An Introduction to DIS
Webinar Description
DIS Discussion & Conference Systems offer a compelling alternative to traditional PA-based speech reinforcement systems. By providing users with localized sound reinforcement via small speakers integrated into the microphone units or through headphones, DIS systems make setup much easier. Simple connectivity and intuitive meeting control are but a few of the many benefits of both the DDS 5900 and DCS 6000 systems.

Join Technical and Education Communications Manager Chris Lyons and Product Marketing Manager Luis Guerra for a comprehensive look at the advantages of this style of conferencing and highlights of the features of the two DIS systems.

Dates & Times
Monday, March 4, 2013; 2:00 PM – 3:00 PM CDT Register for the 3/4 Webinar

Wednesday, March 6, 2013; 10:00 AM – 11:00 AM CDT Register for the 3/6 Webinar

Troubleshooting Wireless Microphone Systems
Webinar Description
“My wireless microphone is dropping out. What should I do?” If you’ve ever asked yourself this question, or been asked to help someone else answer it, this webinar is for you. The vast majority of wireless microphone problems can be solved by following a few simple, but often overlooked, steps.

Join Shure Systems Support Engineer Tim Vear for step-by-step instructions for identifying the likely causes of dropouts, noise, or reduced operating range, as well as practical tips for maximizing the performance of your systems. Come prepared with questions!

Dates & Times
Monday, March 18, 2013; 2:00 PM – 3:00 PM CDT Register for the 3/18 Webinar

Wednesday, March 20, 2013; 10:00 AM – 11:00 AM CDT Register for the 3/20 Webinar

After you register, you’ll get a confirmation email that’ll tell you how to join the webinar.

System requirements for PC-based attendees: Windows® 7, Vista, XP, or 2003 Server. For Macintosh®-based attendees: Mac OS® X 10.5 or newer required.

Happy learning!

View archives of our webinars at your convenience on shure.com.

New Product Overview: SCM820 Digital Automatic Mixer
Webinar Description
Built on the reputation of the popular SCM810, the SCM820 Intellimix® Automatic Mixer offers increased functionality, including selectable Intellimix modes, dual mixer capability, and an intuitive, browser-based interface. In addition, the SCM820 integrates Dante™ digital audio networking for simplified connectivity. Join Shure Systems Support Manager Gino Sigismondi for a tour of SCM820 features and applications.

Dates & Times
Monday, February 11, 2013; 2:00 PM – 3:00 PM CDT Register for the 2/11 Webinar

Wednesday, February 13, 2013; 10:00 AM – 11:00 AM CDT Register for the 2/13 Webinar

White Spaces / Spectrum Update
Webinar Description
The FCC continues to seek ways to make more spectrum available for wireless broadband devices in the U.S., some of which will likely come from the TV band. In this webinar, Shure Technical & Educational Communications Manager Chris Lyons will discuss the FCC’s planned Incentive Auction, the ongoing rollout of “White Space” devices, and potential changes in wireless microphone license eligibility.

Dates & Times
Monday, February 25, 2013; 2:00 PM – 3:00 PM CDT Register for the 2/25 Webinar

Wednesday, February 27, 2013; 10:00 AM – 11:00 AM CDT Register for the 2/27 Webinar

After you register, you’ll get a confirmation email that’ll tell you how to join the webinar.

System requirements for PC-based attendees: Windows® 7, Vista, XP, or 2003 Server. For Macintosh®-based attendees: Mac OS® X 10.5 or newer required.

Happy learning!

View archives of our webinars at your convenience on shure.com.

What’s so great about hypercardioid and subcardioid polar patterns, you ask? The hypercardioid works well on loud stages, isolating the voice from monitor bleed even better than a supercardioid. On the flip side, the subcardioid, with its wider pickup angle, is suited to quieter stages.

Chris Lyons explains the particulars here:

So far, the KSM9HS has joined Kenny Chesney, Drive-By Truckers, and Cage the Elephant onstage.

Check out the KSM9 product page on shure.com for more information.

