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Audio Technica AT2020 Side Address Cardiod Condensor Studio Mic

• The price/performance standard in side-address studio condenser microphone technology
• Custom-engineered low-mass diaphragm provides extended frequency response and superior transient response
• High SPL handling and wide dynamic range provide unmatched versatility
• The price/performance standard in side-address studio condenser microphone technology^Ideal for project
• The price/performance standard in side-address studio condenser microphone technology Ideal for project/home-studio

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There are many reasons for the universal praise the AT2020 has inspired. A-T’s renowned quality and consistency standards aare evident in details like it’s low mass diaphragm, painstakingly engineered for extended frequency response and superior transient response. The microphone offers an extremely wide dynamic range and handles high SPL’s effortlessly.The price/performance standard in side-address studio condenser microphone technology, Audio Technica’s AT2020 studio mic has a low-mass diaphragm that is custom-engineered for extended frequency response and superior transient response. With rugged construction for durable performance, the microphone offers a wide dynamic range and handles high sound pressure levels (SPLs) with ease.

Ideal for project/home-studio applications, the cardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source. The pivoting, threaded stand mount attaches securely for easy and precise placement of the microphone

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The AT2020 is intended for use in applications where remote power is available. It requires 48V DC phantom power, which may be provided by a mixer or console, or by a separate, in-line source such as the Audio-Technica AT8801 single-channel and CP8506 four-channel phantom power supplies.

Specifications

• Element: Fixed-charge back plate, permanently polarized condenser
• Polar Pattern: Cardioid
• Frequency Response: 20-20,000 Hz
• Open Circuit Sensitivity: –37 dB (14.1 mV) re 1V at 1 Pa
• Impedance: 100 ohms
• Maximum Input Sound Level: 144 dB SPL, 1 kHz at 1% T.H.D.
• Noise: 20 dB SPL
• Dynamic Range (typical): 124 dB, 1 kHz at Max SPL
• Signal-To-Noise Ratio: 74 dB, 1 kHz at 1 Pa
• Phantom Power Requirements: 48V DC, 2 mA typical
• Weight: 12.1 ounces
• Dimensions: 6.38 inches long, 2.05-inch maximum body diameter
• Output Connector: Integral 3-pin XLRM-type
• Accessories Includes: Stand mount for 5/8″-27 threaded stands; 5/8″-27 to 3/8″-16 threaded adapter; soft protective pouch
• Audio-Technica Case Style: R7

List Price: $ 169.00

Price: $ 169.00

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Nady DKW DUO HT/B/D VHF Dual Receiver Handheld Microphone System

• Operates on a separate single frequency in the VHF 170-216MHz band
• Easy, convenient operation with On/Off switch and low-battery LED indicator which flashes once for Unit On and lights steady for low-battery alert
• Features the Nady DM-20 unidirectional dynamic cartridge for optimum true sound, maximum feedback rejection and minimal handling noise
• Operates up to 15 hours on a single 9V alkaline battery

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The Nady DKW DUO HT/B/D is a VHF dual receiver for single or simultaneous dual microphone operation. It is an ideal entry-level system with all the advantages and freedom of wireless operation without cumbersome cords. It has an excellent high-fidelity audio, a VHF (170-216 MHz) operations for reliable, interference-free performance and a 150+ ft. typical operating range with up to 300+ ft. line-of-sight. It operates either channeling singly or both channels simultaneously. The DKW-Duo offers advanced audio processing circuitry for a wide dynamic range-no overloading for loud inputs or background hiss during quiet use. It contains a special circuitry to eliminate transmitter on/off “pop” noise. This system consists of complete controls and connections for easy operation, front panel Power On/Off switch and Power ON LED and a back panel 1/4″ audio output jack and DC power input jack for supplied AC/DC adaptor.

List Price: $ 79.99

Price: $ 79.99

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Dynamic microphone elements are made up of a diaphragm, voice coil, and magnet which form a sound-driven electrical generator. Sound waves move the diaphragm/voice coil in a magnetic field to generate the electrical equivalent of the acoustic sound wave. The signal from the dynamic element can be used directly, without the need for additional circuitry. This design is extremely rugged, has good sensitivity and can handle the loudest possible sound pressure levels without distortion. The dynamic has some limitations at extreme high and low frequencies. To compensate, small resonant chambers are often used to extend the frequency range of dynamic microphones.

