
+ and - poles as indicat ed on the battery housing.
Secrion 9. 1
Ihrough t he audio (;Jble. This melhod of suppl ying power
10 Ihe mic's preampl ifitr i!i called p/lQmom power.
Ribbonmicrophones Similar in !>ensilivity and qual-
ity to t he condt nser mics, r ibbon microphones produce
a warmer sound, (requeml y preferred by singers. Unlike
condenser mics. which you may use ourdoors undcr ccr-
tain circumstances, ri bbon mks are Sirict ly for indoor uS('.
They are also called velocity lII;aopIIOIII!S. mDAUDIO-.
Mi<rophones-' micchoiceJ tlansdUCef
PICKUP PATTERNS
\-\'hereas some mi crophones, li ke our eMS, near sounds
from all directi ons equall y well , oth.:rs hear sounds bet-
How Microphones Heo r
ler Ihey come from a specific direcli on. The terri -
tor y ""ithin ",1hi,h a microphom: can hear equaUy well is
caUed il s pickup pattern; irstwo-dimensional represt'IllOl-
tio n is called the polar pnllefll, as shown in figures 9.2
Ihrough 9.4.
InIcl evlsion produclion you need 10 use both omni -
directional and unidirecljonal microphones, d l:' pending
on whal and how you wanl 10 hear. The omnidirecl iolfof
microphont' hears sounds from all (amni;; in Lltin) direc-
tions more or less equall y well. The Imidirecrional
microphone hears better in one (wws in Latin) di rec-
tioll-Ihe front of the rnic-than from its sid es or back.
Because the polar pallerns of unidirecti onal mi crophones
are roughly heart shaped, they are called cardioid. SElU
9.2 OMNIDIRECTIONAL
PICKUPAND POLAR PATTERNS
The omnidirectional pi ckup
pattern likl:' a small rubber
ball with the mic in in center,
All that oJiginate
within it s pickup pattern are
heard by Ihe mk without
marked difference.
9.3 CARDIOID PICKUP
AND POLAR PATTERNS
The he.lrt-shaped pickup pal '
ternm<lkes the mic heal bet-
lef(romthe (wmthan from
Ihe sides. Sounds to its .ear
(lie
t
191
Secrion 9. 1
9.6 WINOS(RlEN
The wind5creen,normallymadeofacousti cfoam rubber,covers
thewholemicrophonetoredlKethelowrumbleof wind noi5e.
orwind jammer, over the wi ndscreen. The windJammer is
madf: from mat l.' rial and resembles more a mop
than J $ophistkated audio device lsee figure 9. l 5). \"'hat -
ever you bear in mind that the ru mble of wind noise
cannot be el iminated totaUy. The only way to have no wind
noise on the videotape is to shoot when there is no Ivind.
You can, however, use ceru in filter s in postproducti on that
(an redun'or eliminate wind noise.
To reduce tht Ul'l.'d for microphones with I'ari ous
pICkup patterns, )'OU can uS(" a s),stem micropholle, which
consists of a base upon ",hid . several " heads" can be
attached. These he.lds change ltre pickup paltern from
omnidir('ctional to hypercardi oid. As convenient HS this
may be, you will find Ihat moSI audio engineers favor lhe
indi vidual mics built for specilk appli cations.
OPERATIONAL CHARACTERISTICS
OF MICROPHONES
Some mi crophones are designed and used pri !l13ril y for
round sources that arc movi ng, whereas OIher$ are u!>t"d
more for stati onary sound sources. When grouped ac-
cordi ng to thei r actual operat ion, there are mobile and
slat;onarym;crophones (see figure 9.34) . Of course, any of
the mobile mi c.s can be used in .a slationary posi tion, and
the stationary mics can be moved about if the product ion
situation so requires.
The mobile microphones include ( 1) la va li ere,
(1) hand, (3) boom, (4) headset, and (5) mi es.
How Microphones Hear
The micro pho nes incl ude (I)desk, (2) stand,
(3) hanging, (4) hidden, and (5 ) IOLlg-distance rnics.
LAVALIERE MICROPHONES
The first or the mobile t ype, the lIlva/iere microphone,
usually referred 10 a /(m is probably the most frequently
IISt--d Oil -camera microphone in television. TIl e high-qual-
it y lavalieres, whICh range in size from a small pushbutt on
on your home ud.. phone to the eraser St"{ti on 01) the back
of your pencil, can fa stened to clothing with a smaU clip.
Be-cause of their size, they are unobtrusi ve and look mure
li ke je\\'etry Ihan a technical device. SEE ' .7
micro phones are omnidirectional or unidi-
rectional , with a dyna mic or conde nser soulld-generating
elem ent. Th<!y designed primarily for voice pi ckup. The
quality of even Ihe small est one is amazi.nglyhigh. Once the
lav is vroperl y an ached to the performer (<lpprox.illl il lely
5 to 8 in..:hes below the chi n, on top ofthe clothes, and
away from anything that could rub or bang against it),
the sound pi cku p is no longer 11 worry. The audio engi-
neer ,1/1'>0 has less difficult y ridi"s Ihe ga;" (adjusting Ihe
volume) of lhe laval iere than t he boom mic or hand mic.
Because tile distan..:e between t.he mic and Ihe sound source
do("s not cha nge during the perfo rmance, an even sound
level can be achieved more easil y {han with Qther mobil e
micropho nrs.
Th{' use of lavaliere mi crophones frt't' S the li ghting
people from "ughting around the boom" to avoid shadows.
They can concentrate mOTe on the aesthet ic subtlet ies of
lighting as relluircd by the scene.
Although the action radill s of is still
limited by th" lavaliere cablc, the cable is Oc<.i ble enough
t hat they can move quickl y Jnd relal ively unrestri cted in a
li mit ed studi o area. For greater mobilit y you can plug Ihe
lava!icrr il1 to a smalltransrni lter, which you can clip on a
9.7 LAVALIERE MICROPHONE
Thislavalieremi cisproperl yattached l oropllMalsound pickup.
193
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t > 6 L
Sec rion 9.'
Be sure to put it on. You would not be the fi rst per
former to be discovered silting on, ralller than wearing,
the microphone by ai n ime.
To put on the mic rophone, bring it up underneat h the
blo use or jacket and t hen allaeh it on the outside. Clip it
firml)' to the cl othing so tha t it docs nOt rub against any-
thi ng. Do not WC;H jewetry in proximity to the mi c. If you
get rubbing noises, pllt a pi ece of bam rubber between the
mie and the clothing.
Thread the mk cabl", underneath t he ..::lathing and
the cable so that it call not pull the microphone
sideways.
Loop Ihe cable or even make a loose knOI in it jusl
below the clip to block some unwanted pops and rubbing
noises.
If you en<;ounter elect rostatic pops, Iry 10 Ireat t he
cl othes wi th anti static laundry spra}', avai lable at super-
markets.
If you must c.onceallhe Ill ic. do not bury it under layers
of clothing; keep it as close to the surface as possible.
