How to Buy a Microphone

The Beginners Guide to Buying a Microphone

Of all the emails I get with questions about Native American flutes one of the most common is about what kind of microphone to use for the Native flute. Even if you're not recording a microphone can be used for amplifying your sound when you're playing live. Therefore knowing a little about mics and how you are going to use them will help you decide what kind of mic to purchase

There are two basic type of microphones. But before we get into them and look at how they are different, let's talk about how they are the same: The patterns in which they pick up sound. When I say pattern I'm talking about the shape that we use to represent the direction in which they will pick up a sound. There are a number of patterns but we'll look briefly at three: Cardioid, Bi-Directional or Figure Eight, and Omnidirectional. Some microphones will only use one of these patterns, but many have a switch that lets you choose which one you want to use.

Omnidirectional
The easiest to understand is Omnidirectional. Omni is Latin for all. So an Omnidirectional mic picks up sounds from all directions. No matter where the sound source is in relationship to the mic, it will be picked up equally.

Bi-Directional
Bi-Directional, or figure eight means that the mic will pick up sounds coming from both the front of the mic and the rear, but not the sides. This pattern when plotted on a graph looks like a figure 8, with the mic being in the middle of the two circles that make up the number 8.

Cardioid
A mic with a Cardioid pattern picks up sounds only from in front of it and just a little to the sides if the sound is near the mic. The pattern on a graph for this type of mic looks like a heart, or in truth more like a the outline of a plum. The mic is by the two upper lobes of heart.

If you're interested in seeing what these patterns look like on a graph you can find them here. You'll notice other patterns that we haven't covered here. But these are variations on these three basic types.

Native Flutes = Cardioid
For the most part, when talking about Native flutes, you'll want to use a mic with a cardioid pattern. You'll be playing in front of the mic and really don't want any other sounds to be picked up from the sides or back.

Different Types of Microphones
So now that we've looked at how mics are similar, let's look at how they are different. There are several different types of microphones but for the Native flute there are really only two that you'll need to worry about: Dynamic and Condenser. I'm not going to go into how these two types of microphones work, but rather talk about how they are used. If you want to know more about the circuitry involved there is a lot of information out there. You don't need to know this to use a mic. Let's look at dynamic mics first.

Dynamic Microphones
Dynamic mics are the types of microphones you see on a live stage. Singers use them on stage, as do instruments that need to be mic'd. They are, for the most part, inexpensive, can take a beating, and don't feedback as easily as Condenser mics. A decent, all purpose, dynamic mic can be purchased for $100 - $150. Dynamic microphones generally only come with a cardioid patter.

When playing a Native flute into a dynamic mic you want to get the flute's true sound hole, the one in front of the block, right up to the microphone. This is due to the fact that these mics don't pick up sounds that are not right next to them. (This is why they are harder to feed back)
Notice in the photo to the right how I'm trying to get the true sound hole as close to the mic as I can.

One of the reasons why these mics will not pick up sounds that are not close to them is because they are not as sensitive as condenser mics. This also applies to the range of frequencies they will, and will not pick up. As a general rule dynamic microphones will not pick up sounds that are very low in pitch e.g. low frequencies, or ones that are very high in pitch, e.g. high frequencies. Where they start to not pick up high and low frequencies will give each manufacture's model it's characteristic sound. (BTW a graph showing how a mic picks up certain frequencies is called a frequency response curve)

For the most part this lack of sensitivity really isn't a problem where Native flutes are concerned, due to these flutes limited range. Even if you take into consideration low bass flutes and super high flutes, which are well within the average dynamic microphone's frequency response curve.

I use a dynamic microphone when I perform live. How did I pick the mic I use? I didn't really. I just use the mic that came with my Fender Passport PA system. Why go out and buy another mic when the one that came with the PA works just fine? In fact I know that the mic's inability to reproduce really high frequencies works in my favor in that it acts like a filter on any high, breathy, windy or buzzy sounds coming from the flute. Noise that I would filter out anyway!

