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ecordingtheroomIt’s here you do your best microphone work –you’ve got to think on your feet and get the bestout of the talent. Mic technique and tips are thestaple in the Recording Room, with added frills.Mic MonstersMics go wrong – keep an ear out forcrackles or hiss, “frying eggs” is a commonphrase for a mic that’s been on for too longand has decided to give up on you.Alan Branch, Producer/Engineer andAudio Media ContributorBe The BestTo quote Frank Zappa, “we’ll fix it in the shrinkwrap”. In just seven words he exposed the attitudeshared by many in our industry who take littleresponsibility for the quality of their product,expecting someone further down the productionchain to correct any inadequacies and errors intheir work. Placed your microphones badly?Don’t worry… someone else will bring the voicesto the fore. Gain structure all wrong? Don’tworry… someone else will eliminate the clippingthat results. Shooting a period drama underneaththe flightpath of a major internationalRobust RecordingsOmni-directional microphones are less sensitive to wind andshock than other types.Eddy B. Brixen, Audio Specialist, DPA Microphonesairport? Don’t worry… someone else will remove the scream of four Pratt& Whitney power plants hauling 400 tonnes of Boeing into the skies. So here’s a thought…why don’t we re-learn the audio disciplines of yesteryear and attempt to get it right firsttime? Tight deadlines and even tighter budgets may make this difficult, but there’s a lotof satisfaction to be had in working to overcoming the difficulties that we face. Then, whenaccidents happen or problems simply can’t be avoided, the restoration engineers can shine.Gordon Reid, Cedar AudioMic Placementif you remember anything, remember MIC PLACEMENT. Experiment with moving themic around the instrument, try using one ear by turning it toward the instrument andmoving around till you find a sweet spot. Sounds obvious I know, but I never ceaseto be amazed at poor recordings because someone’s placed a mic in a less thanoptimum position, such as next to a rattling drum or air con unit!Alan Branch, Producer/Engineer and Audio Media ContributorMic AdventuresSometimes it is a good idea to reconsidergood old habits. Are they good or are theyjust old? Choosing the right microphonesfor the job sometimes needs some rethinking.Instead of picking the usual one,shake the bag and see what other possiblesolutions you have.Eddy B. Brixen, Audio Specialist,DPA MicrophonesInside-OutMake sure your mic is the right wayaround! I got asked by a producer oncewho was working in a studio next door whytheir vocal sounded so funny, was it theroom or the compression? I knew straightaway when I heard it, and helped the engineeravoid embarrassment by pretendingto adjust the mic, whereas in fact I justturned it round the right way.Alan Branch, Producer/Engineer and Audio MediaContributorTrueSorry, great microphones won’t makelousy players or poor instrumentssound good.David Mathew, Audio PrecisionPhantom Ribbon Killer?If everything is correctly wired and phantom power is uniformly applied to pins 2 and 3, thena ribbon has no reason to move at all. However, if you plug your ribbon mic into the desk via ajack or TT socket and phantom power is on, for a just a split second, 48 volts is applied fi rst toone pole of the ribbon and then, as the wipers in the socket pass from the tip to the sleeve, tothe other pole, making it jump first one way, then the other. The output transformer limits thiseffect, but these jumps can stretch and therefore damage the ribbon.The same thing happens ifthere is a momentary disconnect on either pins 2 or 3 caused, for example, by a loose or dirtyconnection. So if you do inadvertently switch on phantom power whilst using a ribbon, it isbest to just switch it off again. Do not plug or unplug the mic whilst phantom is on, as pins 2and 3 are unlikely to make and break contact at exactly the same time.Andrew Graeme, The Byre Recording Studios, Microphones 20106AUDIO MEDIA AUGUST 2011