Download Recording Microphones

hi! I'm new here so I don't know if this is the right place to ask. so the point is, I've been writing songs for a while and have studied a little production, but I don't own a microphone to record at home and it is crazy expensive to go to a studio any time I need a decent recording. could anyone recommend me a microphone that does his job well but isn't too expensive? thank you so much!

Providing outstanding versatility for capturing vocals in different settings, the C414 provides exceptional sensitivity and a transparent sound signature, making it an industry favourite amongst recording engineers and vocalists alike.

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A highly popular model and favourite amongst recording musicians is the Shure SM57. At home in any acoustic environment, the SM57 is used in recording studios across the globe and can also be used on stage to boost instruments if required.

I find it rather difficult to find a productive place online to discuss studio-grade microphones. There are many forums on the internet where the topic is discussed, but unfortunately I find most of the other message-boards/sites that focus on microphones to be toxic and unhelpful. There seem to be many threads here on lines focused on field recording, electret microphones, hydrophones and other specialized microphones and techniques, but I hope this thread can serve as a place to discuss capturing sound with microphones in a more traditional studio setting.

My favorite microphone is definitely the Peluso R14 Ribbon microphone. I had the opportunity to use one at a friends studio a couple years ago when I went to go reamp some guitar tracks (we also used a condenser mic I really liked, the Soyuz Bomblet). When I got back with the stems and started mixing, I was blown away by that mic. On a guitar cab, it gives incredibly full range (down very deep) in a way that I honestly thinks sounded even better than the amp in the room. He was kind enough to let me borrow it a few months ago so I could try it out in my recording room in my house, and it was as nice and full as I remember it.

I spent years buying and selling many different microphones until about three years ago when I finally found a consecutive serial number pair of Neumann KM84s from 1977, for a reasonable price (from an old Belgian TV recording studio). I bought brand new matched capsules for them from Neumann (sold the old ones on Reverb), and had them looked over and restored (mainly new capacitors, resistors and screws) by Andreas Grosser, an ex-Neumann tech in Germany.

I spent a fair amount of time over on the Electrical Audio forums 14 or 15 years ago trying to learn about recording and microphones. The mics I have leftover from that jaunt are a matched pair of Josephson C42 SDCs, an RE-20, an MD-421, and a couple of cheaper dynamic mics. The Josephsons sound good, but perhaps a little too pronounced in the high-frequences - generally good for overheads, but not as much low end as one might like for general purpose things.

I'm not sure where exactly you run into an issue. Here is a link to our PRO training which covers microphones, and also has examples on their connection and calibration setups. The instructions are meant for X2, but the interface isn't too different and the tutorial should be able to help you with your problem. If not, could you please specify where you're getting stuck so we'll be able to provide a solution?

A microphone, colloquially called a mic (/mak/),[1] is a transducer that converts sound into an electrical signal. Microphones are used in many applications such as telephones, hearing aids, public address systems for concert halls and public events, motion picture production, live and recorded audio engineering, sound recording, two-way radios, megaphones, and radio and television broadcasting. They are also used in computers and other electronic devices, such as mobile phones, for recording sounds, speech recognition, VoIP, and other purposes, such as ultrasonic sensors or knock sensors.

The first microphone that enabled proper voice telephony was the (loose-contact) carbon microphone. This was independently developed by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent (after a long legal dispute) in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention.[6][7][8][9] The Berliner microphone found commercial success through the use by Alexander Graham Bell for his telephone and Berliner became employed by Bell.[10] The carbon microphone was critical in the development of telephony, broadcasting and the recording industries.[11] Thomas Edison refined the carbon microphone into his carbon-button transmitter of 1886.[8][12] This microphone was employed at the first radio broadcast ever, a performance at the New York Metropolitan Opera House in 1910.[13]

