A Brief Guide

to Microphones
 A Word about Audio-Technica
For over 30 years Audio-Technica has been
dedicated to advancing the art and technology
of electro-acoustic design and manufacturing.
From a beginning in state-of-the-art phono
cartridges, A-T has expanded over the years
into high-performance headphones,
microphones, speakers and electronic
products for home and professional use. In
each new area the goal has been to create
innovative, problem-solving products.
The results of these engineering and
production efforts can be seen in the effective
use of A-T products in a broad spectrum of
applications.
Audio-Technica microphones, for example,
are found in daily use in major broadcast and
recording studios, and relied upon by top
touring musicians. A-T mics are chosen for
important installations and major events, such
as the U.S. House of Representatives, the
Super Bowl, World Cup Soccer and the
Olympics.
Whether in the home, on stage, or in schools
and universities, boardrooms, council
chambers or places of worship, Audio-
Technica products are providing superior
performance and exceptional value worldwide.

A Brief Guide to
Microphones
If microphones seem a mystery, a few minutes reading this
guide may help clear up some misconceptions and assist you
in understanding the differences between various microphone
types and the advantages of important microphone features.
 The fact is, microphones are really rather simple devices.
And if you know the meaning of just nine key terms, you are
well on your way to becoming a microphone [Link] this
basic knowledge under your belt, it will be easier to select the
right model for almost any application. The nine basic terms
are:
1. Dynamic
2. Condenser
3. Omnidirectional
4. Directional
5. Proximity Effect
6. Feedback
7. Impedance
8. Sensitivity
9. Acoustic Phase Interference

Although there are many kinds of microphones for many

uses, we intend to concentrate on those models most suited
for high-quality recording, broadcasting and sound
reinforcement. We’ll skip over the most common microphone
of them all (the one in your telephone) and the many
specialized types used for CB radio, industry and other similar
areas.

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 What a Microphone Does
Like phono cartridges, headphones and loudspeakers, the
microphone is a transducer – in other words, an energy
converter. It senses acoustic energy (sound) and translates
it into equivalent electrical energy. Amplified and sent to a
loudspeaker or headphone, the sound picked up by the
microphone transducer should emerge from the speaker
transducer with no significant changes.
How It Does It
While there are many ways to convert sound into electrical
energy, we’ll concentrate on the two most popular methods:
dynamic and condenser. These are the types of
microphones most often found in recording studios,
broadcast and motion picture production, home stereo and
video recording, and on stages for live sound reinforcement.
And Why It’s Important
The microphone is, by its nature, at the very beginning of
most sound systems and recording applications. If the mic
can’t capture the sound clearly and accurately, and with low
noise, even the best electronics and speakers following it
won’t produce the optimum sound. So it’s important to invest
in good microphones, to maximize sound-system
performance potential.
Basic Term #1

Dynamic

Comparison of microphone types to loudspeakers may help

you to more readily understand their operation. Dynamic
microphones can be considered as similar to conventional
loudspeakers in most respects. Both have a diaphragm (or
cone) with a voice coil (a long coil of wire) attached near the
apex. Both have a magnetic system with the coil in its gap.
The difference is in how they are used.
With a speaker, current from the amplifier flows through the
coil. The magnetic field created by current flowing through the

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 voice coil interacts with the magnetic field of the speaker’s
magnet, forcing coil and attached cone to move back and
forth, producing sound output.

Figure 1
Dynamic
Microphone Output
Element Voltage

Magnet
Diaphragm
Voice Coil

Magnetic
Structure

A dynamic microphone operates “in reverse.” The diaphragm

is moved by changing sound pressure. This moves the coil,
which causes current to flow as lines of flux from the magnet
are cut. So, instead of putting electrical energy into the coil (as
in a speaker) you get energy out of it. In fact, many intercom
systems use small speakers with lightweight cones as both
speaker and microphone, by simply switching the same
transducer from one end of the amplifier to the other! A
speaker doesn’t make a great microphone, but it’s good
enough for that application.
Dynamic microphones are renowned for their ruggedness
and [Link] need no batteries or external power
supplies. They are capable of smooth, extended response, or
are available with “tailored” response for special applications.
Output level is high enough to work directly into most
microphone inputs with an excellent signal-to-noise ratio. They
need little or no regular maintenance, and with reasonable
care will maintain their performance for many years.

