WHICH MIC SHOULD I USE? (In the Entertainment industry. Which mic should I use?)

Tascam four track recorder mixer / Photo Credit: Learn about Film - Tascam

WHICH MIC SHOULD I USE? (In the Entertainment industry. Which mic should I use?)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Which mic should I use?

Most audio producers and reporters heading into the field will have the basics: a handheld recorder of some kind, a pair of headphones, and one or two microphones.

But which mic should you use?

This is one of the most common questions about field recording and the decision can be confusing. We usually make the choice based on the pickup pattern — the directions from which the mic captures the most sound. But that’s not always the best way! With a little more info we can make a better choice for the job at hand.

Get to know the mics.

Different mics allow you to work more effectively in various situations. Understanding the mic you have will allow you to use it more effectively.

Let’s start by exploring those pickup patterns to ensure we understand them. 

• Omnidirectional microphones capture sound from all directions equally. Whether the sound source is behind, in front of, or beside the mic, it’s all the same…
• Cardioid mics have an upside-down heart-shaped pickup pattern – they capture mostly from the front, not so well from the sides, and reject sound at the rear…
• The shotgun microphone narrowly focuses on whatever is directly in front of it (even sounds at a distance), rejecting sounds from the sides and the rear…

As Neil Tevault, longtime NPR broadcast recording technician, explains it:

“Pickup patterns are like the inverse of lights (since light shines out but sound radiates towards a mic). An omnidirectional mic is like a bare light bulb, shining on all things equally. A cardioid mic is a like a flashlight, shining forward in a wide but focused pattern and blocking light behind. The shotgun mic is like a laser, narrowly focused on one spot.”

An omnidirectional mic picks up sounds from all directions equally, so you need to hold it close to your subject if there are competing background sounds. 

The shotgun mic focuses wherever it is pointed with a narrow and long beam. It can be really helpful if you can’t get close to your subject.

The cardioid mic is directional and is good at rejecting noise from behind.  However, it can often be quite sensitive to plosives!

There’s another factor we need to take into consideration when selecting a microphone. You may have heard the terms dynamic and condenser. These two words describe the inner workings of the microphone. (For the curious, dynamic microphones rely on the movement of a coil around a magnet to turn sound into an audio signal, while condenser microphones use a capacitor.)

These descriptors are used in conjunction with the pickup pattern to give a complete picture of how the microphone operates. It is common for reporters to have one of each – a dynamic omnidirectional mic (like the ElectroVoice RE50N/D-B) and a condenser shotgun (like the Audio Technica AT8035) are frequent choices.

So we’ve got the pickup patterns (omnidirectional, cardioid, and shotgun) and dynamic vs condenser mics. Given all of this, how do you determine which mic to use for field reporting?

Rules of thumb

Here are a few tried-and-true rules of thumb that will achieve reliable results in most reporter-style field situations:

• Omnidirectional microphones experience less wind noise and handle p-pops better than cardioids and shotguns.

If you find yourself outside on a windy day without proper wind protection for your shotgun mic, pull out the omni. An omni will fare much better in gusty winds than a shotgun or cardioid mic.

• Omnidirectional mics have to be held close to the primary sound – sometimes very close.

Because omni mics pick up sound equally from all directions, any sound in your environment will compete with the primary sound you want to record. Use proximity to your advantage. The closer you are to a sound source, the louder it is, meaning it will be more present in your recording than the sounds from the space around you. If you can’t get close…

• Shotgun microphones have a long reach, which can be helpful when you have to record at a distance.

This is what shotgun mics are known for – their pickup pattern is long and narrow, allowing the mic to focus on distant sounds and reject extraneous sounds from the sides. This can be really helpful in an environment like a “halls of the capitol building”-style scrum when you can’t get close to the voice you need to record or where there is extraneous sound in the environment competing with your source…

• Cardioid microphones can be helpful for handheld, back-and-forth style interviewing but lack the advantages of omnis and shotguns.

Most cardioid mics meant for field use are built to alleviate handling noise. Their pickup pattern can also be used to reject sound from behind the mic. This is nice for on-the-street interviews with one microphone, but it lacks the specific advantages of omnis and shots mentioned above. Alternatively…

• Shotgun mics (and many other condensers) are susceptible to handling noise.

Shotgun mics aren’t built to be held in the hand, but many reporters do it and end up with handling noise on their recordings. The sound of fingers sliding across the surface of the mic or tendons and bones creaking often rears its head at the most inopportune times (like when recording quiet ambience)! Handling noise can be prevented by using a pistol grip with a shock mount…

• Shotgun mics and other condensers often have a helpful high-pass filter.

The high-pass filter removes unwanted rumble and low-frequency noise. That can help alleviate (but not prevent) p-pops, wind noise, handling noise, and level problems with low frequency sounds (like that of a bus zooming by during an on-the-street interview). The filter is usually turned on via a switch on the side of the microphone. Some audio engineers prefer to leave the filter on at all times unless they are recording something where low frequency is important. (Learn more and hear examples of high pass filters…

• Shotgun mics and other condensers often have wonderful presence but can be sensitive to loud sounds.