Condenser Microphones
Condenser microphones are more common for studio recording. Their electronics work in a different way than dynamic mics and are therefore more sensitive. This means that they will pick up sounds from farther away, that are quieter and very low or high in frequencies. Condenser microphones need to be powered, either by a battery in the mic capsule, or generally from the mic pre-amp. This external power is known as phantom power. Most mixing boards and digital I/Os have phantom power built into their pre-amps.

Unlike a dynamic mic, when playing into a condenser mic the sound source, in our case a Native flute, does not need to be right next to the microphone. In fact anything closer then 12" - 18" will over power the mic and cause distortion. It will also pick up noise from your lips and fingers moving. For Native flutes the best way to go is to have the mic in a shock-mount placed in front and above the flute at a 45˚ angle. It's very common to have the mic hanging upside down when recording this way.
The photo above shows my condenser microphone in it's shock-mount hanging upside down. This is a side view. The front of the mic is to the right.

I use an Audio Technica 4050 for 99% of my studio recording work. I asked several audio engineers what they would recommend for a good, reasonably priced, all purpose instrument mic and this was one of their recommendations. So far I've used it on all of my studio recordings except for a few tracks and have found it to be an excellent mic. When I bought it they cost about $750. They seem to have come down since then. But there are any number of good, reasonably priced mics out there if this is beyond what your budget will allow.

You might be asking yourself, "What mic did he use for the other 1% of his studio recording?" Well on a couple tunes that used a double flute I used a stereo mic, (which I'm not sure gave me the results I was looking for) and on a couple others I used a dynamic mic that was designed for drums! No one has ever mentioned that they can tell the difference and this doesn't surprise me. By the time you do some filtering, a touch of compression and add all the echo and reverb most people can't tell. But leads to another question...

How do you pick a mic for yourself?
So now that I've thrown all this information at you how do you wade through it all an pick a microphone for yourself? The truth is there are a few really easy ways to pick one. They aren't rules necessarily, they're more like guidelines...

1. Where will you use a mic the most?
In the studio or on the stage? If you're going to use it mostly in the studio then you might strongly consider a condenser mic. For anything else, stage, flute circles, family outings, public appearances, Madison Square Gardens..., then get a dynamic mic. It would be wise to not take a condenser mic onto a live stage. It can be done, but It's not worth all the extra hassles and it will pick up every little noise anyone even close to you makes. And that includes your noises as well...

2. What's your budget like?
If you don't have a lot of money you're better off with a good dynamic mic. That way you'll have money for a mic stand, cables and all the other gear the mic plugs into.

3. How quiet is your space?
If you plan to use a mic for only studio recording and your studio is your bedroom, how much unwanted noise is there? If you can't record yourself in a very quiet place then a condenser mic will pick up all sorts of unwanted noise. Computer fans, cars, planes, garbage trucks, neighbors yelling, dogs barking, phones ringing, your spouse / roommate flushing the toilet, the washing machine, birds, loud bees... Better to use a dynamic microphone that won't pick up all these noises. Unless of course you're doing some "Avant-garde, urban noise & flute recording".

I record my live instruments in a walk-in closet with acoustic foam covering the walls. I generally turn off all the phones (which, as my friends know, I rarely answer anyway), and even have my computer in an isolation box to damp down the fan noise. Trust me, when recording, not much is as anonying as unwanted noise that you can't get rid of.

Finally, the last thing to consider is that better equipment doesn't always make for a better recording. Why would I say that? Well what if you purchased some $5,000 microphone (yes, some cost that much) and when you record your flute you hear all this ugly stuff, like wind, buzz and air, in the recording that you don't like? Now you're just going to have to figure out a way to get rid of it. Maybe a less sensitive microphone wouldn't have picked up all that junk in the first place.