NEWSFLASH: KSM9HS is a ProSoundNetwork AES Best Of Show Award Winner! We’re thrilled!

THURSDAY, November 8; The Story of the SM58®
Overview
The Shure SM58 microphone has been the world’s most popular microphone for decades. Find out why in this 60-minute webinar.

Chris Lyons, Technical and Educational Communications Manager, and a panel of SM58 experts will discuss the origins of the SM58 and separate the facts from fiction about this legendary workhorse.

Additionally, we will discuss the amazing amount of technology and production advancements that have gone into this storied product, including one of the unknown secrets of the 58′s great performance.

The webinar will be followed up with a Q&A session.

Times
10:00 AM – 11:00 AM CDT  Register for the 10 AM webinar
2:00 PM – 3:00 PM CDT  Register for the 2 PM webinar

After you register, you’ll get a confirmation email that’ll tell you how to join the webinar.

System requirements for PC-based attendees: Windows® 7, Vista, XP, or 2003 Server. For Macintosh®-based attendees: Mac OS® X 10.5 or newer required.

Happy learning!

 
View archives of our webinars at your convenience on shure.com.

THURSDAY, October 18; Microphone Techniques for Houses of Worship
Overview
Shure Technical Training Manager Gino Sigismondi will walk attendees through all aspects of microphone selection and placement for House of Worship applications. Topics will include microphone types, polar patterns, frequency response, and how to employ your knowledge of these principles to select the right microphone for the job. The webinar will address podiums, choirs, lavalier versus headset microphones, and how to outfit your praise team with the appropriate microphone.

Times
10:00 AM – 11:00 AM CDT Register for the 10 AM webinar
2:00 PM – 3:00 PM CDT Register for the 2 PM webinar

TUESDAY, October 23; Shure Broadcast and Media Production Products
Overview
Shure Technical & Educational Communications Manager Chris Lyons will explore Shure broadcast and media production products. Whether you’re producing a short film or creating videos to promote a business or capture an event, viewers use audio as an indicator of your program’s overall quality. Using the right audio tools can make your video projects sound more professional. Products that will be reviewed include:

• Shotgun and lavalier microphones
• Portable wireless systems
• Headphones and headsets

Times
10:00 AM – 11:00 AM CDT Register for the 10 AM webinar
2:00 PM – 3:00 PM CDT Register for the 2 PM webinar

After you register, you’ll get a confirmation email that’ll tell you how to join the webinar.

System requirements for PC-based attendees: Windows® 7, Vista, XP, or 2003 Server. For Macintosh®-based attendees: Mac OS® X 10.5 or newer required.

Happy learning!

 
View archives of our webinars at your convenience on shure.com.

Contributors: Keith Anderson, Videographer and Chris Lyons, Manager of Technical & Educational Communications at Shure

Shure UR5 Wireless Diversity Receiver

For the videographer who is either earning a living or bringing in some extra income by shooting video for weddings, events or the Internet – audio can present a challenge.   You can’t have a bride holding a microphone while exchanging rings or conventioneers tripping over cables in a convention hall where a manufacturer is shooting a new product introduction video.  Enter wireless.

How it Works

Wireless systems for video have become increasingly popular in the last few years for their many freedom-of-movement advantages. Think of it this way: a wireless microphone system is really a miniature radio station. A microphone cartridge (dynamic or condenser) converts incoming sound waves to an electrical signal. The signal is sent out by a low-power transmitter, and then picked up by a receiver located nearby, which converts the radio-frequency signal back into audio. The transmitter can be contained in the handle of the microphone or in a small bodypack. A cable then connects the audio output of the receiver to the input of the camera or a separate recording device.

Portable Systems

Portable battery-powered wireless diversity receivers, like the Shure UR5, are available for use in situations like the ones above, where both the transmitter and the receiver are moving around.  A complete system (wireless mic, transmitter and receiver) can cost between $1500 and $2000, but the benefits for the pro or semi-pro far outweigh the initial sticker shock.