If you usc the dual-redUl liialicy mi crophone system
(which uSt' S IwO identica l microphones for the so und
pi ckup in fails), fasten both micssecurel y and use
a clip designed to hold two lav<l lierts so that the-y do not
touch each other.
Avoid hitting the microphone with anyobjecl you may
be demonstrati ng on-camera.
If t he lav;lliere is a wireless and/or mic,
check that th t ba ttery is in good condition and install ed
correct ly.
Double-check Ihalt he is turned on (there
are normall y!'Wo switches-one for power and one for the
mic) and that it is tUfllf'd off when leaving the set.
J( your lavaliere was nsed as a wireless Ill ic, dOli" walk
off the llIic sliU clipped to your clothi ng. Turn off Ihe
Iransminer, take off the microphone, and remove the cable
from undect hecJothing before leaving the .st::! . Put the mic
do\vn gent ly.
EfRb... When using a lavali ere outdoors, the wind-
EFTscreen. You can also make a windsaeen by taping a
$111;111 piece of acoustic foam or over the m;"
Experi enced EFPpeople claim that b)' wrapping the mic in
cheesecloth and coveri ng it wilh the tip of a child's woolen
glove, the wind noi se is virtuall y eliminated. C
How Microphones Heor
HAND MICROPHONES
As the !lame ul1plies, the Il(md microphOllt' is handled by the
performer. II is used in all production situations in whi ch
it is most practical, i( not impera tive, that the performer
exercise some control over the sound pickup. Hand mics
are used extensivel y in ENG, where the report er often
works in the midst of much commotion and noise. In the
studio or all -stage, hand mics are uSld by si ngers and by
performers who do audience part icipati on shows. With the
hand mic, t he performer can approach and talk at random
fO anrone in lhe audience.
For singers the hand mic is part o( the act. They switch
the mic (rom one hand to the other to I'i $ually support a
transition in the song. or they caress il dur ingan especi all y
tt nder passage. Most impon ant, hOl \lever, the hand Ill ic
enables singers to exerci se sound control. First , Ihey ca n
a mi c whose sound reproduction suits their Vo ice
qualit y and style of singing. Second, Ihey can the
mic during a song, holding it dose to the mouth to increase
the intimacy durillg soft passages or farther awa)' during
louder, more external ones. Third, the hand mic gives them
freedom of movement , especially if it is
The wide variet y of uSt's makes heavy demands on
the performance characteristics of a hand mi e. Because
It is handled SO much, it mUSt be rugged and capable of
physical shock. And be<:ause it is often used
ext remel y cl ose to the sound source, it mUSI bC' insensj t ive
to plosivC' breath pops and input overl03d distortion (see
.o;ection 9.2). \"'hen ust: d on remote loca!i oll s, it
must wit hstand rain, sno\\', humidit y, heat, and ext reme
and yet be sensit ive enough to pick up
the full range and subtl e tone qualiti es of a singer's voice.
Finally, it mll st be smaJl enflugh to be handled comfortably
by the performt' r.
Of no single mit C<l n fultill all these requi re-
ments equall y, wh ich is why some hand l11ics ;\re built for
outdoor use, whereas others work best in the controlled
studio enviro nment. Normall y, you should usc dynami c
lIliC$ for outdoor productions. Their built- in pop fi lter
and sometimes even built-i n windscree n produce accept-
able 'Htdio even in bad weather conditions. SEU.I C OtJ -
denst: r or ribbon mlCsdo not fare as well outdoors but are
(xcelknl (or Ill ore-dem:tnding sound pickup, such as of
singers. nEt.'
The major disadvant age of the hand mic is what we
just listed as one of it s ad vant ages: t he sound control
the performer. If a perfor mer is inexper ienced .I n u.s ing a
h,lIl d l11i(, he or she might produce more po ps and bangs
than int eUi gible sounds, or may, much to the dism ay of the
camera operator, cover fhc: mo uth or part of the face with
195
196
Chaprer 9
AUDIO: SOUND PICKUP
9.8 OYNIoMIC HANO MICROPHONE FOR OUTDOOR USE
The hand mk is fUgged, has a built- in windscreen, and is insu-
lated to ptevent fubbing sounds from the talent 's hands.
9.9 RIBBON MICROPHONE FOR HIGH.()UAliTY SOUNO PICKUP
This ribbon mit (Beyerdynami c 500) has a buitHn pop niter
and an excellent frequency response. Because of warm
lone, it is a favorite with si ngers, (Note: Beyefdynomic is a trade
name-not the type of microphone, The mit pictured here i s a
ribbon microphone.)
the mic. Another djsadvan tage of most hand mic s is Ihal
their cables can restrict movement somewhat, t'specially
in NG. wh.m a field repone; is tied \0 the camcord(' r.
Although wirel ess hand mi cs arc successfully used in Ihc
studio, stay Jway frOIll them when workins ou tdoors. A
cable is s!ililhe most reliable connecdon between the mic
and the audio mixer or camcorder.
How to use hand microphones Working \"hh the
hand m ic requi res dexteri ty and foresight. Here are some
hint s:
Al though Ihe hand mic is fai rl )' rugged, treat it gentl y.
If you n,d both hands during a performance, do not just
drop t he mic; put it down gentl y or wedge it under your
arm. If you ....'antlo impress on the performer Ihe sensitiviry
of a microphone, espe.:ia!! r that of the hand mjc, turn up
9.10 POSITION OF OIRECTIONAl HANO MIC OURING SONG
For opt imal sound pickup, tile singer holds the mkrophone
dose to her mout h. at approximately a 4S(!egree angle.
the vol ume level and feed the clanks and bangs back out
into the studio for the performer to hear.
Before the tdeeast check your action radius to sec if
the ",ie cah k is 10llg enough for your ;Ktions and laid our
for maximum mic mobili ty. The action radius is especially
important in ENG, where the reporl er is closel y lied to the
camcorder. If you have to move about (I great deal. use a
wireless hand mic or lavaliere,
Always lest the mi crophone before the sho",' or news
report by speaking into it or lightly scralChins the pop
filter or windscreen. Do not blow illlo it. Have the audio
engineer or the camcorder openll or confirm that the mic
is \"orklllg properly.
When usi ng an omnidirectional mic, speak acro5S
rather than inl O it. \V'i( h a di recti onal hand mic, hold it
close 10 ),our mouth at al'proX'imaLeI}, a ti S-degree angle
to achieve optimal sound pickll p. Unlike t he reporl er, who
speaks (l cross the omnidire..: uo nal hand mic. the singer
sings 1/110 the direc ti onal mic. 5(9,10
If Ihe mie (;3bie gCls trmgled, do nol yank on i l. SlOp
and I ry 10 gel the attenti on of rhe floor manager.
Vo'hen walki ng a di stance, do not puU
the cable wirh the mi c. Tug the cable gentl}' with one hand
while holding Ihe micwphone wit h the other.
