Will a microphone with a frequency response of e.g. 50-15000 Hz not capture anything at all above 15k?
Hello! Been a while since last time I posted here.
In all my years of recording I have never bothered to learn what the specified frequency response (FR) of a microphone really means. I have always thought it means that the mic wont capture anything outside of the FR range, but is that really true?
According to Shure the FR "defines the range of sound that a microphone can reproduce and how its output varies within that range".
Is it like if you'd put a low pass filter with a slope of say 96 dB/octave at 15k?
A bit of light-hearted fun for the folk who are interested in microphones. I was hunting for a mic this afternoon and realised I had a few that were either old or less common - 17 mics arranged from tallest to shortest. I've blobbed out identifying marks to a degree. Some should be very easy - but getting 17 would be pretty hard I think?
5 are over 20 years old for certain and two of them I bought in the 70s - so probably 45 years old!
I've been ask a few times lately about what model would be the best to order from MicParts. So in this video I test 3 mics, the T47, T12 and S87
At 2 min, I made a mistake and mention the U87 but it's in fact the U47 ;)
Let me know what you think !
I have a Groove tubes model 6tm. It has a chinese K67 capsule and a cinamag transformer, I replaced the tube on this mic with a 5840 / 6225, Pentode, Sharp Cut-Off from antique supply and it sounds okay to me. I really took my time and labeled everything, but it is noisy. It needs like 50db of gain on a Great River nv-2 to produce a good vocal level, it sounds good and has some of what I think are 67 characteristics.
Royer's President and co-founder Rick Perrotta take you on a tour of their factory, providing a glimpse of every important stage of the manufacturing process, explaining how ribbon microphones are made.
By audio specialist Eddy B. Brixen
This is an interesting set of interactive demonstrations showing the effect of microphone positioning relative to a performer. All the extracts are recorded using DPA4006A omni microphones in A-B configuration in a good acoustic.
Recently we've had lots of topics on choosing mics, and the usual X is good and Y is bad result soon pop up.
Today I needed to record a double bass for a track in the works, but as I had some spare time I thought I'd go through the mic stock and try mics I'd not usually pick, just to see what happened.