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Phono Cartridges and Microphones
Technology and trends brought us to this place. So let’s start with a little history.
Shure began making quality phonograph cartridges in 1937. By the 1970s and 1980s, Shure was producing tens of thousands of cartridges every day with needles in almost every home, diner, radio station and nightclub across the United States.
By 1988, CD players marked a fatal decline in demand for phono cartridges. With the exception of audiophiles, radio stations and baby boomers needing replacement cartridges for their vast record collections, the market evaporated.
Then Fate stepped in. In the late 1990s, we discovered that discontinued and overstocked Shure needles were hot sellers for American Scratch DJs traveling in the Far East. Scratching had come to dominate the DJ Battle scene and for that technique, hip hop DJs chose the Shure M44-7 cartridge.
New users, new products and a renewed commitment resulted. The Needlz Brotherz were born – a duo of specialized associates who are collectively an artist, a business veteran, a sound engineer and also DJs. They trotted the globe, met the local, national and international giants and resurrected Shure’s phono cartridge business, ultimately introducing new products like the Whitelabel .
It only made sense, then, for us to talk to Greg Needlz and Bill Needlz about what DJs need to know about microphones. They’ve walked the talk, and are experts on audio technology. The fact is, phonograph cartridges and microphones have a lot in common – they are both transducers, transforming physical energy into electrical energy. The Brotherz also directed us to groundbreaking turntablist Rob Swift for his take on getting started.
Fortunately, this experimental technology hasn’t replaced you and won’t anytime soon. That being the case, here’s how understanding a little more about microphones can help you make consistent, confident recordings.
1. Match the Mic’s Frequency Response to the Performer
Every microphone, like every performer or instrument, has its own signature. It’s important to match the characteristics of the microphone to those of the sound source.
Knowing how your mic behaves allows you to use it as a tool to capture the performance the way you want it to be heard.
Example: A mic with a lot of bass isn’t going to be good for a performer with a lot of highs. If you have a female singer who is very smooth in the high and mid but has no chest tone at all, you’re not going to want a mic that emphasizes the lower end and the low mids. On the other hand, if you have a male vocal and you need some chest tone and thump, use a mic that can really capture and reproduce it. Avoid using a mic that’s silky and shiny on the top and thin on the bottom.
You can find the frequency response of individual microphones by checking out product descriptions on manufacturer’s web sites or in literature.
The KSM44 multi-pattern mic yields a dual high-end bump, with subtle nuances through the mid range, ending in a gentle roll off at the low end.
Result: crystal clear vocal articulation and detail that warmly accents the artist’s natural sound without unwanted boominess.
2. Understand Microphone Polar Patterns
Polar patterns describe the shape and direction of the microphone’s “sweet spot”. Some mics pick up from one direction, some from all around and all offer different degrees of bleed from the sound source.
A quick review:
If you cannot see the movie, you may download the Flash plugin here or simply click below to view the alternate PDF version.
Polar Patterns
Beginning to understand how microphones work will help you to understand their sonic differences. A good place to start is transducer types because most any mic, whether wired or wireless is either dynamic or condenser.
Live performances typically use a mix of dynamic and condenser mics.
If you cannot see the movie, you may download the Flash plugin here or simply click below to view the alternate PDF version.
Transducer Types
Dynamic and condenser mics have different frequency response characteristics. Dynamic mics (like the SM58) tend to be "shaped" for vocal use.. Condenser mics can be "flatter", and usually have an extended high frequency response.
“The first time you use a professional studio mic, you’ll hear the saliva drip from your teeth.”
- Greg Needlz
3. Use it or Lose it: Proximity Effect
Here is a useful tool that’s not as well known. Proximity Effect is the extra bass or boominess you get when you lean into a mic. Learning to control it in recording (and performance) can help you get the sound you’re looking for right from the start.
On most mics, there is a point where, when you lean in and start to “eat the mic”, you’ll hear a serious bass boost. Whether you call it Thunder Voice or Monster Truck Voice, it’s the result of physics and it’s something that you’ll either want to use to add bottom, or eliminate in more subtle R&B vocals.