Keep in mind that the sound of the flute we hear in our head is not the same as the sound the mic hears. Our brains unconsciously and automatically filter out a lot of wind, air, buzz, fuzz, and other noises from the flute. A mic does not. It's kind of like hearing a recording of your voice. And you love how much your voice sounds... Right?

So if you aren't familiar with how sound works, and how to manipulate it through devices such as EQ, maybe you don't need that state-of-the-art microphone. Maybe an inexpensive dynamic mic is best for your needs and experience. You can always upgrade later.

...Plus, with a "cheaper" microphone, if your playing isn't all that great you can always blame the mic...

Happy Recording!

© Cedar Mesa Music. All rights reserved.

Silent Mystery

A new Anasazi flute song

Peru Journals Part 7 An Inca House: Ollantaytambo

Like most people, when I think of Peru the first thing that comes to mind is Machu Picchu, the lost city of the Incas. That began to change with my visit to Pisac, and then became permanent with our visit Ollantaytambo (o-yawn-tay-tam-bo). Set into the hills at the northern end of the Sacred Valley Ollantaytambo is a powerful and impressive fortress that dominates the surrounding area.

Ollantaytambo
Click to enlarge

Ollantaytambo is about 47 miles from Cuzco, at an altitude of 8850'. Like Pisac, the old Inca town is situated above the colonial town, which itself dates back to Incan times. The word Ollantaytambo is a compound Quechua word. Tambo the word for a town that offers rest and lodging along a road.

Ollantaytambo was a important walled and fortified city. It controlled the road that lead north along the Urubamba river toward the Amazon region. This area, which the Inca called Antisuyo is where the modern name Andes comes from and was one of the four quarters of the Inca world. The people of the Amazon jungle, the Antis were one of the biggest enemies of the Inca. The road also brought many desirable items too. Fruits of all kinds and Coco leaves, which would not grow in the higher altitudes of the Inca homeland.

Urban Ollantaytambo
Click to enlarge

In the hills above the town are the terraces of Ollantaytambo and a massive Sun Temple. Down below, in the part of the city that is still lived in, was the Urban sector. Laid out in a typical Incan grid, this is the only place in Peru where one can still see people living in buildings that were used as homes in Incan times. The narrow streets still have their water channels and water still flows in them, although not while we were there. For some reason that even our guide didn't know, they were not flowing that day.

An Inca street, Ollantaytambo
Click to enlarge

Our first stop was to a historic Inca house down one of these narrow Inca streets. We headed down the street aways from the plaza and, as always were mobbed by vendors, mostly women and girls, selling their wares. I bought a knit cap with some llamas in the design and the distinctive Andean ear flaps.

The Plaza, Ollantaytambo
Click to enlarge

As we got farther away from the plaza, and closer to the Inca house, the street got quieter until the only other non-tourist in it was a young girl in traditional costume headed to the plaza to pose for tourist photos. I thought the Inca street would make for a nice location for a photo of her and gave her a Sol to take a couple shots.

A young Quechuan girl, Ollantaytambo
Click to enlarge

Her hat, like all the traditional hats, indicated where she was from. Like most Quecha people, she was quiet, somewhat shy, but very polite. It struck me, how different we must seem to her, as she does to us. What must she make of the throngs of tourists that flock to her town and get excited by her traditional clothing. "Does she go home at night and put on jeans and listen to her iPod", Claire wondered out loud? A good question.

As we would find out that night, during our private dinner in a Quechan home, while we as tourists marvel at the beauty of the landscape, the strong cultural tradition, and allow ourselves to wonder if their life, closer to the rhythms of the earth, is richer than ours. But the truth is their lives are hard, rough and full of struggle. While we as tourists dream of a more "spiritual" lifestyle they want what we have. Cars, TVs, better health care, decent food, a clean, safe environment, a better life for their children.

If we dream and wonder about their lives, they dream and wonder about ours.