Portable wireless receivers are very small — usually about the size of a deck of cards (or according to Chris Lyons, two iPhones) — and can be worn on the body or mounted directly to a small mixer or camcorder. Size does matter – the receiver has to be small enough to mount on the camera without weighing it down.  A short cable connects the audio output of the portable receiver to the audio input of the mixer or camcorder.

The classic application is creating an event video. The talent (or maybe the pastor if it’s a wedding video) uses a lavalier with a bodypack and the battery-powered wireless receiver is mounted on the videographer’s camera.  Because the UR5 is a single channel receiver, additional systems are required for additional sound sources.  One speaker, one transmitter, one receiver. It’s how Shure records videos like this one.

Here’s Chris Lyons demonstrating the ULX-D Quad and Dual Receivers

Lavalier: WL150, Bodypack Transmitter: UR1, Wireless Receiver: UR5

Recording Audio

The first option is the easiest: connect the output of the receiver into the camera’s mic input.  Audio quality is dependent on the quality of the audio circuitry that’s built into the camera and for many high–end pro cameras, the audio quality can be pretty good.

The second option is using a separate recording device. Increasingly popular DSLR cameras offer superior image quality but the audio circuits aren’t typically up to professional standards.  The dynamic range isn’t great, it’s difficult to control levels and hiss can be a problem. Serious shooters generally use a separate audio recorder.

A key feature of the UR5 portable diversity receiver is that it comes with two output cables -  one with a standard XLR connector for a pro camera, recorder or mixer and a second output cable with a 3.5mm mini plug for DSLR cameras. There’s an available cable that will work for any type of camera.

It also offers a separate headphone output, so that the camera operator can monitor the audio through headphones or an earpiece – effectively minimizing or eliminating “what’s that sound?” issues in playback.  There are seldom ‘take twos’ in weddings, speeches or corporate events.

Watch the UR5 Portable Diversity Receiver Video

 UR5 and Pro Videographer Keith Anderson

We wanted to know what, beyond the powerful Shure image and the sturdy construction, real video pros liked (or didn’t) about the UR5 receiver in a field that’s dominated by two well-entrenched competitors. Luckily, we connected with veteran Nashville sound engineer-turned-videographer Keith Anderson who just a couple of years back, traded in a competitive system that he loved for Shure.

What’s a typical set-up for you?

We shoot a little bit of everything – from high-end weddings to corporate training videos.  In fact, I just did the Steadicam work for the Chicago Blackhawks scoreboard video – so I shoot all kinds of different things. There are always two of us and I handle all the audio in addition to the second camera.  I’m running four UR5s, four UR1s (bodypack transmitters) and occasionally I run two UR3s (plug-on microphone transmitters) in place of the two UR1s.  Most of the time it’s four UR5s and four UR1s.

I always use a separate recording device because for the past three years, I’ve been using DSLRs and they’re not designed to take an external audio signal. They’re just not designed for audio acquisition.

I’ve got an audio bag that allows me to record a total of six tracks at once. I use the four mic inputs to record audio on their own individual discreet tracks and in addition, the built-in stereo microphone gives me the ability to record ambient audio using either the X/Y configuration or omni.  I typically record a stereo track of X/Y ambient and the four-tracks being fed by outputs from the 4 UR5s.

What were you using before Shure?

I was using a Lectrosonics 201 system – at the time, it was the only pro solution in audio for film or video.

I’d been through several other wireless solutions before that – an AKG system that was about $600 before I moved up to the Sennheiser system at around $800 and then I finally ended up spending about $3500 on my Lectrosonics system. 

I have since sold my Lectrosonics unit.  The Shure UR5 gave me that much confidence. 

Where’s all this love coming from?

It comes from the confidence of having a device like the Shure UR5 that allows me to visually see the air that’s clean.  No wireless frequency issues.

With other devices, I’d keep my fingers crossed. They didn’t offer any graphical representation of the clean frequencies. With the Shure UR5, I’m able to find the clean air really quickly using a feature called Spectrum Scan.

