a microphone is a basically a speaker.
You could use a microphone as a speaker but it would fuck up your microphone.
You could use a speaker as a microphone but that would be really hard to do.
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Condenser – require phantom power/ electrical/ highly sensitive/
Dynamic – works with magnets and sound source must physically move coil/ don’t require phantom power / good for recording with high spl
Small/Large diaphragms
Small diaphragm: higher self noise/ low sensitivity/ high spl handling capacity/ wide frequency range/ high dynamic range
Large Diaphragm: lower self noise/ high sensitivity/ lower sply handling capacity/ narrower frequency range/ lower dynamic range
Polar Patterns –
mic setups/micing techniques
Close micing – (within 30cm)
distance micing – (30cm- 1m)
ambient micing – (beyond 1m)
Placements include on axis, off axis, rear/underside
3 to 1 Micing
Mic 1’s distance from the sound source
should be tripled and Mic 2 should be placed there.
(this should ensure no phase cancellation)
. A-B technique – common – follows 3to1 rule
. Coincident (x-y) – very close together, angled between 90 & 120 degrees
*used with cardioid
the diaphragms can be corner to corner, middle (X shaped), 100% over each other “end to end”
. Blumlein – requires figure 8 polar pattern capability – should be same brand & type
.M-S/Mid-Side
1x cardioid or omni (top) + 1x Figure 8
* must be altered in post – duplicate figure 8 track and flip it to ensure no phase cancellation
.ORTF (office de radiodiffusion – french)
– 2x cardioid mics 17cm and 110 degrees separation
– needs to be very accurate
*used for ensembles, wide sound sources, best at distance
.NOS
– 2x cardioid mics 30cm & 90 degrees separation
*variation on ORTF
ALL:
Other things
sibelus – ssss sounds
plosives – ‘pop’ (hard to fix in post)
feedback – mic signal feeding into speaker and back out over and over (reverb/delay but awful)