General Guidelines
- Single diaphragm microphones have the most proximity effect
- The larger the diaphragm, the lower the frequency range of the proximity effect.
- Smaller diaphragm microphones may have a proximity effect that reaches higher into the mid ranges
- Dual diaphragm mics have reduced proximity effect.
- If you need extra meat (for instance an MC in hip hop applications), proximity effect can be a good thing
- If you’re going for emotional nuances, proximity effect may not be desirable
Making the Most of Home Studio Acoustics
When you’re dealing with sensitive microphones in a space that’s less than acoustically perfect, you’re probably going to need to modify the reflectivity of surfaces in your home studio.
Here are some tips:
1. Use a pop filter, like the Shure Popper Stopper. A filter will reduce plosives – the air noise from p and t sounds, along with the sound of the saliva dripping from your teeth.
2. Point the sound source (vocal or instrument) at the least reflective surface.
3. Record during the quietest times of the day – when the garbage trucks aren’t rolling or everyone is sleeping.
4. Break up the reflective surfaces in your space:
- Hang blankets or sleeping bags on walls
- Stack cardboard boxes in corners to absorb sound
- Rearrange the furniture; try standing loveseats or small sofas on end
5. Be conscious of fire hazards. This includes wiring and the use of flammable materials. (If, for instance, you’re setting up a temporary studio and using boxes or blankets to deaden the room, follow the backpacker’s rule of packing out what you pack in.) Break it down. Put it away. Be safe.
Tell Mama:
Here’s One Reason Not to Clean a Messy Closet
“One of the best tricks I’ve found for creating a quiet recording space is to open the closet door, throw a large blanket or sleeping bag over the wide-open door and position the mic so that the dead spot of the mic is pointing right back into the open closet. The more clothes in the closet, the better. Remember, as you sing
- Greg Needlz
Most of the time, DJs try to compensate for these audio obstacles by turning up the stage monitors, raising SPL (sound pressure levels) in the booth and on the floor to dangerously high levels. That’s a problem for two reasons:
1. Cranking it up doesn’t guarantee that the DJ will hear details in the mix.
2. Exposure to high SPLs is a prescription for Noise-Induced hearing Loss (NIHL)
“Most of the DJs I know complain about leaving the gig with ringing in their ears. I don’t think they’re really aware of the realities of hearing loss – or the effect that it can have on their dreams of becoming producers.” - Bill Needlz
Taking Control
Maybe you can’t control the environment or the equipment, but you can still take charge. You’ll improve your performance and protect your hearing.
1. Sound-Isolating Earphones
Most traditional headphones don’t offer the comfort, performance or hearing protection of today’s earphones. Durable and affordable, with models starting at less than $100, they’ve been adopted by a line-up of DJs from just about every genre, including Nigel Richards, Johnny Fiasco, Roc Raida, Simply Jeff and others. Here’s why.
Headphones or Earphones?
If you cannot see the movie, you may download the Flash plugin here or simply click below to view the alternate PDF version.
Headphones or Earphones
Not so long ago, only musicians in big touring acts could afford personal monitors. But today, more and more DJs are discovering the benefits of affordably priced personal monitor systems.
Consistent mix from gig to gig
DJs don’t have to worry about what the set-up will be from venue to venue. When you have your own personal monitor system, the sound and feel will be the same every time.
Studio quality performance
The sound-isolating quality means you’ll hear what is on the record and in the mix with amazing clarity – really the same experience you’d have in a home studio or pro recording studio. You’ll get details in the mix you’d never hear with headphones or monitors … if a beat’s off, you can catch it and fix it faster.
The natural sound isolation also means you won’t hurt your neck and back trying to hear the next cue or the min out of the monitor speakers.
Hearing protection
Used correctly, personal monitor systems can help to preserve your hearing from noise-induced hearing loss. The undistorted sound coming right into your ears means you don’t have to blast headphones or monitors. That’s good for your ears and good for the audiences’.
Comfort
In-ear personal monitors are more comfortable than headphones. If you wear glasses or a hat, the earphones don’t get in the way or press on your ears.