Effo... When in the field, always lest the mi crophone before
EW the show or nc\vs report by having the camcorder
operator record some of your openi ng remarks ,lnd then
play 1hem hack for an audio check. Insis t on ;t mic check,
especially i ( the crew lell s you not w worr ybec',\l!sc they've
"dono:' it a thousand times
Sec/ion 9.1 How Microphones Hear
9.11 HAND MI(POSITION: (HEST
When used In a fairly quiet envirOnment, the hand mic sl\ould
be held high, palallel to the body.
\\'hen doing 11 stand-up n(:'\,'s report in the field under
normal conditions (no excessivel), loud ('l1vironment. nu
strong wind), hold the microphone at chest level. SU. 1T
Speak toward the camera, across the microphone. Ifthe
bAckground noise is high, raIse the mic clmer to your
mouth while stil! speaking across it . SEE 9 . 12
When interviewing someone, hold the microphone to
>'our mouth whenever you speak and 10 the guest's when-
e\'er he or she answers, Unforlunatel)', this obvious proce-
dure is sometimes re\'ersed by many novice performer;.
Do not remain standing when interviewing a child.
Crouch down so that you are at the child's eye level; you
can then krtp {he microphone close to the child Ina nalural
way. '{ou become a psychological equal 10 the child and
also help the camera operator frame an acceptahle pit-
lure. SU. 9. U
Always coil the mk cables immedialdr afler use
to the cables and havc them ready fC'lr the next
project. 4:
BOOM MICROPHONES
When a production, such as a dramatic ,.cenc, requires that
you keep lhe microphone OUt of c.1f1lCra range, l'ou nced
9.12 HANOMIC POSITION: MOUTH
In a noisy environmenl, the hand mic must be held 10
the mouth. Note that the talenl is still speaking across the mlc.
,athellhan into It
I ' . ;
, . I
<
I
.t_
I {#

9.13 USE Of HANDMICWITH (HllO
When interViewing a child. crouch down to the child's eye level.
The child is more at ease, and the camera operator i$ able to
frame a better shot.
a miG Ihat can pick up ova a fairly gTC,lt dist?;nce
,,,hilt' making it seem [0 come from dost up (presence)
and which OUI most of the extraneous noises $ur-
rounding tht' scene. The sho/gull microphone fills that bill.
It is directional (supcrcarJloid or hypercardiold)
and has :I f:lT rearh l'I'ith lillie loss or presen..:e. SEE 9.14
It is usually !>uspended from kind of boom,
or is h,mdheJd ,,,ilh your arms acting as a boom, we calltt
J [.oom micropholle.
9.14 SHOTGUN MIC
The shotgun mlc has a highly direclio/lilt (super- or hypercardloid) pickup pattern and a far reach,
pelmilling the pickup of sounds that are relatively far away.
197
198 Chapter 9
This section examines the following boom operations:
( I) the handheld shotgun, (2) the nshpole boom, (3) the
giraffe, or tripod, boom, and (4 ) the bi g. or perambul a.
tor, boom.
Handheld shotgun The most common ways of using
t ht' shotgun mie in EFP or small studio productions are
\0 hold it by hand or to suspend it from a fishpole boom.
Both methodj work. fairl y well (or sho rl scenes, where
the microphone is to be kept out of camera range. The
advantages of holding i( or suspending il from a hshpole
boom aTe: (I) Ihe microphone is e)(lremeiy flexible-you
( an ca rry it into the scene and aim il in any direction
widl Qut any eXi rant'ous equipment ; (2) by holding t he
shot gun, or by working the fish pole. you take up very linl e
production space; and (J) you can easily \ ....ork aro und the
exist ing lighting setup to keep the mic shadows outsi de
camera range.
The disadvantages are: (I) you can cover only relativel y
short scenes wit hout getting tired; (2) you have to be rela-
ti vel y d ose to Ihe scene lO get good sound pickup, which
is oft en diffic ult, especially if the set is crowded; (3) if the
scene is shot \" ilh mull iple cameras (as in a studio produc-
tion), you arc often in dangt:: r of getting in the wide-shot
camcra view; and (4) when you arc holding it , the mic is
apl to pick up some handling noises, even if yo u C<l fry it
by the shock mOllnt (a suspension device thai prevent s
transmitting handling noises 10 the Illic).
ENlh.. How to use shotgun microphones When hold
EF? ing the shotgun mie during a production, pa}' par-
t icular attention to the follm"ing point s:
Always ca rry the: shotgun mie by the shock mount. Do
not carr y it diTeC1 ly or you'll end up with more handling
noises t han aClars' dialogue. SU:9. U
Do not (OliN the pons (o penings) al the sides of Ibe
shotgun wi lh anything but the Til eS<.' ports
must he <l ull' to receive sounds to keep the pickup pattern
directional. Holding the mi e b}' the shock mounl mini -
mizes the d;lI1ger of covering the ports.
Watch that you do nOI hit anyt hing with the Oti c and
that you do not drop It.
Aim il as much as possible toward \\'Jl ocVer is speaking,
especially if you are cl ose to the sound source.
Alv.'ays we<lr earphone... so Ihat you can hear what Ihe
tn ic is ilctuall y picking up. Listen nOI onl y to the W Ulld
quality of Ihe dialogue but also for \l nwanl ed noise. If ),ou
AUDIO: SOUND PICKUP
9.15 HANDHElD SHOTGUN MIC
Always hold the 5hotgun mi e by its mount . When OUI -
doors a windscreen is mandatory. This mi c has an addi tional
wind )<Immel i!JUached.
hear sounds Ihat are nOI supposed 10 be there, 1('11 the dirE'(" -
tor about the int erfe rence immediately after the rake (from
stan 10 stop of Ihe show segment being videotaped).
\Vatch (or un want ed mic shadows.
Flshpole boom An extendibl e metal pole thai lets yo u
mounl a shotgun mic, a fi sllpole is used mostl y outdoors
for ENGfEFP but can, of course, be used for brief scenes
in the studio in place 01 the big perambulator boom. You
will fi nd that a short is rdati vel y easy to handle,
wh.: rcas working a long or full ), e.'o;: tcnded fi shpok can be
qui Ie l iring, especiaUy during long, uninterru pt ed takes.
How to use fish pole microphones When usinS Ihe:
fi sh pole, many of the foregoing points apply. H\':re are
some mort::
Check that the mie is properly shock-mounted so Ihat
it does not touch the pol e or Ihe mie cfl ble.
f ast en the mic cabl e to the pole. Some commercially
avail able lishpoles double as a conduit for the cable.
Hold the (l shpole from e ilher above or bel ow the
sound source. su 9. 16 ANO 9. 17 If yo u aTe recording two
people talking to each other, point the mic at whoever is
speaking.
If the JclOrS speak I"hi le walking, wa lk with them;lI
exact l), Ihe S;;l me speed, holding the mi c in frOll1 of them
during 111(' entire: l ake:.
Section 9. 1 How Mi crophones Hear
9.16 FROMABOVE 1.11( POSITION
Thesnort is usually held high as possibleand
dipped intothescene from above.