Also in 1923, the ribbon microphone was introduced, another electromagnetic type, believed to have been developed by Harry F. Olson, who applied the concept used in a ribbon speaker to making a microphone.[17] Over the years these microphones were developed by several companies, most notably RCA that made large advancements in pattern control, to give the microphone directionality. With television and film technology booming there was a demand for high-fidelity microphones and greater directionality. Electro-Voice responded with their Academy Award-winning shotgun microphone in 1963.[18]

Condenser microphones span the range from telephone transmitters through inexpensive karaoke microphones to high-fidelity recording microphones. They generally produce a high-quality audio signal and are now the popular choice in laboratory and recording studio applications. The inherent suitability of this technology is due to the very small mass that must be moved by the incident sound wave, unlike other microphone types that require the sound wave to do more work.

Condenser microphones require a power source, provided either via microphone inputs on equipment as phantom power or from a small battery. Power is necessary for establishing the capacitor plate voltage and is also needed to power the microphone electronics (impedance conversion in the case of electret and DC-polarized microphones, demodulation or detection in the case of RF/HF microphones). Condenser microphones are also available with two diaphragms that can be electrically connected to provide a range of polar patterns (see below), such as cardioid, omnidirectional, and figure-eight. It is also possible to vary the pattern continuously with some microphones, for example, the Rde NT2000 or CAD M179.

There are two main categories of condenser microphones, depending on the method of extracting the audio signal from the transducer: DC-biased microphones, and radio frequency (RF) or high frequency (HF) condenser microphones.

Within the time frame of the capacitance change (as much as 50 ms at 20 Hz audio signal), the charge is practically constant and the voltage across the capacitor changes instantaneously to reflect the change in capacitance. The voltage across the capacitor varies above and below the bias voltage. The voltage difference between the bias and the capacitor is seen across the series resistor. The voltage across the resistor is amplified for performance or recording. In most cases, the electronics in the microphone itself contribute no voltage gain as the voltage differential is quite significant, up to several volts for high sound levels. Since this is a very high impedance circuit, only current gain is usually needed, with the voltage remaining constant.

RF condenser microphones use a comparatively low RF voltage, generated by a low-noise oscillator. The signal from the oscillator may either be amplitude modulated by the capacitance changes produced by the sound waves moving the capsule diaphragm, or the capsule may be part of a resonant circuit that modulates the frequency of the oscillator signal. Demodulation yields a low-noise audio frequency signal with a very low source impedance. The absence of a high bias voltage permits the use of a diaphragm with looser tension, which may be used to achieve wider frequency response due to higher compliance. The RF biasing process results in a lower electrical impedance capsule, a useful by-product of which is that RF condenser microphones can be operated in damp weather conditions that could create problems in DC-biased microphones with contaminated insulating surfaces. The Sennheiser "MKH" series of microphones use the RF biasing technique. A covert, remotely energised application of the same physical principle was devised by Soviet Russian inventor Leon Theremin and used to bug the US Ambassador's Residence in Moscow between 1945 and 1952.

Due to their good performance and ease of manufacture, hence low cost, the vast majority of microphones made today are electret microphones; a semiconductor manufacturer estimates annual production at over one billion units.[22] They are used in many applications, from high-quality recording and lavalier (lapel mic) use to built-in microphones in small sound recording devices and telephones. Prior to the proliferation of MEMS microphones, nearly all cell-phone, computer, PDA and headset microphones were electret types.[citation needed]

Unlike other capacitor microphones, they require no polarizing voltage, but often contain an integrated preamplifier that does require power (often incorrectly called polarizing power or bias). This preamplifier is frequently phantom powered in sound reinforcement and studio applications. Monophonic microphones designed for personal computers (PCs), sometimes called multimedia microphones, use a 3.5 mm plug as usually used, without power, for stereo; the ring, instead of carrying the signal for a second channel, carries power via a resistor from (normally) a 5 V supply in the computer. Stereophonic microphones use the same connector; there is no obvious way to determine which standard is used by equipment and microphones. ff782bc1db