The first thing I do when I get to a venue is run Spectrum Scan and it gives me an instant graphical image of how much clean air is around me. Once I land on a clean frequency, I’m so comfortable with the reliability of the system that I don’t continually monitor the audio anymore. 

I run four devices at once and I’ve never had a single problem. Once I run a Spectrum Scan or Group Scan, everything’s been perfect, rock-solid – I’ve never had a dropout once.

Two cameras and lots of systems.  How do you sync the audio?

I use a software call PluralEyes®.  I go into my NLE (non-linear editor) of choice  – I’m an Adobe Premier CS6 guy – and take all the video and lay it on the timeline, take all of the audio tracks (and in my case, they’re already synced in the multi-track recording) and lay those on the timeline. Then I just open PluralEyes and hit the SYNC button. I walk away and depending on the length of the timeline, come back in a little while and it’s all synced up.   Enormous timesaver.

Here’s an event video Keith shot using the Shure UR5 portable diversity receiver and with a UR1 bodypack transmitter and UR3 microphone transmitter.

Any unusual applications?

We shot a project where we were spoofing a few movies and I had the UR1 on an actor who was rolling down a hill – he rolled over a few times on the UR1 and not only did it sound great, it came out unscratched.  I was really grateful for that.

What about a few basic UR5 tips for our readers?

1. Use Spectrum Scan to handle frequency issues.
2. Use the same UR5 and UR1 combination in the same type of situation every gig.

Example: Each of my UR1s is set up with a slightly different gain structure. I have a UR1/UR5 combo with the gain setup for a person who speaks loudly or projects and another UR1/UR5 setup for a person who speaks in a quiet tone. When shooting a wedding, I’ll use the UR5/UR1 with the gain set accordingly on the person who speaks loudly. Almost 100% of the time it’s the clergy because the clergy knows how to project. My other UR5/UR1 combo is reserved for the groom. This is designed to capture the softly spoken vows by both the bride and groom so the gain is set a little higher for someone who will probably be speaking softly.

Anything else?

This system is so much better than anything on the market. It’s so much smaller and it offers everything that competitors offer – and more. The battery consumption is much much better and it’s easier to use. 

 Shure UR5 fan Keith Anderson

Editors’ Note: The ubiquitous Chris Lyons is pretty often our go-to guy for technical posts.  He’s the Manager of Technical & Educational Communications at Shure and appears in many of Shure’s videos and podcasts. In 2002, Keith Anderson, after many years in Nashville working as a recording engineer for a prominent producer, found his passion in film and video.  He works on a wide variety of projects, but you can see his amazing wedding videos (and they are worthy of DeMille or Coppola) at www.weddingdaycinema.com

Noise cancelling headphones have become very popular in consumer markets over the past few years.  Especially around the holidays, TV spots featuring de-stressed travelers in headphone Nirvana seem to dominate the airwaves. This has caused a little bit of confusion about the difference between sound isolation (as used in Shure earphones) and noise cancellation headphones like the ones you see advertised on television.

Noise cancellation is an electronic process.   It was originally developed to improve radio communications in noisy environments like aircraft cockpits.  There’s a microphone built into each cup of the headphones that samples the ambient noise near the ear. That noise signal is fed into an electronic circuit that analyzes it and creates a mirror image of the noise, then adds the noise back into the music signal.   Some of the real noise is cancelled out by the mirror image inverse noise.

It works best on steady low frequency noise below a thousand hertz or so, for example, the drone of aircraft engines.  It doesn’t work as well at removing speech or other rapidly changing sounds.  Because this is an electronic process, noise cancellation circuitry requires a battery to function.  And like all circuitry, it has some degree of hiss and even some digital processing artifacts.  Some people complain that when they’re wearing noise-cancelling headphones they hear a whooshing or a rushing sound  - or detect varying air pressure in their ears.

Which Shure headphones are noise-cancelling?

The answer is none.   Shure doesn’t manufacture any noise-cancelling  headphones.