Shure C606-WD All-Purpose Dynamic Microphone with XLR Cable and 1/4-inch Adapter

GLS Audio 25ft Mic Cable Patch Cords – XLR Male to XLR Female Black Microphone Cables – 25′ Balanced Mike Snake Cord – SINGLE

• Heavy Duty Flexible Rubber Jacket
• True Balanced Lo-Z Shielded Cable
• High Grade 21g Dual Copper Conductors & Shield
• Tri-GripTM & Rubber Booty Strain Relief
• High Quality Noise Free Performance

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Professional Series Noise Free Mic Cables. They have a thick, high quality, flexible rubber jacket. They are heavy duty Noise Free “True Balanced LO-Z” and have 3 pin XLR connectors on each end. These cables have dual insulated copper conductors plus they are shielded. They are hand wired & hand soldered and have high quality metal ends. They have a double strain relief on each end (internal Tri-GripTM and external rubber booty). As you can see in the above picture, the female locking end has a rubber grommet. This allows the cable to snap into place without being loose and sloppy like most other cables you may find.

List Price: $ 24.99

Price: $ 14.99

Sony ECM-DS30P Electret Condenser Digital Microphone

• Suitable stereo recording microphone with ICD/MD
• Compact and lightweight microphone for easy use
• Plug in power (no battery required)
• Includes carrying pouch and wind screen

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Compact, lightweight, with clear audio quality. Sony’s ECM-DS30P Electret Condenser Stereo Microphone is a high quality microphone for recording on digital media. The ECM-DS30P features plug in power operation, suitable stereo recording with ICD/MD, direct connection to recorder, structure to prevent vibration. Start recording clearer sound now with the ECM-DS30P Electret Condenser Stereo Microphone.

List Price: $ 49.99

Price: $ 30.50

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Directionality – The sensitivity to sound relative to the direction or angle of arrival at the microphone. Directionality is usually plotted on a graph referred to as a polar pattern. The polar pattern shows the variation in sensitivity 360 degrees around the microphone, assuming that the microphone is in the center and 0 degrees represents the front or on-axis direction of the microphone. There are a number of different directional patterns designed into microphones. The three basic patterns are omnidirectional, unidirectional, and bidirectional.

The omnidirectional microphone has equal response at all angles. Its “coverage” or pickup angle is a full 360 degrees. This type of microphone can be used if more room ambience is desired. For example, when using an “omni”, the balance of direct and ambient sound depends on the distance of the microphone from the instrument, and can be adjusted to the desired effect.
Shure VP64A Omni-directional Dynamic Handheld, Wired Microphone, Color: Black.

The unidirectional microphone is most sensitive to sound arriving from one particular direction and is less sensitive at other directions. The most common type is a cardioid (heart-shaped) response. This has full sensitivity at 0 degrees (on-axis) and is least sensitive at 180 degrees (off-axis). Unidirectional microphones are used to isolate the desired on-axis sound from unwanted off-axis sound. In addition, the cardioid mic picks up only about one-third as much ambient sound as an omni. For example, the use of a cardioid microphone for a guitar amplifier, which is in the same room as the drum set, is one way to reduce the bleed-through of drums on to the recorded guitar track. The mic is aimed toward the amplifier and away from the drums. If the undesired sound source is extremely loud (as drums often are), other isolation techniques may be necessary.
 Shure UNIDYNE III 545SD Dual Impedance Unidirectional Microphone

Unidirectional microphones are available with several variations of the cardioid pattern. Two of these are the supercardioid and hypercardioid. Both patterns offer narrower front pickup angles than the cardioid (115 degrees for the supercardioid and 105 degrees for the hypercardioid) and also greater rejection of ambient sound. While the cardioid is least sensitive at the rear (180 degrees off-axis), the least sensitive direction is at 125 degrees for the supercardioid and 110 degrees for the hypercardioid. When placed properly they can provide more “focused” pickup and less room ambience than the cardioid pattern, but they have less rejection at the rear: -12 dB for the supercardioid and only -6 dB for the hypercardioid.