Watch forobstacl esthatmay bl ockYOUfway,such as
cables, lights,cameras, piecesofscene ry, ortret's.Be<ause
you usuall y walk backward while wa tching the actors,
rehearse yo ur rout eafew times.
Beforeeachtakecheckthatyouhaveenoughmiccable
forIheent irewalk.
Ifyouhavealongfishpnl e, anchorit inyourbelt and
10,,' eritint oIhesceneas though yOll were "fishing"forthe
appropriatesound. SEE9. 1' ..
9.17 FROMBELOW MI(POSITION
Thefi shpolecan,) Iso be heldtow.with the mic <li mffi .11 the
wundsource fl om below.
Giraffe, or tripod, boom Many studios a small
boom,calledagiraffe, ortripod, boom. Thegiraffeconsists
of ;lO extendiblehorizontalboomarmthatismountedon
atripoddolly. SE9. 19
You can lill the boom upand down and simult ane-
ouslyrolat e themic inIhedesireddirecti on.Andyoucan
repositio n theentireboomassemblybysimplypushingit.
The advantagesofthegiraffe boom for studi o workare:
( I)unl ikethefishpole,youdo notha "etohold the boom
assembl ywith the mi,;(2) the giraffe takesup relaliwly
(ountetbalamewei9ht
9.19 GIRAFFE, OR TRIPOD,BOOM
The smallglfi)/1eboom canbefepo\itioned with itstripod
dolly.The boomcanbetilt edupanddownaod p.lnned hort-
zontally.The mic can berotat e<! totheexactpickup position.
9.18 HANDliNG THE lONGFISHPOlE BOOM
The long nShpolecan be<lnchored in the belt and rai sedaod
lowered similar10 ana{\ual fishing pol e
199

200 Chaprer 9
AUDIO; SOUND PICKUP
9.20 BIG, OR
Mktill6ndtum
Cranktoadjust boomlength
PERAMBULATOR.BOOM
The big boom( 30 to
<I 20-foot re3ch, pan 360 de-
andtiltupanddown_
The mkrophooeitselfcan
berotatedbyabout 300de-
tockmewl
grees- almostafullci rcle.

.------. (oOlroitoraiseorIowt'rplatfoon

IJf
Mchan
9t Platfol1llfor and IV monllor
linkstudiospace; (3) becauseofitslowheightandnarro\V
wheelbase.youcan move it easily through narrowdoor-
waysor ha!lways; and (4) it can be di sassembleJ qui ckiy
andtaken10 felllotelocationsifnecessary.
Unforlunatdr, even Ihe giraffe is nOI without seri-
ous operational disadvantages: (I) The lightingmust be
carefully adj usted so that toe boom shadows fall outside
ofcamera vitI\' (see chapter 8), (2) Theextensi on ofthe
relativel}' lightgiraffeboom is limited, Itrequiresthatthe
boomoperatorstanddosertothe source,aposi ti on
that tends to increasethe general noise level. (3)Because
the boom has to remain rel atively10\\' duringoperation,
Ihe risk of gening the boom or the mic in the piclUre is
increasedconsi derably.(<I ) Beca useofilslight ""'eiglll,the
boomissubje<:t toshockandvibrati ons, which,despileits
shockmoun' s, canbetransferred to themicrophone.
The big, or perambulator, boom '''!henworkingwith
large. multi camcrasWdio productions,such as situat ion
comedies and soap operas, you will find that despite the
pr{'sence oflavaliere mi cs, thebigperambulat orboont is
very much ali ve and weI!. In thecontrolledenvironment
oftheswdio,thcbi gboomissti ll oneofthemosteffeCli ve
waysof gett ingahi gh-qUil lirymicdosetothe,alentwhil e
keeping it outofcamera view. SEE 9.20
Thereare several reasons wh)' thebigboom has not
achieved greal populari ty in routjne studi o productions:
Usingthebi gboomusuallyrequirestwooperalors:
theboomoperator,who worksthemi crophone
boom,and IhedoUyoperator,whohelps reposilion
the\vholeboomassembl ywnenewr necessar y.
TheAoorspacethaIIheboomt"kcsUJ' ma),. in a
small sllldio,CUI considerablythemaneuver-
abilityoft nt'cameras.
l ikethegi ra ffe boom,thebigboom requiresa ma-
nipul at ionofthelighlingsothat lISshadol".'fall s
oulsideofcamerarange. Even inlargerstudios,the
lighti ngproblemsonenpre-dude!he USI! ofaboom,
available personnel andspace norwithstilndjng.
Theboomisdifficult 10 operate,especially whenthe
actorsare movingahout.
The big boom nevenhcJess has several advanl ages,
especiallywhenused formuhiCilnlCrashowst"hat aredone
li ve-on-tape orcOnlain fairly long, uninterrupted takes:
[tallowssmoothand rapidmovement ofthemicro-
phoneaboveandin front ofthesoundsourcesand
fromonespottoaoolheriln}"A-hcreinIhesludio
withi n itsextendedrange. YOIi canI!xtendorretract
themit,simultaneousl ypan the ooomhoriwJl taU)',
movc itupanddownverti cally,androtate andtilt
themic10 allow for directionalsoundpickup.Dur-
ingall theseoperations,theboomass(' mblycan be
movedto variouslocations,in casetheboomcan-
not reach thesoundsource....henfullyextended.
Itcan ridehighenoughtokeeptheboomand its
micoutof view.
Itpermits the mountingofhigh-quil lit yshotgun
mics.
hCall reachinto performance areaswithout the
boomassembl y's movingtoo closeto the
Section 9.'
The operation of the big boom is similar to t hat of the
giraffe (.see figure 9.19). The major operational difference
bet ween Ihe gi raffe and Ihe big boom is that the
allow$ better sound pickup: you COil move the mi c much
more quickl y and smoot hly and can extend it much farther
into a $((' n(' than with the gi raffe. Once properly mount ed,
the boom noise is not t ransferred to rhe m ic.
How to use boom microphones The following tips
apply to operat ing both the small giraffe boom and the
big peramb ul ator boom:
Try to keep thc mic in front of the sound source and
as as ....i thout getting it in t he piaure. Do nOI
ride the mic directly above the talent's perfofma
speaks from Ihe mout h, not the top of the head.
Wat ch rhe studio line monilor (which shows the pic -
ture that goes on the air or is videot aped). Try to ascertain
du ring rehearsal how far YOIl call dip the mic toward the
sound Ource without getting it or the boom in the pic-
tUTe. The closer the mi c, the bett er the sound. {In boom
mic operation, you can never get dose enough to violate
the minimum distance required o( cardioid mics to avoi d
breath pops or similar sound distortions.)
The optimum distalKl' for hoom mics is when the
talent can almost touch the mic by teachmg up at dOOUC a
45-degree angle.
If the boom gets in the pi cture, ie is beller to puU it
back than to raise it. By ret racting {he boom, you pull
the microphone our o( the camera's view and at the same
time keep the mic in front 0(, rathl'r than above, the sound
source.