Sound isolation earphones work passively, the same way that earplugs do.  The soft pliable sleeves that Shure supplies with its earphones fit snugly into your ears and physically block the outside noise from entering the ear.  Just like earplugs, the fit is very important and that’s why Shure supplies multiple sizes and multiple styles of sleeves with all of their earphones so you can experiment to make sure that your earphones are fitting perfectly into your ear.

Sound isolation actually provides greater noise reduction than noise cancellation circuitry does.  In fact, a couple of years ago researchers at Virginia Tech concluded that Shure earphones performed significantly better than other brands when they were measured head to head.   Sound isolation works across the entire audible spectrum, not just low frequencies and not just slow, droning kinds of noise.  Sound isolation is great for blocking speech, a noisy television, music – it works in all kinds of environments whether you’re sitting on a plane, a train or walking down the street.  And no electronics means that there are no batteries, no added hiss, no digital artifacts – nothing except the music, the movie or the game itself.

Which Shure earphones are sound isolating?

The answer is: all of them.

Listen, listen.

Everybody wonders whether you can really hear the difference between the earbuds that came with your MP3 player, sound-isolating earphone and noise-cancelling headphones.  The answer is ‘Yes!’ Click on the audio links below to see what differences you can detect.

In an airplane

Here’s a sample recording what you might hear in an airplane using the earphones that came with your standard MP3 player:

This is what you’d hear if you were wearing a pair of noise-cancelling headphones

This is what you’d hear if you were wearing a pair of sound-isolating earphones in the same environment.

On the street

Here’s a sample recording what you might hear on the street using the earphones that came with your standard MP3 player:

This is what you’d hear if you were wearing a pair of noise-cancelling headphones

This is what you’d hear if you were wearing a pair of sound-isolating earphones in the same environment.

On a train

Here’s a sample recording what you might hear on a train using the earphones that came with your standard MP3 player:

This is what you’d hear if you were wearing a pair of noise-cancelling headphones

This is what you’d hear if you were wearing a pair of sound-isolating earphones in the same environment.

Assuming that the earphone are fit properly, which admittedly tends to take a little bit of experimentation, we think that sound isolation does a better job of eliminating the background noise in a noisy environment so that all you have to do is pay attention to the music, the movie or whatever you’re listening to on your music player, computer or tablet.

Creating a seal between your ear and ambient noise is part of the magic of sound-isolating earphones.   Shure offers a variety of sleeves with its earphones to assure the listener of a perfect fit.

Experts and audiophiles like blogger Salman Ashraft tend to agree.  Here’s what he had to say in a recent post:  “Sound-isolating headphones simply work better in my opinion. Since sound is never introduced to the ear in the first place (because of the seal), you don’t have to fight sound with sound. It’s akin to solving a problem before it happens. With noise cancelling headphones/earphones, the external noise already gets into your ear and music while it is simultaneously alleviated with opposing frequencies. Sound Isolating gets the vote from me in preserving good audio quality”.

Other considerations

There are two other factors to consider in making a choice: convenience and cost.  It may be a challenge to keep the cords from tangling, but it’s a lot easier to carry a pair of earbuds in your pocket or backpack than it is to tote a big pair of headphones around. Plus they’re inconspicuous and they don’t require batteries.

Since sound-isolating earphones lack the additional electronics needed to cancel noise, they tend to be much less expensive.  All Shure earphones are sound-isolating and are available in a wide range of prices – starting at $99.  Compare that to entry level noise-cancelling headphones three times the price.

Like most decisions audio, making the best choice is just a matter of your personal preferences.  Check out the reviews, borrow a pair of headphones from a friend or associate and decide for yourself.

As people continue to demand more and more wireless spectrum for their myriad devices, audio pros must find ways to maximize the number of wireless microphones that can operate reliably in the remaining spectrum. Debuting at InfoComm 2012, Shure adds two new additions to the ULX-D Digital Wireless System:  the ULXD4D Dual Channel Receiver and the ULXD4Q Quad Channel Receiver. They pack either two or four channels of wireless into one rack unit, saving  space and reducing installation time.