4
 Basic Term #2

Condenser

Condenser (or capacitor) microphones use a lightweight

membrane and a fixed plate that act as opposite sides of a
capacitor. Sound pressure against this thin polymer film
causes it to move. This movement changes the capacitance of
the circuit, creating a changing electrical output. (In many
respects a condenser microphone functions in the same
manner as an electrostatic tweeter, although on a much
smaller scale and “in reverse.”)
Figure 2
Electret Condenser Element

Polymer Diaphragm

Output
Voltage

Spacer Back Plate FET Impedance Converter

(Battery or Phantom Powered)

Condenser microphones are preferred for their very uniform

frequency response, and ability to respond with clarity to
transient sounds. The low mass of the diaphragm permits
extended high-frequency response, while the nature of the
design also ensures outstanding low-frequency pickup. The
resulting sound is natural, clean and clear, with excellent
transparency and detail.
Two basic types of condenser microphones are currently
available. One uses an external power supply to provide the
polarizing voltage needed for the capacitive circuit. These
externally-polarized microphones are intended primarily for
professional studio use or other extremely critical applications.

5
 A more recent development is the electret condenser
microphone (Fig. 2). In these models, the polarizing voltage is
impressed on either the diaphragm or the back plate during
manufacture, and this charge remains for the life of the
microphone.
The best electret condenser microphones are capable of
very high-quality performance, and are used extensively in
broadcast, recording and sound reinforcement.
Due in part to their low-mass diaphragms, condenser
microphones are inherently lower in handling or mechanical
noise than dynamic microphones. For all of its electret
condenser designs, Audio-Technica has elected to apply the
polarizing voltage, or fixed-charge, to the back plate rather
than the diaphragm. By doing this, a thinner material may be
used for the diaphragm, providing a considerable performance
advantage over electret microphones of conventional design.
Many Audio-Technica microphone diaphragms, for example,
are only 2 microns thick (less than 1/10,000th of an inch)!
Condenser microphones have two other design advantages
that make them the ideal (or the only) choice for many
applications: they weigh much less than dynamic elements,
and they can be much [Link] characteristics make
them the logical choice for line – or “shotgun” – microphones,
lavaliers and miniature microphones of all types.
Attempts at miniaturizing dynamic microphones result in
greatly reduced low-frequency response, overall loss in
acoustic sensitivity, and higher mechanical or handling noise.
Phantom Power
While the electret condenser microphone doesn’t need a
power supply to provide polarizing voltage, an FET impedance
matching circuit inside the microphone does require some
power. This may be supplied by a small low-voltage internal
battery or by an external “phantom” supply.
Phantom powering is a technique which delivers a DC
voltage to the microphone through the same shielded two-
conductor cable that carries the audio. The phantom power
may be supplied either by the mic mixer or from an external

6
supply that is “inserted” into the line between the microphone
and mixer input. For phantom power to function, the line
between the power supply and the microphone must be
balanced to ground, and uninterrupted by such devices as
filters or transformers which might pass the audio signal but
block DC (more about balanced lines later). Phantom power
also requires a continuous ground connection (Pin 1 in the
XLR-type connector) from the power supply to the
[Link] supply delivers positive DC voltage equally to
both signal-conducting leads, and uses the shield as a return
path, or negative. Balanced-output dynamic microphones are
not affected by phantom power, since there is no connection
between the shield and either signal lead and, therefore, no
circuit for the DC voltage.
Phantom power supplies are available in various output
voltages ranging from as low as 9 volts up to 48 volts. They
may be designed to operate from AC line voltages or from
internal batteries.
Externally polarized or “discrete” condenser microphones
seldom have internal battery [Link], a phantom power
source is used to provide both the polarizing voltage for the
element and to power the impedance converter.