Watch for shadows. Even the best LD cannot avoid
shadows but can only redirect them. If the major boom
posi tions arc known before the shOll'. work with Ihe LD
10 light around them. You may sometimes have to sacrifice
audio quality 10 ilVoid boom shadows.
Ifyou discover a boom shadow when the camera is al-
ready on the air, do nOI suddenl y move lhe mic---everyone
will see the shadow traver acro,ss the screen. Try 10 sneak it
out of the pict ure very slowly or, beltt'f, just kt'<':p t he mk
and the shadow as steady as possible until a reliet shot
permits you to move into a morc advantageous position.
Anticipate the movements of performers so lhal you
can lead them ""ith the mic- rather than franti cally (oUow
them. Unless the sholv is very well rehearsed, do not lock
the pan-and-till devices on the boom. If the performers ri se
unexpectedl y, they may bump thei r heads on Ihe locked
microphone.
How Microphones Hear 201
Listen (o r good audio balance. If you have to cover
two people who are fa irly dose together and stati onary,
YOli may achieve good audio balance by simply positioning
the" mic between them and keeping it there until someone
moves. Favor the weaker voi et, by pointing the lni c more
toward it. More often, however, you will find that you must
rot<lte the unidiTl'Ctional mic towa rd whocver is talking. In
fully scri pted shows, the audio engineer inthe booth may
follow Ihc scripted dialogue and signal the boom operator
whenever the mie needs \0 be rotated from one actor to
the other. mit types Iptacement
HEA_D5T M-ICROPHONES
Efnh..The headset m;crophoneconsisls ofa small but goOO-
EFTqualit y onmi - or unidirecti onal Illic altached to
earphones. One of the earphones carries the program
sound (wh,lt ever sounds the headset mic picks lip or is fed
from the station), and the other ca rries the 1.FB. (in ter-
ruptible foldback or feedback) cues and instructions of
rhe director or producer. Headset mies are used in certain
EFP situations, such as sports reporting, or in ENG from
a helicopter or convention floor. The headset mic isola tes
you sufficiently from the outside world so that you can
concentrate on your specific reporting job in the midst of
much noi .'it' and commotion while at the same time keeping
your hands free 10shuffle papers wi t h players' statistics or
buttonhole someone for an int('n' iew. SU'-ll C
9.21 HEADSETMICROPHONE
The headsetmlcissimilartoanordinary tetephoneheadset
exceptthat'it has bigger. paddedearphonesandahigher-
qualitymicrophone.
202 Chopter 9
Mkwlh trIJIsInItWr ind buiItin . lMtnna
-
9.22 WIRELESS HANDMI( AND RECEIVER
The wi reless hand mie normall y has the tfansminer built inla
the housing_ The antenna eitt'le, is built into the mie or st icks out
al t he bonom. Th@ re<etll'er. which is tuned to the frequency 01
the hand mie's "a05miner, pkks up the signal and s.ends it via
ordinary mie cable 10 the audio console or ( am( Ofdet.
WIRELESS MICROPHONES
In production situarions in which complete and unre-
st ricted mobi li ty of lhe sound sou rce is requi red,
microphones 3re used. If, for example, are recording a
group of singers \\l ho are also d;mejns. or if you are asked
to pick up 3 skier's St unts and the elaller of the ski s all a
dOI"nhiH CO urse, the wireless mie is the obvious choice.
Wireless mi es are also used {'xtensiveJy for newscasts, for
EFP, and occasionall y for multi camera studio productions
of dramati c shows, Wireless mics actu<tlly broadcast their
si gnals. They are therefore also call ed RF (radio frt qllency)
minor radio mics. Most win' le-s5 mi crophones are used as
either hand or lavali ere mics.
In wireless hand mics, the battery-powered transmi t-
ter is buil t into the microphone it self. Some models have a
short ant enna protruding boll om of the mic, but
in most the antennil is incorporated into the mi crophone
housing or cable. SlU..ll
The wi rekS$ lavali ere mic is connected to a small
battery-powered transmitter t)llII is eit her worn in the hip
pocket or taped to the body. The antenna is usuall y tucked
int o the pocket or strung inside t he cl othing. Slu.n
The other import ant element of the wirel ess micro-
phone system is the r('(eiver (see figure 9.22). The receiver
runes in to (h(' (r('queney I)f the wireless transminer and can
receive the signal from as fa r as I ,(x)() (eet (a pproximatel y
330 meters) under favorable conditi ons. \\'hen condi tions

AUDIO: SOUND PICKUP
9.23 WIRELESS LAVALIERE
MIC AND TRANSMITTER
The wireless lavaliere mic hil S
a separate nansmitt('1" tha t IS
worn by the talent. The reo
ceiver picks up the mit's sig
nal and romes it via ordinary
mlc cablt 10 Ihc audio mixer,
console, or camcorder.
Belt pack
------- layaliere mr(
are more adve rse, the range may shrink to about 100 fee t
(about JJ met ers). To ensure optimal signal reception, you
can sel up several receivi ngst:.ltlons in the studio;!s well as
in the field. When tu ned 10 frequency, t\"le re<eivcr
will swit ch 10 iI more fa vorable fr equency or have another
receiver take ol'er when the sign;!1 gets tOO wea k. This is
called Tecep'ioll.
The mic works best in the com rolled environ-
ment of a st udi o or stage, ",'here yOIl can determine t he
precise range of the performer's movement s and fi nd the
optimal positi on for the receiver(s). singers prefer
working with the wireless hand mie because it aflords
unrcslriClt'd movemenl.lt is also useful i ll audience p<trlici-
pation shows, where the performer ,,'al.ks into the audience
for brief, unplanned interviews. The wireless hW<l li ere mi e
has been used succc:iSfully for musicals and shows
and, of course, in many ENGfEFP situations.
Despite the obvious advantages of using wireless mics,
there are also some major di sadvantages:
The signal pickup can bt uneven, especiall y if the
sound source moves over a fa irl y grea t distance and
through hilly terrdin- :I ski er, for exampl e. ff you do not
have line of sight betww n the transmitter (on the per
former) and the receiver, you may encounter fades and
even occasional dropouts. Dive rsify reception, \vhkh uses
mul tiple receivers, is a IHUSt Ul such situ<1tiot"lS.
f( the transmitter is taped to t he body, the performer's
perspi ration ca n reduce signal st rengJ h, 3S does, of course.
the increasi ng dislance (rom t nmsmill er to receivcr.
Large metal objects, tramform
ers, X-ray machines, microwave transmissions, and cellular
phones Gm aU interfere wit h the propcr reception of the
wireless mi c signal.
Alt hough most wireless eqoi pmeHl offer!> several fre-
quency channel s, there is st ill SOffie danger of picking up
5ection 9.1
e.'(l raneous signals, especially ifIhe reccjwr is not tuned ac-
curatel y or ifit operates in the proximit y of someone else's
wireless signals or otner scrong radio sjsnals. Interference
is evident by pops, thumps, signal d ropouts, and even lhe
pickup of police band
If you use several wireless mics, they need to be fed
into a mixer for proper audio (ontcol.
