Oade Brothers Audio, Inc.

General FAQ
Microphone FAQ
Roland R26
Roland R44
Roland R4 Pro
Roland R88
Fostex FR-2
Fostex FR-2LE
Marantz PMD-671
Marantz PMD-660
Marantz PMD-661MKII
Marantz PMD-706
Superscope PMR61
Marantz PMD-561
Marantz PMD-620MKII
Tascam HD-P2
Tascam DR-100
Mics & Preamps
Recording FAQ


    We would like to offer a few basic tips on using microphones to record ambient music or environmental sounds. These are organized by microphone type and technique. We also have pictures & details of the most common microphone set-ups.

  • Shotgun Microphone techniques :
    Best suited to recording PA systems where a sense of space is not required AND not listened for. Here the mics are "aimed" at the center of the PA stacks. When used with a center channel Omnidirectional microphone these microphones will produce a very up front sound with a more natural sense of space and crowd response allowing for a more relaxed listening experience.

  • Crossed Figure of Eight Microphone Technique:
    Best suited to small acoustic groups like recording chamber music or ambient sound where accurate bottom two octave information is not needed.

  • Hypercardioid Microphone Techniques :
    Best suited to poor acoustic environments like Hockey or Basketball arenas used for music events. Also usable to alter the sense of perspective, ie to move the listener closer to the sound source. X-Y Hypercardioids with an Omnidirectional center channel offer a good basic setup that can be adjusted to suit the acoustics of the venue by altering the level of the center microphone. This level can range from nearly off at -20 dB to a very high -9 dB out of doors.

  • Cardioid Microphone Techniques :
    Best suited to good acoustic environments, up close in doors or any outdoor application were it is desirable to develop an accurate sense of perspective. Use these mics at 80 degrees in poorer settings and all the way out to 130 degrees outdoors. The wider stereo pickup pattern will provide a more natural sense of space and more extended low frequency response. This microphone does not lend itself to mixing with anything other than accent microphones. These should be spaced Omnidirectional mics and mixed in very low or aligned with an oscilloscope. We feel this is true due to the very impressive sense of depth Cardioids develop when the signal is not degraded with ANY out of phase components.

    In Closing...
    We would like to point out that there is no right or wrong way to do things when it comes to sound. Above all else we advise that you TRUST YOUR EARS, when making these decisions. If it makes you happy, it is a good technique.

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