In Standard mode, up to 17 ULX-D systems can operate in just 6 MHz of spectrum, which is equal to one U.S. TV channel. Need even more systems? No problem. Just activate High Density mode, which allows up to 47 systems to operate in just 6 MHz of spectrum, with a working range of 100 feet.

Skeptical?

This video demonstrates High Density mode with time-lapse footage shot at Shure Corporate Headquarters, where 100 transmitters were placed side by side, and then turned on one by one. If you’re wondering how it works…well, according to Chris:

“High Density mode optimizes the output power and digital transmission scheme to allow ULX-D systems to be set to frequencies that are just 125 kHz apart, instead of the standard 350 kHz spacing.  This allows you to pack more systems into less spectrum with no loss of sound quality.”

Go on: see for yourself.

Learn more about ULX-D Digital Wireless on shure.com.

Post-show update: ULX-D won a ProSoundNetwork Best of Show Award at InfoComm 2012! We’re thrilled and honored.

Thank the humble tape recorder. And give some credit, too, to the 1960s when rock and roll ruled the AM airwaves and teenagers were learning to play guitar by listening to Beatles records over and over again. Professional recording studios were the domain of major acts, but even then, two-track reel-to-reel machines were recording bands in basements, bedrooms and garages.  According to some, that set the ground for the home studio revolution.

By the 1970s, the first home studios were making their appearance, thanks to Teac’s 4-track reel-to-reel machines and mixers.  The addition of amps and speakers completed the system, but the $10,000 price tag was too steep for the average musician or would-be engineer. Tascam (formerly Teac) further revolutionized recording with its 8-track machines and mixers. The 1980s saw the introduction of MIDI, digital synths, drum machines and some of the first affordable cassette 4-track recorders and mixers designed for quality recording in home studios. When the millennium arrived, all the pieces were in place – powerful desktop computers, soundcards and audio interfaces, recording software, synths and digital samplers – each more powerful and less expensive than before.  The computer became the locus of audio production.

Today, according to one expert, “The home studio has progressed from having perhaps a 16-channel mixer and a few rack effects to having a virtual console of unlimited channels with unlimited inserts, sends, busses going to a full library of effects processors not even Abbey Road could afford.”

In this two-part series, we’ll look at seven project studio fundamentals – from considering all-important acoustics to choosing gear that will see you through your sophomore effort and beyond:

1. The right space…
   And the essential gear:
2.  Computer
3. Audio Interface
4. DAW (Digital Audio Workstation
5. MIDI Keyboard
6. Microphones
7. Headphones/Studio Monitors

Let’s start with the section we know best – Microphones.  (Part II will include all the other essential gear.)

Microphones

If you’re going to be recording a vocalist, instruments or sampling your own sounds, you’re going to need a good quality microphone. Your options are determined by what you’re recording and how much you have to spend.

High-end condenser mics, typically used in recording applications, can cost thousands of dollars, but good quality dynamic microphones, like Shure’s SM58 (vocal) and SM57 (instrument), can perform a multitude of tasks in your studio. Condenser mics are popular in studio applications – and they don’t have to be budget-busting.

Since this article is about building a small budget project studio, we decided to sidestep the big studio honchos we know, and direct our questions to a pair of Shure Associates, Chris Lyons and Michael Johns for their suggestions on mic choices for project studios.   We wanted to know what mic or mics to consider first … and what to add later.

Here’s what we learned from Michael and Chris.

First of all, you cannot go wrong starting with an SM57.  It has the reputation as the “do everything workhorse” and it really does work well with almost any voice or instrument, plus it’s super-affordable.  If you can only afford one microphone, make it an SM57. The great thing is that no matter how many microphones you eventually own, you’ll need at least one and possibly several SM57s in your locker. You might as well buy the first one right now and get started.

