mediabart: Workshop 5

Frequency

The human hearing range is commonly given as 20 to 20,000 Hz, though there is considerable variation between individuals, especially at high frequencies, and a gradual decline with age is considered normal.

Microphones

Omnidirectional Mic

Omni pattern provides maximum ambient pickup. Frequency response: 20 - 18,000 Hz.
Operates on battery or phantom power
Ideal for group vocals, strings, acoustic guitar and piano.

Stereo Mic

Provides the spacial impact and realism of a live sound field.
Frequency response: 30 - 20,000 Hz.
Battery operation only.
Ideal for TV, DAT (digital audio tape) and Radio recording.

Cardioid Mic

Sound is similar to expensive studio microphones.
Low-mass diaphragm ensures minimum sound distortion.
Frequency response: 30 - 20,000 Hz.
Operates on battery and phantom power.
Ideal for close-up vocal, overheads, piano and strings.

Mini Cardioid Mic (Lavalier Mic)

Frequency response: 40 - 20,000 Hz
Operates on battery and phantom power
Mic is attached to an power and transmitter module
Provides crisp, full sounding voice and instrument pickup.

Unidirectional Mic (Shotgun)

Two range settings: “Normal” for close up and medium distance recording; “Tele” for long distance pickup
Frequency response: 70 - 18,000 Hz
Designed specially for voice recording with video cameras

Zoom H4 Stereo Recorder

Panning

Panning is the spread of a manual signal in a stereo or multi-channel sound field - it is critical to the makeup of the stereo image. Panning adds space in a mix through panning the instruments centre, left and right.

Mixer pan controls

Usually the most problematic area of the sound field is the center, as this is normally the busiest place within a mix. It is advisable to keep the kick, snare, bass and vocal in the center as they provide the music with a solid grounding and help aid the rhythm. For every other instrument however, it is advisable to position them either side of the center.

(http://www.teachmeaudio.com/mixing/techniques/panning/)

Echo vs Reverb

The distinction between an echo and a reverberation is depicted in the animation below:

http://www.physicsclassroom.com/mmedia/waves/er.cfm

Waves reflected from nearby objects take less time to be reflected back, while waves reflected by objects across the pool take longer.

Reverb

If this distance is short, such as in a room or theatre, the sound will be reflected back to the source in less than one-tenth of a second. This effect is reverberation. Because there is such a small delay in the sound repetition, sometimes only a few milliseconds, reverberation is often perceived by a listener as adding fullness to the original sound. Reverberation will often be added to recorded music to better simulate the sound of a live performance, or to enhance the tone by making a thin sound fuller.

Echo

Everyone has had the experience of calling out in a valley or between large buildings and hearing our voices repeated back to us. When reflected sound travels a greater distance, such as a river valley, and takes more than one-tenth second to return, it is referred to as an echo. Echo does not add to the original sound as reverberation does, but is perceived as a distinct repetition of the sound, usually slightly fainter than the original. The sound is weaker because of the energy lost as the sound waves travel the greater distance. This is referred to as decay. Echo can be measured by the time lapse between repetitions, strength of the repetitions (i.e., how loud the repetition is) and the decay of the sound.

(http://www.ehow.co.uk/about_6819827_difference-between-echo-reverberation.html)

Equalisers

Equalisers are software or hardware filters that adjust the loudness of specific frequencies. As with all sound engineering, the basis is on the human ear. Certain frequencies are louder than others to our ears, despite having the same or even more energy behind it.

Equalisers were originally developed for physical venues such as movie theatres and outdoor areas, places that aren’t designed with acoustics in mind, to “equalise” all of the sound frequencies. For example, some venues will respond better to bass frequencies, so the EQ can be turned down on that end to prevent feedback and turned slightly up on the higher end to even things out. In general, you equalise for the physical space, to account for the particular combination of the room and equipment.