7
 Other Types of Microphones
There are a number of ways to translate sound into
electrical energy. Carbon granules are used as elements in
telephones and communications [Link] some
low-cost microphones use crystal or ceramic elements that
are generally OK for speech, but are not seriously
considered for music or critical sound reproduction.
One other type sometimes found in recording studios is
the ribbon microphone. It is a form of dynamic mic, with a
thin metallic ribbon (which serves as both voice coil and
diaphragm) suspended between the poles of a magnetic
circuit. While it is capable of excellent performance, the
ribbon element must be protected against high acoustic
pressures or wind, since it is relatively fragile. For this
reason, ribbon microphones are rarely seen in sound
reinforcement applications or non-studio recording.
Ribbon microphones are often designed to respond to
sound from both the front and back, and are sometimes
used when a bidirectional pickup pattern is required – which
brings us to the next major microphone classification.
What’s the Pattern?
In addition to classifying microphones by their generating
elements, they can also be identified by their directional
properties, that is, how well they pick up sound from various
directions. Most microphones can be placed in one of two
main groups: omnidirectional and directional.
Omnidirectional microphones are the simplest to design,
build and understand. They also serve as a reference
against which each of the others may be compared.
The basic directional types include cardioid, subcardioid,
hypercardioid and bidirectional. Also included under the
general heading of directional microphones is the line – or
“shotgun” – microphone, a more complex design that can
provide considerably higher directionality than the four basic
directional types.
Let’s examine the differences among the various types.

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 Basic Term #3

Omnidirectional

Omnidirectional microphones pick up sound from just about

every direction equally. They’ll work about as well pointed
away from the subject as pointed toward it, if the distances are
equal. However, even the best omni models tend to become
directional at higher frequencies, so sound arriving from the
back may seem a bit “duller” than sound from the front,
although apparently equally “loud.”

Figure 3
Omnidirectional
Microphone

The physical size of the omnidirectional microphone has a

direct bearing on how well the microphone maintains its
omnidirectional characteristics at very high frequencies. The
body of the microphone simply blocks the shorter high-
frequency wavelengths that arrive from the rear. The smaller
the microphone body diameter, therefore, the closer the
microphone can come to being truly omnidirectional.
Basic Term #4

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 Directional

Directional microphones are specially designed to respond

best to sound from the front (and rear in the case of
bidirectionals), while tending to reject sound that arrives from
other directions. This effect also varies with frequency, and
only the better microphones are able to provide uniform
rejection over a wide range of frequencies. This directional
ability is usually the result of external openings and internal
passages in the microphone that allow sound to reach both
sides of the diaphragm in a carefully controlled way. Sound
arriving from the front of the microphone will aid diaphragm
motion, while sound arriving from the side or rear will cancel
diaphragm motion.

Figure 4
Directional
(Cardioid)
Microphone

Polar Patterns
To help you visualize how a directional microphone works,
you will find polar patterns in our literature and spec sheets.
These round plots show the relative sensitivity of the
microphone (in dB) as it rotates in front of a fixed sound
source. You can also think of them as a horizontal “slice”
through the pickup patterns illustrated in Figures 3 and 4.

10
 Plots of the microphone polar response are usually shown at
various frequencies. The most common directional
microphones exhibit a heart-shaped polar pattern, and, as a
result, are called “cardioid” microphones.

Figure 5
Polar Patterns

Typical
Omnidirectional
Pattern

Typical
Directional
(Cardioid)
Pattern
Polar patterns should not
be taken literally as a “floor
plan” of a microphone’s
[Link] instance, in the
cardioid pattern
illustrated, response is down about 6 dB at 90° off-axis. It may
not look like much in the pattern, but if two persons were
speaking equidistant from the microphone, one directly on-axis
and the other at 90°, the person off-axis would sound as if he
were twice as far from the microphone as the person at the
front. To get equal volume, he would have to move to half the
distance from the mic.

