Microphones for post: though not traditionally considered a post production tool, mics for these apps are everywhere

Post, March, 2005 by David John Farinella

Few tools are more important to an audio post house than a handful of utilitarian microphones that can handle anything from recording sound effects, music, voiceovers or Foley sessions. Fortunately, there are a number of companies that provide an array of microphones that can handle just about any kind of project, and the technology continues to improve. That's the good news.

The not so good news is reported by one well-placed source who says that a number of television shows currently airing are being posted with samples being used for Foley tracks. "It's digital Foley, so they don't have to pay a crew," he explains, "they just have to pay an editor and there doesn't have to be a specialized stage. Think of the expenses saved." Obviously the impact of that change will be felt beyond the microphone market and merits a watchful eye.

For the time being manufacturers are moving full steam ahead with plans for new designs and promoting technologies that will enable audio post professionals to work in the (perennially) coming high-def boom on television and on multichannel film work. Indeed, the same executive who reported the move toward digital Foley, says, "We will have a product that eclipses a lot of what people use now, so see it as an opportunity." Meanwhile, Post checked in with a number of microphone companies to see which of their products are being used during the process.

AKG

The AKG (www.akg.com) line of microphones is used in a variety of applications, including voiceovers, music recording and location recording. The C4500B-BC is a front-address, large-diaphragm cardioid condenser that has a 20-dB pad, a bass roll-off switch and up to 155 dB SPL capability. The microphone gets called on for voiceover work as well as recording musical instruments. The C414B-XLS is also a voiceover/musical mic, but is a side-address, five-pattern, large-diaphragm condenser. The C414B-XLII adds distance capability to the C414B-XLS. When it comes to location recording, the C480 Ultra-Linear series is a modular microphone system with a choice of five condenser mic capsules. The C480 features a wide dynamic range, a pair of bass roll-off filters and three sensitivity settings. One studio using AKG mics for post work is CSM Words and Music in LA. They do music video work in addition to music recording.

AUDIO TECHNICA

As with most microphone manufacturers, Audio Technica prides itself on a line that blends technology and price flexibility. "What I'm thinking when I think of post is somebody who is going to be adding voiceover to some existing video," explains Steve Savanyu, market manager, installed sound, broadcast and theater at Audio Technica (www.audio-technica.com). "We've got everything from a $99 street price side-address cardioid microphone that's great for somebody who wants a cost-effective piece, all the way up to a $1,200 multipatterned, side-address studio mic that's used at major studios all over the world, and a whole bunch of choices in between."

Savanyu, who has worked as a videographer in the past, has used the AT3060 in his home studio. "I use it for voiceover work, because it's a vacuum tube mic that has phantom power, so I don't have any external power supply losses and it gives me that warm, rich sound that's associated with vacuum tube mics," he explains. "Plus, it's pretty affordable." AT also sells the AT2020, which offers a cardioid, side address mic that has better quality and pattern control over a handheld dynamic, as well as the AT4050, which is the multi-pattern studio mic.

"The other piece being used in post is our AT897 short shotgun," Savanyu adds. "They'll use that in a guerrilla post situation with a portable voice studio when they're also using that mic in field production." As for recording sound effects, Savanyu points to the AT line of shotgun mics in the 40 series. "The 4049, 4051 and the 4053 are condenser mics and they'll often take those out to record sound effects. It all depends if it's a budget studio or what's best for the project."

BLUE MICROPHONES

Skipper Wise, president and owner of Blue (www.bluemic.com), points out that the company designs microphones that are application specific. "We didn't want to make one mic that was decent on everything, we wanted to make mics that were specifically great on certain instruments," he says.

Or, by inference, great for certain applications. "What makes our products unique is that we find that a female voice in post or overdub has a different requirement than a deep male voice. Why? Use your ears. Remember, everything is about practicality," Wise explains. "A female voice is going to have an upper type of bottom to it, up around 100, 120 cycles. It's thump and what makes a voice sound warm is going to be shifted higher, where a male is prominent at between 80 and 60 cycles. So, we make different tunings. Our Mouse mic is designed for male vocals and our Dragonfly is designed for female vocals. We find in post situations that those two mics seem to be a good combination of what people have tried to use in the past."