Substantial Research Blog

• Components - Diaphragm: Acts as one plate of a capacitor, audio vibrations change the distance between the plates. Coil: Connects to the diaphragm and vibrates with it, the coil’s movement within the magnetic field is essential for signal generation. Magnet: Creates the electromagnetic field necessary for inducing a signal in the coil, compulsory for functionality. Protection Grid: Protects the diaphragm , making final adjustment of the frequency response. Insulator: Reduces unwanted noise, any sound wave reflection or ambiance etc.

• Dynamic mics - Microphones that use electromagnetism to convert sound waves into an audio signal, typical properties are that: they are durable, affordable and less susceptible to background noise interference - ideal for live performances - in contrast to condenser microphones which are more precise, sensitive to subtle sounds and therefore used more typically within studio settings. Principles of dynamic microphones are such that sound waves will cause movement in the diaphragm attached to a coil and as this coil moves through the magnetic field, an electric signal will be generated. These mics are also passive meaning they don't require external power - often as a result being used in live performances for their ability to withstand loud sounds without distorting. 

• Condenser mics - Microphones that use electrostatic, or capacitor, technology to convert and output acoustic energy into electrical energy. This type of microphone is also known as a capacitor microphone. Typical properties are that they have higher sensitivity, being studio-oriented - used for detail such as in vocals and acoustic instruments. Condenser microphones require phantom power to operate, in contrast to dynamic microphones which do not. This is beacause condenser microphones have active electronics that need an external power source to operate, unlike dynamic microphones which are passive

• Ribbon mics - Microphones that use a thin, electrically conductive section of metal 'ribbon' consistent of usually aluminium - that is contained and suspended within a powerful magnetic field which then converts audio signals into sound waves for the output of the microphone. These microphones have the properties of being 'a type of dynamic microphone', known for their bi-directional pickup pattern with their natural, smooth authentic raw sound. Maintaining the ability to capture a warm, richer tone than other microphones, particularly with: vocals, brass and strings with their acoustic capabilities, while also having a natural high-frequency roll-off with their captured sound. 

Cardioid (unidirectional) is the most common microphone polar pattern. It’s sensitivity is found from the front, becoming less sensitive on either side, progressively less towards the back. This sculpted shape makes it effective at isolating the sound that you want to pick up from the ambience that you do not want to have be captured in the recording process.

Settings such as live events are supported by the strong directionality that a cardioid  pattern provides, focusing on a single sound source e.g vocals, whilst avoiding feedback or overlap from speakers and other musicians. 

You may also choose to achieve a stereo recording technique called "X/Y recording" by situating two cardioid microphones at a 90° angle, this creates the left and right sides the dedicated space to be illustrated.

In contrast to the cardioid pattern, an omnidirectional pattern is encompassing such as to appear as a a perfect sphere that will pick up sound waves equally from all surrounding space. This balanced sensitivity is both intuitive but may appear counterintuitive; you don’t need to point and angulate the microphone in any particular direction, it’s also more probelmatic to avoid unwanted background noise, feedback, or other ambience bleeding into the recording.

However, omnidirectional microphones do generally maintain the flattest overall frequency and bass response. Therefore, given a stable recording environment such as in a professional studio, you can achieve authentic natural-sounding recordings from an omnidirectional mic, whether it’s low-end sounds or big ensembles and chaotic.

Bidirectional, (figure-eight) configuration, microphones are proportionately sensitive from the front/back. They’re also the most efficient polar pattern at the process of blocking out sound coming in from the sides of the mic due to their positioning not encompassing at 270 and 90 degrees respectively.

This pattern can develop natural-sounding recording because of how it captures and articulates the acoustic character of surrounding space along with the sound source itself. It’s an essential component for popular recording techniques like 'blumlein' and 'mid-side stereo recording', however bidirectional microphones aren’t as well prepared for working in environments that have natural ambience such as wind or capturing bass frequencies.