Next, let’s say you have a little more money to throw into the kitty.  There are two possible directions you can take:

If you want to go with a condenser mic, which gives you that added crispness on vocals and especially string instruments, go with an SM27.  It’s a great sounding mic, real versatile.  Colbie Caillat recorded the vocals on her latest album with an SM27.  That’s a really good choice.  The retail price is $299 and it includes a shock mount, which is great.

If you prefer a dynamic microphone sound, which some people do, go with the SM7B.  It’s about the same price as the SM27 – but is has a different sound signature than a condenser and depending on the type of music and what you’re recording, it might be a great choice.  Some of the most popular recordings have been made with anSM7B– including Michael Jackson’s “Thriller”.

It’s a great mic for people who are doing rap and heavy metal screaming- type vocals that would tend to overload a condenser.

The third mic we’d add later on to give yourself more versatility is a small diaphragm condenser like the SM137. A pencil style, probe-style condenser, this a mic you’d use primarily for instruments but it makes a great drum overhead mic and works especially well in a stereo pair. If you’re stereo-miking a piano, for example, a couple of SM137s with a stereo mount make a really nice stereo set-up. The mic retails for about $180 so it’s really affordable.

The thing to avoid is you don’t want to pick a microphone that has a really pronounced sonic character.  Some people are really big fans of mics that have that, but generally those mics tend to be less versatile.  It may sound magical on acoustic guitar or voice, but it doesn’t work well on other instruments.  You don’t want to over-emphasize any one thing – you’re looking for balance and consistency because that’s what makes a mic flexible in lots of different roles.

If you stay with that strategy going in, you’ll be able to handle almost any miking tasks, vocal or instrument and later on, you can certainly add those more unique application-specific mics.  You’ll have built that foundation of ‘do everything workhorses’ that can handles lots of different roles.

Tips:

Record each voice and instrument (or sound source) separately.

Maintain a consistent sound level. Make sure your sound sources do not move in and out of the pickup areas of the microphone. Movement (i.e. varying distance from the microphone) will change recording levels, which are hard to fix later.

Keep the microphone away from reflective surfaces. Reflections caused by hard surfaces, including even tabletops and music stands, can affect the sound quality captured by the microphone. This is also called reverberation and if you want this effect, add it later.

Place the microphones far from unwanted sound sources. Be sure to also point the microphones away from any unwanted noise. Make a few sample recordings of the chosen recording area, with the microphone facing different directions, to find the quietest possible placement.

Place the microphone only as close as necessary. Too close a placement can color the sound source’s tone quality (timbre), by picking up only one part of the instrument. But too far away means you will pick up more ambient sound.

Less is more. Fewer microphones mean fewer technical issues and, for the purposes of capturing clean sound, less pickup of background noise.

Keep the 3-to-1 rule in mind. When multiple microphones are used, the distance between microphones should be at least three times the distance from each microphone to its intended sound source. For example, if two microphones are each placed one-foot from their sound sources, the distance between the microphones should be at least three feet. If each microphone is just two inches from an instrument, they only need to be six inches apart.

Resources

There’s a mountain of ever-changing information on the Internet that can give you details on the latest hardware and software, along with pricing and good/better/best recommendations.  We’ve included one of the sources used for this post, but there are dozens, if not hundreds, more.

Guide to the Home and Project Studio, TweakHeadz Lab

FREE downloads from Shure:

• Home Recording and Podcasting
• Introduction to Recording and Sound Reinforcement
• Microphone Techniques for Recording

Read More

Building a Project Studio for $1000 or Less, Part II 
In the second of our two-part series, we’ll look at the remaining six project studio fundamentals – from considering all-important acoustics to choosing gear that will see you through your sophomore effort and beyond.

Check out Shure’s new educational video on the differences between open back and closed back headphones to determine which headphone type is right for you.

But if you spend any time on YouTube, Hulu and other UGC sites, you’ll notice that the audio (especially when a subject is speaking) can be garbled, muddy and unintelligible.  If there’s one thing we’ve learned, it’s that audio quality can make or break any video project. No matter how creative and professional the visual aspects of a production may be, these qualities can be completely negated by lackluster audio. According to one videographer we know, “It’s easy to fool the eye, but it’s a lot harder to fool the ear”.

