Music Mix System - Phase and The Polarity Button

In this video I discuss a few aspects of phase and some uses for the polarity button on your mic pre-amp or console. Phase is a complicated subject because it is not a matter of things being simply “in phase” or “out of phase”. Phase relationships are complicated because no 2 frequencies have the same wavelength and therefore won’t be in phase at the same time when using multiple microphones at different positions. Logic would tell us that the best way to capture a big sound would be to use more microphones, but many times quite the opposite is true. We can however, use multiple microphones to capture a bigger picture of a sound source if we are aware, and learn to hear phase problems. We can also learn to select mics, choose polar patterns and position mics to achieve a big picture of the sound without phase destruction. Recording a drum set or Grand Piano without a firm understanding of phase relationships is the fast track to mediocre sound recordings. Check out this video for some more information.

Thanks for stopping by to check it out!

Here’s to learning something new.

Jacob

p.s. If you have a suggestion for a topic that you want me to discuss, please comment below or email: manager@orchestratesound.com

Music Mix System - Bi-Directional Microphone Pattern

Today I am discussing the bi-directional microphone pattern. Here are a few thoughts and ideas. If you have any questions or knowledge that you want to share feel free to post a comment.

The Bi-Directional polar pattern was at first useful to me for one application and that was the Mid Side Stereo technique which i will discuss in an upcoming video. But then, I got a hold of a copy of Michael Stavrou’s ‘Mixing with Your Mind’ and he opened my mind to the power of the figure of eight (bi-directional) pattern. The power is in it’s fantastic ability to reject unwanted sound at the null points. Check out this video for details and feel free to drop any questions below in the comments or shoot me an email.

Thanks for coming along for the ride. Here’s to learning something new!

Jacob Meador

p.s. If you have a suggestion for a topic that you want me to discuss, please comment below or email: manager@orchestratesound.com

Music Mix System - Uni-Directional Microphone Patterns

Today I am discussing uni-directional microphone patterns. Here are a few thoughts and ideas. If you have any questions or knowledge that you want to share feel free to post a comment.

When I first started using microphones, I didn’t fully realize the power of different polar patterns. After years of recording and receiving other peoples recordings to mix, I have learned how important it is to understand and select the right polar patterns for different situations. The wrong polar pattern can ruin an otherwise great performance. It can ruin it by having too much bleed from other instruments. This would put limitations on how you can process signals. It can also ruin a sound if the polar pattern allows the mic to pick up early reflections that could cause destructive comb filtering. The correct polar pattern or the proper use of the one you have can make for a lovely robust recording that stands up well within the mix. Unfortunately, problems caused by microphone misuse can not always be corrected with signal processing in the mix. So, check out this video and feel free to drop any questions below in the comments or shoot me an email.

Thanks for coming along for the ride. Here’s to learning something new!

Jacob Meador

p.s. If you have a suggestion for a topic that you want me to discuss, please comment below or email: manager@orchestratesound.com

Music Mix System - Condenser Microphones

Today I am talking about the pros and cons of condenser microphones. When and why would I choose a condenser mic over a moving coil or ribbon mic? Here are a few thoughts and ideas. If you have any questions or knowledge that you want to share feel free to post a comment.

Condenser mics come in many varieties these days. Large, small, expensive, cheap, great sounding and terrible sounding. In this video I briefly discuss the operational characteristics of condenser microphones. One thing that I did not mention in this video is the fact that many condenser microphones were not actually designed or intended to be used in close proximity to the source. Some will sound great at a distance of 3 feet, but become really grating up close. So when I say there are some terrible sounding condenser mics, what I really mean, is that you can make them sound terrible if you use them in a manner in which they were not intended. Most condenser mics can sound pretty neutral and accurate if you find the sweet spot. Of course the problem is that many people recording these days are doing it in a bedroom or other space that does not lend itself well to more distant microphone techniques. So the secret in that case, is to make sure you find a mic that sounds great up close. Good Luck!

When using a condenser mic, I always find, unless the source is moderately loud, you will struggle with picking up everything else. This is because of their high sensitivity. A blessing and a curse to be sure, but if we are aware and diligent we can avoid the curse and receive the blessing!

Thanks for coming along for the ride. Here’s to learning something new!

Jacob Meador

p.s. If you have a suggestion for a topic that you want me to discuss, please comment below or email: manager@orchestratesound.com

Music Mix System - Ribbon Microphones

Today I am talking about the pros and cons of ribbon microphones. When and why would I choose a ribbon mic over a dynamic or condenser? Here are a few thoughts and ideas. If you have any questions or knowledge that you want to share feel free to post a comment.

My first ribbon mic died in less than a year. I took good care, but it was a cheap one and did not last long. I have since had better luck with them, but in order to get into the ribbon microphone game, it is gonna take a bit more money than the other mics types. The ribbon microphone was invented in the 1920’s. Interestingly, the condenser was invented before the ribbon and the moving coil dynamic was the last to be invented of the three. Ribbon microphones are unfortunately well known as being very fragile though a few companies such as Royer and Audio Technica have made some advances to improve the durability of their microphones. Ribbons are also well know for a silky smooth high frequency response, and tend to take EQ very well. Check out the video for more details.

Thanks for coming along for the ride. Here’s to learning something new!

Jacob Meador

I love these crazy screen shots. Feel free to laugh at and with me.

p.s. If you have a suggestion for a topic that you want me to discuss, please comment below or email: manager@orchestratesound.com

Music Mix System - Moving Coil Dynamic Microphones

Today I am talking about the pros and cons of moving coil dynamic microphones. When and why would I choose a dynamic mic over a ribbon or condenser. This is not exhaustive, but just a few thoughts and ideas. If you have any questions or knowledge that you want to share feel free to post a comment.

When I started my microphone collection 20 years ago, I became obsessed with moving coil mics mostly because it was what I could afford. I also have a love for older rare dynamics such as the sennheiser BF series and the original Audio Technica ATM Artist series. Dynamics mics tend to also be more application specific compared to condensers which are more all purpose. Check out this video for more information.

Thanks for coming along for the ride. Here’s to learning something new!

Jacob Meador

p.s. If you have a suggestion for a topic that you want me to discuss, please comment below or email: manager@orchestratesound.com