How to use wireless microphones The basic opera-
tional techniques of the wirel ess mie <lre idenLicallO those
of the wired lavaliere and hand mies. but here are some
addilional points to consider:
Always instaU new batteries before each shoot- and
carry plenty of spares. The upper frequencies sound thin
whe n the mi c has a weak batterr
If the recei ver is fairlr far from Ihe wireless transmiller
that is worn by the talent. the Iransmilt er antenna must be
fully extended. You can ti e one end of a rubber band to the
rip of the ant enna and tape the other end 10 the performer's
clothing. That will keep rhe an tenna extended ....,hil e
preventing it from being snapped orr irs conncrt or when
the talent moves.
If you must tape the transmitter to the body, avoid at -
taching the lape directl y to skin becauSt' e." essive moisture
can interfere with the signal.
Position the receiver(s) so that there are no blind spots
(idcalJy in line of sight with fhe transmill f' r at all times).
Always lest the sound pk kup over Ihe entire range of
rhe so und source. Watch for possible interfering signals or
objects.
DESK MICROPHONES
As the name implies, desk micropllOtlt'5are usuaUy put on
tables or desks. These stationary mies are widely used in
panel shows, public hearings, speeches, press conferenc(,s,
and other programs where the performer is speaking from
behind a desk, table, or lectf' rn. These lllics arc used for
voice pickup only. Because the performer is usually doing
something- shuffling papers, putting th ings on the desk,
""identally bumping the desk with fect or knees-desk
microphones mmt be rugged and able to withstand physi-
cal shock. Dynamic, omnidirectional Illics are generall y
used. If a high separation of so und so urces is desired,
however, unidirectional mics are another option. Gell er-
all y, most hand mi l"S double as desk. mies- all you do is
place them in a desk stand and posirion them for op1imal
sound pickup. SEU.14
How Microphones Heor
9.24 DESK MICROPHONE ON DESK STANO
In televisionproduction deskmics are usuallyh<lnd mics
dippedco a deskseand.
9.25 BOUNDARY MICROPHONE
This mi( mustbe mooneed or puton a teHeOingsut/ace10
build up the l one" Ole which all !oOUnd waves reach the
mi cat the sametime.
Boundary microphone One type of desk mic i& ehe
boulldary microphone or, as il is commonly ca lled. the
pressure zOlle microphollt" (PZM) .' These mics look differ-
ent from ordinary microphones and operaee on a different
principle. SEE9..lS
The boundary microphone is mounted or posilioned
close to a rdlcCl il1 g such as a table or a plastic plate
accessory. SEU.16 Wll en placed int o Ihis sound "pressure
w.ne," the mle receives both Ihe dire.;;1 and the reflected
I l'lM is I lrddl'mark ofCr"wn ImcrmlIVM I, irK
203
204 Chap ter 9


Boundary mit
9.26 BOUNDARY MICROPHONE
USEDfOR MULTIPLE-VOICE PICKUP
With the bound.lfy mic in the middle ofthe tilbl e, the s.ound
pickup is equal for an people Mound it.
wuods at tht' same time. Under optimal conditions the
boundar y microphone produces a clearer sound than do
ordinary mies. chief adV;\ nt ,lge is that it can be used
for the simuhanOOlis voice pickup of several people' with
equal fidelity. Boundary mi cs have a wide, hemispheric
pickup pattern and are therefore well sui ted for large groul>
discussions and audience reactions. You can, for example,
simpl y place thi s mk on a tabl!' and achieve a remarkably
good pickup oflne people si tling around it. Unfortu nately.
when used as a table mic, the boundary Oli calso pi cks up
paper rustli ng, finger lapping, and the thumps of people
knocking against the table. but pads for the mic minimi ze
or vinually eliminate such problems.
How to use desk microphones mies, likE' pea-
!luts, seem 10beirresistibl e-not that performers want 10
eat them, but when sitting or behind a desk mit
they feel compell ed to grab it and pull it toward them, no
mailer ho\v carefull y you might have posit ioned it. Polite
or not-sa-polite requests not to touch the mic seem futjJe_
Sooner or later the talent wiU move the mic. To COunter
this compulsion, consider taping the mic stand to the
lable, or at least tape the microphone cabl e securely and
unobtrusively so that the mic ca n be moved onl y a short
di St ance.
As with the h;lnd mic, no a\lempt is made to conceal
the desk mk from the viewer. Neverthelcss, when placing it
on a desktop or ll'i:lern, consider the ( amera picture as well
as optimal sound pickup. Performers certainly appreciate
it ifthe camera sho\vs more or them Ihan the microphone.
[(the camera shoolS from straight on, pl ace the mic some
AUDIO: SOUND PICKUP
9.27 DESK MICROPHONE PLACEMENT
fORSINGLE PERfORMER
The mi ( should be placed to the side o( the talen( and
aimed thto tatem-s collarbone so that hI! or speaks across.
rather than into, it. If the talent a monitor_put the mk on
themonitorside.
what to the side of Ihe performer and point it at hi s or her
coli arbone ralher than mouth, giving a reasonably good
sound pickup while all owing the camera a clear shol a '
the performer's face. SUfI..l7
Wh en integrating the mi t unobt rusivdyin the picture,
do oot forget about the mic cable_ Even if the director as-
sures you that the mic cable on the floor IviU neyer I,)e seen,
don' t bel on il. Try to string the cable as neady as possible
and lise gaffer'S or black. masking lape to sC(:u re it to the
desk and floor. The viewer inevit.lbly interprets a shot that
shows cable as lil effi cient and sl oppy, regardless
of the overall quality of the show.
Here are a few more lips on using a desk mie:
When using (wo desk mi es for the salli e speak.er as
a dual-redundancy preca ut ion, use idenlical mies and
pIau' th{' m as cluse together as possible. No noted, du al-
retiuII(fa llcy is the rather dumsy term for using t\....o mics
for a sins le w tmd source so that you , <In switch from one
to the other in case one fails. Do not acti vate (hero at t he
same time unless you are feeding s('-P<lrate audi o channels.
If both mies are \In at the same time, you may experience
lI1ultip/e-micropholl c ill terfeTeTlce: \...hen two mi(s are close
to each other yet far enough apart that they pick up the
idenlical sotlnd source at slightly different times, they can
(3ncel out certain frequencies, giving the a strangE' I>'
Ihin quality. If you must acti vat e both mi cs at the same
time, pl ace them as cl ose to each Olher as possible so that
they re.::cive the sound simult aneousl}'.
When using desk mi cs for a panel di scussi o n, do not
give each member a se parate mic unless they sil (ar apart.