11
 A word of caution: these polar patterns are run in an
anechoic chamber, which simulates an ideal acoustic
environment – one with no walls, ceiling or floor. In the real
world, walls and other surfaces will reflect sound quite readily,
so that off-axis sound can bounce off a nearby surface and
right into the front of the [Link] a result, you’ll rarely
enjoy all of the directional capability built into the microphone.
Even if cardioid microphones were completely “dead” at the
back (which they never are), sounds from the rear, also
reflected from nearby surfaces, would still arrive partially from
the sides or front. So cardioid microphones can help reduce
unwanted sound, but rarely can they eliminate it entirely. Even
so, a cardioid microphone can reduce noise from off-axis
directions by about 67%.
The directional microphone illustrated in Fig. 5 is about 20
dB less sensitive at 180° degrees off-axis, compared to on-
[Link] means that by rotating the cardioid microphone 180°,
so that it faces directly away from the sound source, the sound
will “look” to the microphone as if it had moved TEN TIMES
farther away!
The maximum angle within which the microphone may be
expected to offer uniform sensitivity is called its acceptance
angle. As can be seen in Fig. 6, each of the directional
patterns offers a different acceptance [Link] will often vary
with frequency. One of the characteristics of a high-quality
microphone is a polar pattern which changes very little when
plotted at different frequencies.
Figure 6
Basic Polar Patterns
0°

180°
Omni- Sub- Hyper-

directional cardioid Cardioid cardioid Line Bidirectional

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Acceptance Angle — 170° 120° 100° 90° 90°
(3 dB down)
Null (angle of none 160° 180° 110° 120° 90°
minimum sensitivity)
Distance Factor (DF) 1.0 1.2 1.7 2.0 2.5 1.7
Distance Factor
A directional microphone’s ability to reject much of the sound
that arrives from off-axis provides a greater working distance
or “distance factor” than an omni. As Fig. 6 shows, the
distance factor (DF) for a cardioid is 1.7 while the omni is
[Link] means that if an omni is used in a uniformly noisy
environment to pick up a desired sound that is 10" away, a
cardioid used at 17" from the sound source should provide the
same results in terms of the ratio of desired signal to ambient
noise. Among other microphone types, the subcardioid should
do equally will at 12", the hypercardioid at 20" and the
bidirectional at 17".
If the unwanted noise is arriving from one direction only,
however, and the microphone can be positioned to place the
null of the pattern toward the noise, the directional
microphones will offer much greater working distances.
Line Microphones
When miking must be done from even greater distances, line
or “shotgun” microphones are often the best choice. Line
microphones are excellent for use in video and film, in order to
pick up sound when the microphone must be located outside
the frame, that is, out of the viewing angle of the camera.
The line microphone uses an interference tube in front of the
element to ensure much greater cancellation of sound arriving
from the sides. Audio-Technica line microphones combine a
directional (“gradient”) element with the interference tube to
increase cancellation at the rear as well.

Figure 7
Line + Gradient Microphone
Interference Tube

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 Directional Element

As a general design rule, the interference tube of a line

microphone must be lengthened to narrow the acceptance
angle and increase the working distance. While shorter line
microphones may not provide as great a working distance as
their longer counterparts, their wider acceptance angle is
preferred for some applications, because aiming does not
need to be so precise. (Some A-T shotgun mics employ an
exclusive design* that provides the same performance from an
interference tube one-third shorter than conventional designs.)