Condenser mics are known for their present, clear sound and will usually have a crisper sound than a dynamic mic. This sensitivity, however, can mean that they don’t always handle loud sounds well. If you know you will work in a loud area (like in a factory or around loud vehicles) where the voices you want to record will speak very loudly, you may have a hard time managing levels…

• Shotgun mics and other condensers require phantom power, which is an extra drain on battery life.

One of the defining characteristics of condenser microphones is that they require phantom power — a small amount of voltage provided by the recorder. This extra draw on a handheld recorder’s batteries should be considered when choosing a mic. Some models of condensers (like the AT 8035 mentioned previously) can operate on their own battery, sparing those of the recorder. (Just remember to remove the battery from the mic when it’s not in use! They have a habit of corroding and making a mess of the battery compartment…)

This list may feel like a lot to remember, but odds are you already know much of it from experience and intuition! Keep in mind that mics are simply tools and there isn’t a tool that works well in every situation. Each tool has its strengths and weaknesses. Get comfortable with that idea, learn the characteristics outlined above, and you’ll be well-suited to capturing great sound no matter the environment.

Shotgun

Shotgun refers to the polar pattern of the microphone. Shotgun mics are typically a hypercardiod pattern. This means the mic is very directional i.e. you can point it at and it will only pick up the subject, not the surrounding ambience.

For close-ups and medium-angle shots, you’ll find you’re better served with a good shotgun mic like either the Audio-Technica AT8035 or Sennheiser MKH 8060. Boom-mounted shotgun mics let you pick up a focused area, with very little off-axis noise, and their tight polar pattern provides better performances at longer distances than typical condenser microphones. That said, you don’t want to back them away more than necessary, and you’re almost always better served by putting separate shotgun mics on each actor.

Shotgun microphones are also the kind of mic you want to use shooting outdoors with any kind of wind. A shotgun mic windscreen, known commonly as a dead cat (because of its furry covering), dead wombat, windsock, zeppelin, or blimp, will make microphones usable in outdoor settings where wind is an issue.

Blimp2-largeShotgun mics do present their own unique set of challenges, though. First, you may need a bit of additional equipment to make the best use of them. While it’s possible to stand-mound a shotgun mic for speakers who aren’t going to move, if you’re shooting any degree of action (even just someone walking around a bit) you’ll need a boom pole and a special shock mount. Take it outdoors, and you can add a blimp with a dead cat to the list. But that’s only half of it — you’ll also need a crew who knows how to keep boom-mounted shotgun mics trained on the talent and out of the shot, which is harder than you might think.

Pro Tip: For face-to-face interviews, you can aim a couple of shotgun mics placed between the speakers up at their mouths (and off camera). They won’t pick up the voice talent they’re not aimed at, and the sound will probably be way better than what you’ll get from a lav.

Lavaliers

Lavalier microphones were born for the wide-angle lens and talent who like to move around a lot. These button-sized microphones are often called lapel mics, but before you go pinning one on, there are a few things you’ll want to know about them. First off, lavs typically come in omnidirectional and cardioid configurations, and these are great for different applications.

Cardioid lavs like the Shure WL185 or DPA 4080-BM block out off-axis background noise and are ideal for isolating actors when they’re close together, but you need to aim the mic at the actor’s mouth.

Omni lavs like the RODE smartLav+ or Sennheiser MKE 2 Gold provide a more natural sound and allow you to more freely position the mic, but they pick up a lot of ambient background noise and other actors.

Regardless of which you choose, the lavalier microphones’ diminutive size allows for positioning within scenes (in flower arrangements or behind set pieces), but they also provide a few hurdles you’ll need to avoid. First, since they’re usually mounted on clothing, you run the risk of turning a garment into a giant noise source, and when clothing rubs against the diaphragm of a lav, the sound is an awful scraping noise. Even with omni lavs, which are more forgiving than the cardioid variety, if the mic is placed too far from the center of the chest, and the speaker’s head moves too much, you’ll get some weird frequency artifacts. Finally, lavs are small but still visible. If you’re filming in close, they might not be the right choice.

Pro Tip: Head worn mics can also be super useful for these applications. Many these days are made in “nude” or skin-toned colors and are practically invisible under the right circumstances, and they get the mic far closer to the wearer’s mouth than a lav will. You can even use clever camera angles to completely hide them, even for close-ups.

Boom

Boom only refers to the type of stand (i.e. an overhead mic stand commonly used in film shoots). You can put any mic on a boom - directional mics, omnidirectional mics, and binaural mics - depending on what you want to record.

A boom operator is an assistant of the production sound mixer. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fish pole") with a microphone attached to the end (called a boom mic), their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom pole to enter the camera's frame.

Invention of the boom mic

The first noted use of a boom mic was on the set of Beggars of Life (1928) when director William A. Wellman wanted a tracking shot of two actors walking down a street, and the sound man refused, telling the director that the actors had to be static and the microphone had to be hidden in a flowery vase. Wellman said "that's crazy" and instructed the sound man to put the microphone on a broom-handle and walk along the actors just outside of the frame. According to David O. Selznick, "I was also present on the stage when a microphone was moved for the first time by Wellman, believe it or not. Sound was relatively new and at that time the sound engineer insisted that the microphone be steady. Wellman, who had quite a temper in those days, got very angry, took the microphone himself, hung it on a boom, gave orders to record—and moved it."