I witness this all the time while I'm traveling through the American Southwest. Tourists come from all over the world to see Native Americans, fascinated by their culture and thinking that the Native cultures have the answer to our fast paced modern lives. They want to take an Indian name, do a sweat, and witness a ceremony. They dream of a life closer to the earth, in tune with nature. All the more ironic as our ancestors worked hard to create a life away from nature. Houses, roads, cars, etc. A life sheltered and protected from the elements. The history of most of human kind, especially western culture, has been to create a world of comfort and safety. Yet for some, when they attain that, they think that something is missing in their lives. Maybe it is. I guess each person needs to answer that for themselves.

I too have fallen into the myth of the indigenous life. During my time in Peru my senses were overwhelmed with the sights, sounds and smells of a unknown, exotic culture. But everyday I saw something that made me realize how lucky I am to have the life that my culture provides. Nevertheless, this did not diminish my respect and admiration for the people and culture I was visiting. Their culture has a richness and an authenticity that our modern, mass produced world lacks. But I still want my Starbucks...as it were.

When we reached or destination, the Inca house or wasi, this contrast of life styles was all brought into sharp focus as we laid eyes on their kitchen.

A traditional Inca kitchen in modern Ollantaytambo
Click to enlarge

Just like the Chicha house, this home contained a very primitive kitchen. In fact more primitive. There wasn't even a small gas stove here. Just wood burning. Huddled up next to the right side was a brown and white Guinea Pig.



The house was part of a larger, traditional compound called a kancha. Most kanchas come in pairs that open onto a common courtyard or patio. The whole compound is walled off from the street, accessed through a small doorway.

The home we were visiting was just one large room. There was very little furniture. The bed was just a pile of blankets on a platform raised off the floor. The floor was the domain of guinea pigs, or cuy which wandered around, busily eating, having no knowledge of their fate. (Where as we humans do, of course...)

Guinea Pigs or Cuy Click to enlarge

Laid out next to the wood stove were some common kitchen items and other things arranged for us to see. Different potatoes, corn a couch shell trumpet and other items.

Kitchen stuff
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Above this, set in a niche in the wall were two skulls from the ancestors of the home's current occupants.

Ancestral Skulls Click to enlarge

Hanging from the roof beams in a bundle of other items was one of the most unusual things we saw in Peru. Unusual to us, anyway. This was the fetus of a Llama. In Prehispanic times the Inca sacrificed llamas to their Gods. These days their fetus are still used as an offering to the Mother Earth, Pachamama. They are buried under the foundation of a building before it goes up, for blessings of health, safety, happiness, wealth and fertility. A Llama fetus
Click to enlarge

The wing of a condor hung on the west wall.

A Condor Wing
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To end this post I'm going to let our guide, Fredy, talk about some of the items in the house via an amazingly high quality video clip...



Next we'll take a look at the upper section of Ollantaytambo, with its towering terraces, double-jam doorways and Sun Temple.

All text, images and video © 2010 Scott August / Cedar Mesa Music. All rights reserved.

Previous Peru Journals
Part 1: "Journey to Peru"
Part 2: "Lost in Translation"
Part 3: "Flight of the (Silver) Condor"
Part 4: Inca Pisac
Part 5: The Pisac Market
Part 6: Corn Beer and River Rafting

Another Path: Improvisation for Mojave Flute

Here is a video of a Mojave flute solo improvisation I gave at a bookstore last month.

The piece is called Another Path



© 2010 Cedar Mesa Music, BMI

Panorama Readers Award

The last time I talked about how to run an Artist Owned record label I talked about tracking sales and managing your inventory. I also talked about the app that I use to do that: Panorama by Provue Development. You can read about that here.

I found out today that Panorama is up for an Ars Design Award. Not only that but they are also allowing the public to vote. Like Cedar Mesa Music, Provue is a little company and needs our support. If you are a fan of my music go over to the Ars Design Award webpage and vote for Panorama. You don't have to register or sign up for anything. Plus you can vote once a day, per computer till May 30th, 2010.

Thanks!