Creating good audio can be a real challenge when shooting video – especially if you’re using a consumer-grade camcorder. Mics that are built into camcorders aren’t really designed for high-quality audio.  They are designed for sound sources that are very close to the camera and they tend to pick up a lot of background noise.

We like how video expert Israel Hyman puts it: “The microphone is in the wrong place. Frankly, the reason the microphone is on the camera is because it’s built for the camera operator to do the talking. If you’re a parent narrating your child’s birthday party, this is perfectly fine. It will get your voice and your child’s voice (even though it will sound distant). If you’re aiming for a more professional sounding video, you don’t want the off-camera, out-of-frame camera operator’s voice. You want the microphone on the subject”.

Adding an external mic – a handheld, lapel (or lavalier) or a shotgun mic – gives you what matters the most – the best signal-to-noise ratio.  In this Shure Notes® blog post, we’re going to give you some tips about the third type – the shotgun mic. Its extremely directional pickup pattern (called a line/gradient pattern) makes the shotgun mic popular for TV news and movie sets.

The shotgun microphone is named for the long, slotted tube in front of the microphone cartridge that makes it resemble a shotgun. This “interference tube” helps reject sounds coming from more than about 30 degrees off to the sides, while still picking up sounds from the front.  Because a shotgun mic is either mounted to a camera or a boom, it is rarely seen by the viewer.   In fact, it’s almost impossible to imagine a situation in which the mic should appear in frame (unless you’re making a video about making a video).

Advantages

Let’s talk about what shotguns mics are not: They are not telephoto lenses for sound. They do not allow you to zoom in on a conversation from 100 feet away.

Here is how Shure’s Chris Lyons explains it: “Imagine looking through a long tube at a person standing 20 feet away. The person’s image does not appear to be any larger or closer, but is somewhat easier to see, because the eye is not distracted by things happening off to either side.”

This is exactly what shotgun mics do best: they screen out sounds coming from the sides. In practice, a shotgun microphone can typically be placed at four to five times the acceptable distance for a standard omnidirectional microphone. But keep in mind that the shotgun mic will also pick up sounds coming from behind the subject.

Tips for Using Shotgun Mics

• Shotgun mics can be positioned slightly above, below, or to the side of the sound source, so that the mic doesn’t appear in the camera frame.
• Try to avoid aiming the mic at a hard surface, such as a tile floor, brick wall, or hard ceiling. These surfaces reflect sound waves, and may reflect background noise into the microphone or cause the sound to be slightly hollow. (A heavy blanket can be placed on a reflective surface to provide some temporary sound absorption.)
• Shotgun mics are more sensitive to wind noise than standard microphones, so try to avoid moving the mic rapidly and use a foam windscreen if possible.  (Larger “zeppelin” or “blimp” type windscreens are usually necessary outdoors.)
• It’s a good idea to use a rubber-isolated shock mount to control handling noise that may be transmitted through a stand or boom.
• If you’re using a boom for a scripted video, make sure your boom person has a script.  If more than one speaker is going to be miked, the boom person needs to point the shotgun at the right person at the right time, a challenge when the mic needs to remain out of frame, the sound has to be consistent and the boom may be over 20 feet long.

What to look for when buying a shotgun mic

Mics with a balanced XLR outputs signals will give you better noise and interference immunity.   Remember, too, that if you have a stereo mini-jack input on your camcorder, you’ll need to get an XLR camcorder adapter that will allow you to use professional quality microphones.

Shure offers two end-address shotgun condenser microphones.

VP89

Offers a choice or interchangeable long, medium and short capsules.  Hand-tuned and assembled in the US, offers natural off-axis rejection without coloration.

VP82

This mic is designed for camera-mounted applications.  It is extremely lightweight and has an integrated preamp.

Want more information?

 Check out the Shure educational video on Shotgun mics shown above!

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