*U.S. Patent No. 4,789,044

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 How Do They Sound?
From a distance of two feet or so, in an absolutely “dead”
room, a good omni and a good cardioid may sound very
similar. But put the pair side-by-side in a “live” room (a large
church or auditorium, for instance) and you’ll hear an
immediate difference. The omni will pick up all of the
reverberation and echoes – the sound will be very “live.”
The cardioid will also pick up some reverberation, but a
great deal less, so its sound will not change as much
compared to the “dead” room sound.(This is the “Distance
Factor” in action.)
If you are in a very noisy environment, and can point the
microphone away from the noise, a comparison will show a
better ratio of wanted to unwanted sound with the cardioid
than with the omni.
Now, let’s repeat the comparison, but this time with the
microphones very close to the source (a singer, perhaps).
As you get within about two inches, you’ll notice a rising
bass response in most cardioid microphones. This is known
as proximity effect, a characteristic that is not shared with
the omni microphone used for comparison.
Basic Term #5

Proximity Effect

Proximity effect can either be a blessing or a curse,

depending on how it is used. A singer can get a deep, earthy
sound by singing very close, then change to a more
penetrating sound by singing louder while moving the
microphone away. This kind of creative use takes some
practice, but is very [Link] the other hand, singing at the
same volume (with no special effects desired) and moving the
microphone in and out will create problems of tonal balance,
apart from changes in overall mic [Link] performers also
like to work very close at all times to “beef up” an ordinarily
“light” voice.

15
 Figure 8
Influence of Proximity Effect on
Directional Microphone Response

Response in dB

10 dB

50 100 200 500 1k 2k 5k 10k 20k

Frequency in Hertz
LEGEND
1/4 "

3"
12" or more on axis

Proximity effect can be used effectively to cut feedback in a

sound reinforcement situation. If the performer works very
close to the mic, and doesn’t need the extra bass, an equalizer
can be used to turn down that channel’s bass response. This
makes the microphone less sensitive to feedback at low
frequencies, since it is now less sensitive to any low-frequency
signal arriving from more than a foot away. (This equalization
technique also will help reduce the effect of any handling
noise.)

16
 Basic Term #6

Feedback
Feedback is simply a condition in a sound-reinforcement
application when the sound picked up by the microphone is
amplified, radiated by a speaker, then picked up again, only to
be re-amplified. Eventually the system starts to ring, and keeps
howling until the volume is reduced. Feedback occurs when the
sound from the loudspeaker arrives at the microphone as loud or
louder than the sound arriving directly from the original sound
source (talker, singer, etc.).
The right microphone will reduce the problem.A microphone
without peaks in its response is best, as feedback will occur
most easily at the frequencies where peaks exist. While a good
omni might work well in some situations, a cardioid is almost
always preferred where a high potential for feedback exists.
When the loudspeaker sound comes primarily from a single
direction (rather than mainly reflected from all the walls, ceiling,
etc.), the null of a cardioid (or other directional pattern)
microphone can be aimed to minimize pickup of the speaker’s
sound.
Distance is also a [Link] the microphone (or speaker)
to lengthen the acoustic path to the loudspeaker can often
reduce feedback. Bringing the microphone closer to the desired
sound source will also help. And in general, the microphone
should always be located behind the speakers.

17
 Which Pattern is “Best”?
Whether you should select a directional or omnidirectional
microphone can depend on the application (recording vs.
sound-reinforcement), the acoustic conditions, the working
distance required and the kind of sound you wish to
achieve. Directional microphones can suppress unwanted
noise, reduce the effects of reverberation and increase
gain-before-feedback. But in good acoustic surroundings,
omnidirectional microphones, properly placed, can preserve
the “sound” of the recording location, and are often
preferred for their flatness of response and freedom from
proximity effect.
Omnidirectional microphones are normally better at
resisting wind noise and mechanical or handling noise than
directional microphones. Omnis are also less susceptible to
“popping” caused by certain explosive consonants in
speech, such as “p,” “b” and “t.” Serious recordists will
undoubtedly want to have both types of microphones
available to be ready for every recording problem.