"

Section 9. 1 How Micro pho nes He ar 205
9.28 MUlTIPlE-
MICROPHONE SETUP
When using a mUltiple-
microphone setup. keep the
individual mics at least three
time5 as far apart as the dis-
tance any m k Is from its USei'",
Using one mtc for two parlel members. no( o nl y saves nIics
and setup lime but also minimil es mulliple-microphone
interference, Pillee the 1/1;..5 so Ihm Illcy are al least three
times as far apart (/$ (lily tmc is from iii user. SlIE 9,21
Position the mi crophones fa achieve optimal sound
pi ckup from aU paHicipa!lls. Finalize the mic positions only
after having seen t he total panel setu p and the i.rI teraction
of the '\lembers. Participa nts wiU not only respond to lhe
moderator but al so talk among themselves, lurni ng ill o p-
pasile direniom.
Al though ;\lmoSla IOSl c3use, remind the pand mem-
bers-or anyo ne working wit h d: mic- no! to reposi-
ti on it once it is set and to avoid banging on the table at
kicking rhe lectern, even if the ge ts lively. l eJl
particip.;mts not 10 !tan into the mics when speaking.
When two people sir each olher, give each
ooea mi e.
Ef{(b.. \Vhen o n an ENG assignmenr , always bring alo ng a
EW small coUapsible desk stand. You can then lise the
hand mic (or even the shotgun mic ), usually dipped \0
the camera:, as a desk mk. A d alllp-on mic holder with a
gooseneck is very handy. espec ially when adding mic
10 a duster of other lil ies on a speaker's during a
news conference . ..
STAND MICROPHONES
Stand micrQphmle5 are USl"'d whe never the sound source
is !\:xed and the rype of programming permits them 10 be
seen, For exam pI;::, there is no need co conceal Ihe mics
of a rock grouj.l; on the cont rary, they are an important
show element. You Jre ct' rtainl y familiar widl t he great
many ways rock performers handle the stand mic. Some
lilt iI, li fl il . lean against it, hold themselves up by it, .md,
whel' the music rocks with especially hi gh intensity, eVi'n
swi ng illhrough the ai r tikI." a sword (not recommended,
by Ihe way) .
The qua lit y of stand mics ranges from dynami c
hand mks dipped 10 a stand to hi ghly (ibbon
or condenser mi cs used exclusively (or music recording
sessions.
How to use stand microphones Stand mics a re
usually placed i ll front of the sound source, n'gardless of
whet her it is a singer or Ihe speaker of an amplified elec-
tric gui lar. Slu.n In some cases. such as for the pickup
9.29 STANO MI( FOR liNGER
The singer stands In hont of the stand mi c and Sings
dif(ctly into it.
206 Chaprer 9
of il singer using an acouslk guitar, you m.IY aHach IWO
microphones to d stand.
HANGING MICROPHONES
Hanging micropholles are- used whenever any otller con-
cealed- microphone- me- thoel (boom or fi shpolel is imprac-
tical. You ca n hang Illics (high-quali ty Cardioid, but also
lavaLi eres) by their cables over any fa irl y statio nary sound
source. Most ohen, hanging mics are used in dramatic
prcscnratiu ns where the action is fully blocked so thaI the
actors are in a precise locat ion for each deli very of lines. A
favori te spot for h,lJ)ging mies is the upstage door (at Il'Ie
back of the set), from \"hidl the actors deliver their hellos
and good- byes whell entering or leaving the major per-
formance area. The boom can generall y not reach that rar
10 adequately pick up voices. The aClors have 10 take care
10 speak onl y witl) in Ihe '"' audio pool" of the hanging mi e.
Similar to t he spotl ight pool, where the actors are visible
onl y so long as they move within the li mited circle of li ght,
they are heard onl y when Ihey are wi thi n the limited range
of the audio pool. 5(1.)0
The sound quality from hangi ng mies is not the
best. The sound source is always relati vely fa r sw:!y h om
the mic; and if the performer is not precisely withi n the
audi o pool, his or her voke is off-mic. In the case or the
upstagl' door, such qua lit y loss is actually an asset becallse
it underscores the physical and psychological distance Il f
the deparl ing person. Unfortunatel y. hanging mies have Ihe
Miwble
Strifl9 fOf tilting mit
9.30 AUDIO POOL OF HANGING MICROPHONE
Hanging microphol"les are high-quality urud.re<tiona l mics tha i
are normally suspended by Iheir cables r'om the lighting grid.
The lalent must Iem<lin in lhe poor 10 be properly heard.
AUDIO: SOUND PICKUP
annoying tendency to pick uj> the shuffi ingoffecl and the
rumbling of movingcanl era pedest als almost as well as the
voices. A fur ther disadvant age is lhal when posit ioned close
to the studio lights, the hnnging mic migh t pick up and
amplify their hum.
Hangi ng mi cs are nevert heless po pul ar in dramas.
st udio prod uctions, and audience partidj>ation shows.
They are easy to set up and take down and. \"hen in the
right pos it ions. produce acceptable sound.
YOli may find that a single suspended boundary mic
will meel the audio requirements bett er than sever-cil regular
hanging mies. Moull1lhe boundary mi c on a sound-reflect-
ing board (such as 3-by-4- foot Plexiglas or plywood), sus-
pend it above and in front of the general sound-generating
area (such as an audie nce area), and angle the refl ecti ng
board for o ptimal pickup. SEE9.l1 Regardless of whether
t he sound source is near the micor fart her away, the sounds
still hal'e good presence. Th is positi ve aspe<: t turns nega -
ti ve in dramatic producti ons, where sou nd perspective is
an im portant (actor. This is one of the reasons why in
complex productions the boom is still preferred over the
boundary mie.
How to use hanging microphones Alt hough no
parti cula r skill is requi red for hanging a mic, here are
some lips:
Hang the mi c as 10\" as possible to gel reasonably good
prese nce. Use tape or fishing line to t ilT the mic toward
speakers or musicians (see figure 9.30).
[f nect:ssary, ma rk the st ud io fl oor for the talent at the
spot of Ihe best so und pickup.
Secure the mie cabl e sufficientl y so Ihat thl' Illic does
not come crashing down. A smal! piece of gaffer's tape will
do the tri ck.
SeparaTe the mic ca.bles from the studi o li ghts or the
AC cables 10 minimi ze clectronic inlerference. I f that is
not possible, cross the mic and power cables at right 311gl ts
rather than having them fUll parallel.
Do not place the ro ic next to a hot li gh ti ng instru-
meot.
Bt' especiall y careful when 5tTiKmg (taking down )
hangi ng microphones. 00 not drop the roi e or the cable
connectors onto the studio fl oor or, worse, somebody's
head.
Do not inadvertent ly hit hangi ng micsagainslladders,
lighti ng poles, or lighting instIument s,
SeClion 9. 1
How Mi crophones Hear
Hanging bound.lry mk with IrlIeclor for audlen<e picblp I
HIDDEN MICROPHONES
You may sometimes find Ihal you need to hide a small
lavaliere microphone in a bouquet of Oowers, behind a
U:!1t erpiece, or in <1 car to pick up a (onversati on during
studio producti ons or in EFP where mic rophones should
beout of cameTil range_ Sl19.U Realiz(' lhal it is time-con-
suming \0 place a hidden tnic so that it yields it. sali sfa ctory
pickup. Often you gel a marvelous pickup of vari ous noises
caused by people hining Ihe table or lIIo
y
in!; Iheir chairs
bUl onl )' a poor pickup oftlleir conversation.