Earphones for your civilian life
The E Series earphones that Shure offers were developed as components of personal monitor systems. We soon discovered that music stores were selling the earphones as consumer products – for use with digital devices like iPods, MP3 players, portable CD and DVD players and laptops. This means you can experience great audio quality inside and outside the club.
1. Using either a cable split-adaptor kit or your PSM system, you can plug your monitor ear side (left or right, whichever you prefer) into the output of booth, record or secondary master out. This ear/side will have a continuous master signal, just like in your “booth”.
2. Plug the other channel, your cue ear/side, into the headphone out. This will be controlled with your headphone volume, as usual. You will only hear whatever mixer channel your select with the cue button.
3. Mix, as you have before, with your headphone. Now, the monitor signal is going directly into your earbud (instead of your uncovered ear). And you won’t have to tilt your head anymore to better hear the other channel.
4. By flipping a switch (on most mixers) you can have the monitor mix in both ears – just like taking off your headphones (only without ambient noise).
Whether you’re DJing parties and corporate events or KJing at local clubs, you’re going to need reliable gear to build your reputation and grow your business.
Mobile DJs usually need three microphones:
A standard dynamic cardioid microphone like the industry standard Shure SM58 can be a good choice for a wired microphone. Even non professionals (for instance, members of your audience) sound good on an SM58 which is why it’s still the top vocal microphone for major artists. It is affordable and extremely durable. You will want a microphone with a tight polar pattern — it’ll help reduce the feedback problems associated with loudspeakers in the room.
For mobile DJs who want to take sound quality to the next level, condenser microphones are a consideration.
What’s a condenser microphone?
What this means: If you're looking to accentuate mid-range frequencies in vocals or increase intelligibility, a dynamic mic might be your best choice. This is the sound most of us associate with full throttle rock and roll.
On the other hand, if you want your mic to deliver a more natural sound and faster response times, along with accurately capturing subtle nuances, mids and highs, consider a condenser mic. The SM86 is an economical choice. The premium-priced Beta 87A or Beta87C are step-ups and offer brighter response on the highs with a choice of cardioid and supercardioid polar patterns.
Don’t Drop Out
There is nothing worse than someone or something cutting in on your wireless mic when you’re working. It’s a series of avoidable events that can result in the loss of that hard-won party vibe, an unhappy client and maybe even a partial refund.
Wireless mics are like mini TV stations. The handheld or bodypack transmitter broadcasts the signal to the receiver. Like TV or radio stations, each system is assigned a channel. If two mics operate on that channel, it causes interference for both. And problems for you. When was the last time that another DJ’s mic cut in on your system?
Fortunately, frequency-agile systems offer quick recovery with minimum performance impact. Mics with an auto-scan feature have minimized the potentially career-threatening effects of RF interference.
1. Always maintain a line of sight between the transmitter and the receiver.
2. Don’t rack your wireless system right next to digital equipment like CD players or computers – their emissions can interfere with wireless reception.
3. Don’t point microphone at speakers — and do the best you can to keep audience members from doing it.
with Autoscan
This works like the scan feature in your car audio system. You push a button and the receiver finds an open channel. But you’ll still need to program the transmitter.
Downtime: Up to 2 minutes
Street price: $869
The system finds an open channel, and at the press of a button, automatically syncs the transmitter and the receiver. You’re going to want this feature.
Downtime: 30 seconds.
Street price: $599
1. Sometimes a microphone becomes drenched with sweat and stops working. It’s usually temporary. Fix it by either shaking out the sweat or letting the mic to dry out overnight, preferably in an airtight box with a silica gel packet.
2. Prevent damage caused by sweat running down the cable in wired mics by affixing a small cotton or gauze patch around the cable.
3. Don’t clean mics with soap and water. If necessary, hold the mic upside down and brush it lightly with a soft brush or cloth. Replace the grille if necessary.
4. With wired mics, it’s also important to make sure connectors are snug and they should lock in place. Check the screws on the XLR connectors or they can come loose with use.
Unplug and Perform
PGX offers the ultimate in sound quality and ease of use in one economical package. These frequency agile systems also feature autoscan and IR sync.
Downtime: 30 seconds
Street price: $399
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