18
 Basic Term #7

Impedance
One important characteristic of a microphone is its output
impedance. This is a measurement of the AC resistance looking
back into the microphone. Generally, microphones can be
divided into low (50-1,000 ohms), medium (5,00015,000 ohms)
and high (20,000+ ohms) impedance. Most Audio-Technica
microphones are rated low-impedance. They’ll work directly into
mixer inputs of 150 ohms on up to approximately 4,000 ohms, so
they should be ideal for most of the tape recorders and mixers
currently available. Of course, some users may want to use a
low-impedance Audio-Technica microphone into a high-
impedance (50,000 ohms) input, which is why we offer the
CP8201 microphone line matching transformer. It should be
located as close to the electronic input as possible, so most of
the microphone cable is low-impedance and balanced to ground.
Here’s why.
There is a limit to how much cable should be used between a
high-impedance microphone and its input. Any more than about
20 feet will result in loss of highs, and loss of output level. But by
using low-impedance microphones and cable, microphone
cables can be almost any practical length, with no serious losses
of any kind.
Balanced and Phased
Most Audio-Technica microphones offer balanced output. A
balanced output offers real advantages to the serious recordist.
Balanced lines are much less susceptible to RFI (Radio
Frequency Interference) and the pickup of other electrical noise
and hum. In a balanced line, the shield of the cable is connected
to ground, and the audio signal appears across the two inner
wires which are not connected to ground. Because signal
currents are flowing in opposite directions at any given moment
in the pair of signal wires, noise which is common to both is
effectively cancelled out (“common mode rejection”).This
cancellation can’t occur when only one signal wire plus the
shield is used. Of course, it is possible to wire a low-impedance
microphone directly to an unbalanced low-impedance input, but
the noise-cancelling benefit will be lost. This should not be a

19
 problem with short cable runs, but if longer cables are used, a
balanced input is preferred.
Microphone phasing is most important when two (or more)
microphones are to be used close together, then mixed into a
single channel, or when recording in stereo. If they are wired out-
of-phase to each other, signal levels and tonal balance will be
adversely affected, and can change abruptly with small
movements of the sound source or the microphones. In stereo
there may be poor imaging, imprecise location of instruments
and reduction of bass. The term “out-of-phase” is used to
describe a microphone that is wired with its polarity reversed
with respect to another. While “out-of-phase” is not a technically
correct expression when speaking of polarity reversal, it is in
such common usage that we include it here to help you
understand the idioms of audio.
Audio-Technica wires its microphones to conform to the most
popular industry convention: Positive acoustic pressure on the
diaphragm generates a positive voltage on Pin 2 of the 3-pin
output connector or on the tip of a 1/4" plug. Of course, consistent
phasing (polarity) must be preserved in all of the cables between
the microphone(s) and the electronics.

Figure 9
Wiring of Typical Microphone Connectors
PINS 3
(–)
(+)

Balanced Line

(+)
(–)
Unbalanced Line
2
1 XLR-type Output Connector
Balanced Microphone Line

1 /4" Phone Plug

Unbalanced Microphone Line

20
 Sleeve

Tip
Tip
Sleeve
Basic Term #8

Sensitivity
Sensitivity ratings for microphones may not be exactly
comparable, since different manufacturers may use different
rating systems. Typically, the microphone output (in a sound field
of specified intensity) is stated in dB (decibels) compared to a
reference level. Most reference levels are well above the output
level of the microphone, so the resulting number (in dB) will be
negative. Thus a microphone with a sensitivity rating of –55 dB
will provide more signal to the input terminals than one rated at –
60 dB. (See Fig. 10.)
Audio-Technica typically rates a microphone’s sensitivity in
terms of its open circuit output voltage. Stated in dB-relativeto-1-
volt, or in actual millivolts (mV), this is the output the microphone
will deliver with a stated sound pressure level (SPL) input. A-T
uses a reference sound pressure of 1 Pa (Pascal), which equals
94 dB SPL, or 10 dynes/cm2. (A reference of 0.1 Pa equals 74
dB SPL, or 1 dyne/cm2.) In most modern audio equipment,
microphone input impedances are substantially greater than the
output impedance of the microphone, and thus may be regarded
as an open circuit. That makes the open circuit voltage
measurement a useful tool in comparing microphone
sensitivities.
Although knowing how to read/compare microphone
sensitivity (output) is important, the actual sensitivity rating
usually is not a major consideration in mic selection. In fact, mic
output is one factor considered in the design of a microphone for
a particular application. For example, A-T shotgun mics have
higher-than-“normal” output levels because they need to
maintain useable output voltage with distant subjects.
It should be noted, however, that when someone says, “The
microphone is distorting,” most often it is the electronics input
(mixer/amplifier/recorder) which is overloading and