Aga in, the boundary mic (an serve as an efficient
"hidden" mie. Specially because it looks nothing like an
o rdinary mic, you may gel away with not hiding it .11 all ;
simply place it on a table among other edectic o bj ects.
Howto us. hidden microphones Hiding mi cssel'ms
to prCSf'nl unexJ>e<led problems. These may minimize
or eliminate some of them:
Try to shock- mount the lavaliere SO that it does not
transfer unin\entio naJ banging noises. Use the lavaliere clip
or put some foam r ubber between the mic and the object
to which it is att ached.
0 0 not try to conceal the ru ic complet ely, unless
there is an extreme close-up of the object to whi ch it is
attached.
Real ize Ihal you must h ide not only the mi crophone
but al so the cable. If you use a wirel ess setup, yo u must
hidt' the t ransminer as wdt.
9.31 BOUNDARY MIC USED
AS HANGING MICROPHONE
When using .1 bound.1ry mic .1
h<l nging microphone, mount it on an
additional sound-reflecting bo<lrd dnd
angle it toward the sound sou((e (Of
optimal pi ckup. The shotgun mi<: s Me
for the host and guest s' audio pi<:kup.
9.32 LAVALIERE AS HIDDEN MIC
This "hidden" tav<ltiere microphone is attached to the rear-view
mirror to pic k up the conversat ion inside the cal. Note that (he
mit is nOI 10 enSUfe optimal sound PIckup.
Secure the micro phone and Ihe cable \"ith tape so
that they do not COme loose. Th", setup must withsta nd
the rigors of the rehearsals and the videotaping sessions.
Do nOI hide a mk in such enclosed spaces as empry
dra\,'ers or ooxe:> . The highl y refl ecting enclosure will act
as a reverberation chamber and make the voict's sound as
t hough tht' acto rs themselves were trapped in the drawer.
207
208 Chapter 9
9.33 PARABOLIC REfLECTOR MICROPHONE
The paraboli crefl ectormic usedprimarilyfor soundpickup
overlong distances, suchas crowd noises in 11 stadium.
LONG DISTA.NCE MICROPHONES
We have finall y reali zed that it is often the SQu nds more
than the pict ures thatcarryandcommunicaletheent:rgy
ofanevent. The simplest \'vOly to pick up the soundofa
sporling event , for example, is 10 place normal shotgun
(hypercardioid)ruiesatstrawgicpositionsandaim them
althemainacti on.Thesoundsofthespectatorsarepicked
upbyaddi tionalomni directionalmics.Coverageof<1 single
t('11Jlismatchmayinvolvesixormoremicrophonestopick
upthesounds ofthe pl ayers, the judges, alld the crowd.
Placea F.!i rtydensewindscreen oneverymk\0eliminate
wind noiseasmuchaspossible.
2
Anold-fashionedbUI successfulmeansofpickingup
di stantsoundsistheparabolic rt/leetor micropliol1e.....hich
consistsof aparabolicdi sh(simil artoasmallsatellitedish)
thathas anomnidirectionalmicrophonefadnginwardat
it sfocal point. All incomingsounds are reflected toward
andconcentrat ed at themic. stU," Apopularuseofthe
parabolicmkistopickupthesoundsorthebandsdu ring
aparade,thecollisionsoffootball player.5, Of theent husi -
asti cchant ingofagroupofhome-teamfam. Hecausethe
par;lbolic reflectordireclsthehighersoundfrequenciesto
the mic bellerthan the lowerones, the sounds takeon a
sli ghttd ephonic-li ketone. Wetend to ignorethisimpaired
soundqual ity, however,whenthemicis usedprimarilyfor
ambienl (environmental)soundsthatcommunicatethefeel
ofan event (s uch as a football game) rather than precise
infOfmation.
2. Youwill fin dhighlyusefulsuggl:SIK'l nS on how 10 mic 3 varielY of
sport!for ambil:nI sound in SI;llllry R. Alll:n. tlu,l,o II! Medl,'. 71h
ed.(lklmom.Cllif.: Wddl"''Orlh,2005).PI" 159-74.1'1011:
Ih31wU'deM mtaI'IJYan imporl.l.nt role in m' kJng indoor
sporting1l1't'1I15.
AUDIO: SOUND PICKUP
.J_
Audiois thesoundportionofate/evisionshow. Ittransmits
Information(s uch asanews story), helpsestablish thespe-
cific ti meandlocal eoftheaction,contributestoIhemood,
andprovidescontinuityfor thevariouspict ureportions.
Thethreemajortypesofmicrophonesaredynamic.
condense-r,andribbon.Eachtypehasadifferem sound-
genela1ingelementthatcoovenssoundwavesintoelect ric
energy-theaudiosignal.
Somemicrophonescanhearsoundsequallywell (rom
alldirections(omnidirectional);othershearbenerfroma
specific direction(unidirectionalorcardioid).
Microphonesareclassifi edaccording totheir operationand
areeit hermobileorstat ionar y.Themobi le typesinclude
lavaliere,hand. boom,headset, andwirelessmicrophones.
Thest ationarytypesaredesk,stand,hanging. hidden,and
long-distancemics.
Thelavalieremicrophone.orlavforshor\.rsmostcommon
insmallsiudiooperations.It is usuallydippedtoclothing.
Althoughitisext remelysmall.it provideshighquali ty
soundreproduction.
Handmicrophonesareused whentheperfor merneedsto
exercise somecontroloverIhesoundpickup.
Whenthemi crophonemust bekeptoutofcamerarange,
it Isusuallymountedonandoperatedfromafishpoleor
microphoneboom.AU boomminar ehighlydire<tional.
Theheadsetmicrophoneis usedwhenthelalentneeds
bothhandsfreeto takenotesorworkwIthscripts.Head'iel
microphonesareespedallypracticalfor sportscastingor(or
ENG from ahelicopterorconvent ion noor.
When unrestri ct edmobi lityofthesoundsourceis required,
awir eless,or RF (radiofreq uency), microphoneis used.
Wirelessminneedatr ansmitterandaIe<eiver.
Oeskmicrophonesaresimplyhandmicsclippedtoadesk
stand.Theyaleoff enusedforpaneldiscussions.
Standmicrophonesareemployed thesound
sourceis fi ledandthetypeofprogramming permitsthe
mics tobeseenbythecamera,suchasinrockconcert s.
Hangingmicrophonesarepopularin st udio pro
ductionsbecausetheminarekept outofcamerarange
withoutusing booms.
Hiddenmicrophonesaresmall lavalieresconcealed behrnd
orwit hinsetdressings.
long-dIstancemicsaresholgunor refle<tofmics
thatpickupsoundover relat ively9reatdlst.mces.