The bidirectional microphone has full response at both 0 degrees (front) and at 180 degrees (back). It has its least response at the sides. The coverage or pickup angle is only about 90 degrees at the front (or the rear). It has the same amount of ambient pickup as the cardioid. This mic could be used for picking up two sound sources such as two vocalists facing each other. It is also used in certain stereo techniques.
AEA R44CNE Ribbon microphone, bi-directional, international edition, RCA 44 replica

Microphones with various polar patterns can be used in vocal recording techniques. Consider recording a choral group or vocal ensemble. Having the vocalists circle around an omnidirectional mic allows well trained singers to perform as they would live: creating a blend of voices by changing their individual singing levels and timbres. Two cardioid mics, positioned back to back could be used for this same application.

An omnidirectional mic may be used for a single vocalist as well. If the singer is in a room with ambience and reverb that add to the desired effect, the omnidirectional mic will capture the room sound as well as the singer’s direct voice. By changing the distance of the vocalist to the microphone, you can adjust the balance of the direct voice to the ambience. The closer the vocalist is to the mic, the more direct sound is picked up relative to the ambience. The standard vocal recording environment usually captures the voice only. This typically requires isolation and the use of a unidirectional mic. Isolation can be achieved with baffles surrounding the vocalist like a “shell” or some other method of reducing reflected sound from the room. Remember even a music stand can cause reflections back to the mic.

The axis of the microphone should usually be pointed some- where between the nose and mouth to pick up the complete sound of the voice. Though the mic is usually directly in front of the singer’s mouth, a slightly off-axis placement may help to avoid explosive sounds from breath blasts or certain consonant sounds such as “p”, “b”, “d”, or “t”. Placing the mic even further off-axis, or the use of an accessory pop filter, may be necessary to fully eliminate this problem.

While many vocals are recorded professionally in an isolation booth with a cardioid condenser microphone, other methods of vocal recording are practiced. For instance, a rock band’s singers may be uncomfortable in the isolated environment described earlier. They may be used to singing in a loud environment with a monitor loudspeaker as the reference. This is a typical performance situation and forces them to sing louder and push their voices in order to hear themselves. This is a difficult situation to recreate with headphones.

CAD U1 USB Dynamic Recording Microphone
A technique that has been used successfully in this situation is to bring the singers into the control room to perform. This would be especially convenient for project studios that exist in only one room. Once in that environment, a supercardioid dynamic microphone could be used in conjunction with the studio monitors. The singer faces the monitors to hear a mix of music and voice together. The supercardioid mic rejects a large amount of the sound projected from the speakers if the rear axis of the microphone is aimed between the speakers and the speakers are aimed at the null angle of the mic (about 65 degrees on either side of its rear axis). Just as in live sound, you are using the polar pattern of the mic to improve gain-before-feedback and create an environment that is familiar and encouraging to the vocalists. Now the vocalist can scream into the late hours of the night until that vocal track is right.

The sound from a musical instrument has a frequency output which is the range of frequencies produced and their relative amplitudes. The fundamental frequencies establish the basic pitch, while the harmonic frequencies produce the timbre or characteristic tone of the instrument. Here are frequency ranges for some commonly known instruments:

Also, an instrument radiates different frequencies at different levels in every direction, and each part of an instrument produces a different timbre. This is the directional output of an instrument.

You can partly control the recorded tonal balance of an instrument by adjusting the microphone position relative to it. The fact that low frequencies tend to be omnidirectional while higher frequencies tend to be more directional is a basic audio principle to keep in mind.

Most acoustic instruments are designed to sound best at a distance (say, two or more feet away). The sounds of the various parts of the instrument combine into a complete audio picture at some distance from the instrument. So, a microphone placed at that distance will pick up a “natural” or well-balanced tone quality. On the other hand, a microphone placed close to the instrument emphasizes the part of the instrument that the microphone is near. The sound picked up very close may or may not be the sound you wish to capture in the recording.