21
 Figure 10
“dB re 1V”
–60 dB –40 dB –20 dB 0 dB

.001V .01V .1V 1 volt

(1 mV) (10 mV) (100 mV)
distorting. (This is more likely to occur with A-T’s high-output
condenser mics and Hi-ENERGY® neodymium-magnet dynamic
mics.) If high-level sound is creating distortion, before blaming
the microphone, try inserting an attenuator between the
microphone and its input. The Audio-Technica AT8202,
designed for use with balanced Lo-Z microphones, offers a
selector switch to drop the level 10, 20 or 30 dB, and will usually
solve the problem. (Some mixers have a switchable “input pad”
to help prevent input overload.)

Basic Term #9

Acoustic Phase Interference

Multiple Microphones
Acoustic phase interference occurs when the same sound
arrives at two or more adjacent microphones at different times.
This happens, for example, when two microphones are placed
on a lectern as in Fig. 11. Because they are spaced apart, sound
from the subject will almost certainly arrive at the two
microphones at different times. The curves in Fig. 12 show the
effects of the destructive wave interferences this causes when
the microphone outputs are mixed together. These response
degradations can result in not only poor audio quality, but often
feedback problems as well.

Figure 11
Unequal Microphone Distances

22
D1 D2

Distances D1 and D2

are never exactly equal.

23
 Figure 12
Multiple Microphone Response Curves
2

24"

6"
18"

Position A Position B

20 50 100 200 500 1k 2k 5k 10k 20 k

Frequency in Hertz

Response of Microphone 1 with subject at

Position A. (Microphone 2 is off.)

Response curve of 1 and 2 summed, subject

at Position A.

24
 Response curve of 1 and 2 summed, subject
at Position B.

An obvious solution to this lectern-mic problem would be to

use only one microphone. This not only improves the sound
quality, but cuts the lectern microphone budget by
approximately 50%! (Sometimes a second microphone may be
desired as part of a backup or “redundancy” system, such as
for press [Link] two microphones should then be
located directly in front of the subject, as close together as
practical, and only one should be on or “open” at a time.) Fig.
13 shows another approach to podium miking with two
[Link] the two mics are placed with their capsules
as close together as possible, and angled in a “crossfire.” This
provides a wider overall acceptance angle, allows stereo
miking with excellent mono compatibility, and largely avoids
the phase-interference problem.

Figure 13
Multi-mic Podium Setup

Whenever two spaced microphones must be used, the “3:1

Ratio Rule” is a good guide for placement. Fig. 14 illustrates
this rule of thumb. In the illustration, Microphone 1 is one foot
from the sound source. The next closest microphone in the
system, Microphone 2, should be located three feet or more
from Microphone 1. If the distance between the sound source
and Microphone 1 changes to two feet, then the minimum
distance between the two microphones should be at least six
feet, maintaining the 3:1 ratio.

25
 Figure 14
The 3:1 Ratio Rule
2

3'

1'

Subject
Single Microphone Placement
Acoustic phase interference may also occur when only a
single microphone is in use. This happens when sound is
reflected off a nearby surface and arrives at the microphone
slightly after the direct sound. Adding the two signals together
may give problems similar to those encountered in improper
multi-microphone setups. (The phase interference will be most
noticeable when the reflected sound arrives at a sound
pressure level that is within 9 dB of the direct sound.)
There are several ways to eliminate this problem. First, try
putting the microphone closer to the sound source. Second,
move the microphone farther from the reflective surface. Third,
use a microphone specially configured to be placed extremely
close to the reflective plane (Fig. 15). When using a low-profile
directional Audio-Technica boundary or “plate” microphone, for
example, the microphone capsule is so close to the surface
that the direct sound and the reflected sound arrive
simultaneously and add together rather than cancel. This
technique can prove very helpful on the apron of a stage, on a
table or desk for conference use, or on the altar of a church.