Another instance of a prototype boom mic was on The Wild Party (1929). To allow Clara Bow to move freely on the set, director Dorothy Arzner had technicians rig a microphone onto a fishing rod.

A patent was filed a year later for a very similar sound-recording device by Edmund H Hansen, a sound engineer at the Fox Film Corporation.

The job: 

• Positioning microphones during filming…
• Making sure that microphones don’t get in the way of cameras or actors…
• Looking after sound equipment… 

To do this role you will need to: 

• Have a basic understanding of electronics…
• Have a good working knowledge of all sound recording equipment…
• Understand microphones, lighting techniques and camera lens angles…
• Have an interest in acoustics and audio technology…
• Have excellent listening skills…
• Have good physical stamina, dexterity and agility…
• Have good timing and the ability to anticipate…
• Have a good memory…
• Be patient, flexible and reliable…
• Have good attention to detail…
• Be diplomatic and sensitive on set…
• Understand the relevant health and safety laws and procedures… 

What does a boom operator do?

Boom Operators assist the Production Sound Mixer and operate the boom microphone. This is either hand-held on a long arm or dolly mounted (on a moving platform). If radio or clip microphones are required, Boom Operators position them correctly around the set or location, or on actors’ clothing.

Boom Operators are responsible for positioning microphones so that Sound Mixers can capture the best quality dialogue and sound effects. If this is done well, a great deal of money can be saved by not having to re-record (post-sync) the dialogue at a later stage.

Boom Operators are also responsible for all the sound equipment, ensuring that it is in good working order, and carrying out minor repairs where necessary.

Boom Operators begin work on the first day of principal photography. They have to read the script and familiarize themselves with the characters and their lines of dialogue. Members of the Sound Department arrive half-an-hour before call time, in order to unload and set up all the sound equipment.

Boom Operators are given “sides” (small booklets of pages from the script that are to be shot each day. They have to memorize all lines of dialogue and anticipate when to move the boom during filming. During rehearsals Boom Operators carefully note all planned camera movements and lighting requirements. They have to make sure that the microphone does not accidentally fall into shot or cast shadows.

Boom Operators are on set virtually all day. They work very closely with the Camera Crew. They are often asked to move slightly because of lights or camera angles and Boom Operators may also make similar requests. They finish work when the film wraps (is completed).

Boom Operators work on a freelance basis, and report directly to Production Sound Mixers in Production Sound Departments. They usually specialize in film or television, but may also work on commercials. The hours are long and the work often involves long periods working away from home.

Applications

Often in television studios, the boom operator will use a "fisher boom", which is a more intricate and specialized piece of equipment on which the operator stands, allowing precise control of the microphone at a greater distance from the actors. They will also attach wireless microphones to persons whose voice requires recording. Boom poles are usually manufactured from several lengths of aluminum or carbon fibre tubing, allowing the boom to be extended and collapsed as the situation requires.

Some poles have a microphone cable routed through the inside of the pole, which may be a regular cable protruding at the bottom end, or a coiled cable that can extend with the pole, connecting to a socket at the base into which the operator plugs the microphone cable. The ideal boom pole is lightweight and strong, supporting the weight of the microphone on the end while adding as little weight as possible.

Frequently, a wind-attenuating cover, called a "blimp" or "mic-blimp", is used to enclose the microphone. A blimp covered with sound-absorbing fuzzy fabric is usually nicknamed a windmuff or a "dead cat". In film crew jargon, the gruesome-sounding phrase dead cat on a stick is simply a boom microphone fitted with a fuzzy wind-screen.

The boom operator and production sound mixer may often be combined into a job performed by one person, usually when the crew number is to be kept minimal, such as for documentaries or news collecting, or in low budget productions. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound duties.

The boom operator must decide where to place the microphone based on a combination of factors, including the location and projection of any dialogue, the frame position of the camera, the source of lighting (and hence shadows) and any unwanted noise sources. Often the boom operator will need to be as familiar with the script as are the actors, as they may be required to tilt or move the microphone according to who is speaking.

In productions with a bigger budget, more than one boom operator may be used, with each operator focusing on a different actor.

Having the boom mic or its shadow appear on the screen in a completed picture is considered a sign of poor film-making. Notable examples include the mic's shadow appearing above two crewmen flying a plane in Plan 9 from Outer Space and the mic itself dipping into the frame numerous times in Rudy Ray Moore's film Dolemite. The TV Tropes wiki has a list on its "Visible Boom Mic" trope page demonstrating more examples. Pastiches of bad film-making may also use boom mic visibility to spoof their material.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Production Hub, Producers Guild of America, Film Connection, Variety, Jeff Mann, Sweetwater, NPR’s Neil Tevault and Serri Graslie, Rob Byers, NPR,

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Tascam four track recorder mixer / Photo Credit: Learn about Film - Tascam