Figure 15
Effects of Reflections

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 Reflected sound arrives later
than direct sound, causing
phase cancellation.

A-T Boundary Microphone

arrive at same time (“in phase”)

and add together. Result is
higher output and no Direct and
reflected sounds
phase cancellation.
Some Useful Accessories
Windscreens reduce problems of “popping” from close vocal
use. They also help control the wind noise often encountered
in outdoor applications and from heating/air conditioning air
movements. The windscreen simply slips over the head of the
microphone to completely cover all acoustic openings.
Microphone shock mounts help reduce mechanical noise
transferred to a microphone through its mounting hardware.
This includes the sound of physical contact with the pulpit,
lectern or microphone stand, or even a foot tapping on a
wooden stage.
Audio-Technica offers two phantom power supplies for use
with most condenser microphones requiring phantom power:
the CP8506 four-channel 48V phantom supply that powers up
to four microphones, and the AT8801 single-channel 48V
phantom supply.
We have already mentioned the CP8201 line matching
transformer, which permits use of low-impedance microphones
with unbalanced high-impedance inputs, and the AT8202 in-
line attenuator, which prevents distortion caused by the
overloading of sensitive input stages.

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 Durable microphone cables from A-T combine the protective
properties of conductive vinyl and a rugged braided shield to
ensure maximum rejection of AC hum and RF interference.
Their supple, “low memory” material lets them lie flat without
unsightly kinks and bends that can create a tripping hazard.
A large selection of microphone stand clamps for use with
most A-T microphones is also available.
SmartMixer®
The Audio-Technica SmartMixer® is a four-channel automatic
microphone mixer. By automatically turning up only those
microphones that are in use and turning them down between
uses, it decreases excessive ambient noise and greatly
reduces the possibility of feedback in multi-mic applications.
The SmartMixer keeps the last microphone channel used
turned on until another channel is [Link] continuous
pickup of at least some ambient sound avoids disturbing
“holes” or total silences that would otherwise occur. A single
SmartMixer controls and provides phantom power to four
microphones. Setup is extremely simple and additional units
can easily be linked together to expand the number of
available inputs.
Wireless Microphones
Providing total freedom of movement, Audio-Technica
professional wireless microphone systems set high standards
for wireless microphone performance in the most difficult
environments. Choose a self-contained handheld
microphone/transmitter or one of our versatile UniPak™
systems offered with headworn, lavalier, boundary, gooseneck
and instrument microphones.

A Final Word
This guide is necessarily brief and just barely touches on
the topic of microphone usage. Additional tips on how to
use A-T microphones are included in individual instruction
sheets. If you have any questions about microphones in
general, or A-T microphones in particular, please call or

28
 write us for the [Link] technical support staff will be
happy to assist you.
Index
Accessories 26

Acoustic phase interference 22

Balanced output 19

Boundary microphone 25

Condenser (capacitor) 5

Connectors 20

Directional 10

Distance factor 13

Dynamic 4

Feedback 17

Impedance 19

Line microphone 14

Multiple microphone applications 22

Omnidirectional 9

Phantom power 7

Phasing 20

Polar pattern 8-13, 18

Proximity effect 16

Sensitivity (output voltage) 21

3:1 (“three-to-one”) ratio rule 24

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 Visit our Web Site at
[Link]

Audio-Technica U.S., Inc., 1221 Commerce Drive, Stow, Ohio 44224 330/686-2600 Fax: 330/686-0719
Audio-Technica Limited, Old Lane, Leeds LS11 8AG 0113 277 1441 Fax: 0113 270 4836
Form No. 0300-0714-05 ©2002 Audio-Technica U.S., Inc. Printed in U.S.A.