Microphones 101: Large Diaphragms vs Small Diaphragms Explained - Video 4/9
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- Опубліковано 28 сер 2024
- www.proaudiolan... Part of PAL's Microphones 101 series with Audio Technica's Gary Boss, who will explain Large Diaphragms vs Small Diaphragms. Learn more about microphone basics, terminology, application and the differences in types.
You wont believe how many people have told me "One is large and the other is small. There is no difference" whenever I have asked this question. I always heard a big difference. After watching this video, I finally have an answer to my question. Thank you for making this!
Glad we were able to help and thanks for watching.
Thank you 9 years later 😃
Ironic how poor the audio is haha
Brilliant explanation and presentation. Direct and informative. Thank you
Very informative video and right to the main issues for me about large and small diaphragm mics re drum overheads in particular, and secondly for vocals. It gives me good reason to experiment with large diaphragm drum overhead mics because I've been struggling to blend my current small diaphragm Audix overheads with the Audix tom and bass drum mics .......according to my taste of course. I find them a bit too 'bright'.
How come there is such bad audio on this video?
Irony
Short, sweet, informative.
This is basically the front end of the signal chain. So, yes, you could EQ a small diaphragm mic and take the top off it - or on a large - EQ the top up. But in each case you are possible chasing something that won't be there - as the large doesn't do transients and HF very well; then just trying to EQ that in will sometimes just not work as those frequencies are just not there in the same way as they are with a small diaphragm mic. And ditto the reverse with the small. However, with both mics you can interesting results from doing the EQ thing and then getting what is essentially not a natural, but an attractive sounding outputs. So you'll need both.
if people want that really deep voluminous sound every youtuber wants without EQ -> go for the biggest membrane you can find, the 34mm one in the kingbee mic was fantastic, you can really hear a ton of difference in deepness and sound quality compared to those relative small membranes from almost all popular mics
Thank you! Finally a clear explanation, with a spontaneous, calm attitude. Well done! ^^
Thanks for the explanation, it's kind of what I was thinking already.
Since when has Arjen Robben been responsible for explaining diaphragms of microphones?!
Great info, thanks
Very useful and informative ... thank you.
Thank you so much
In my drum mixes I tend to just cut everything below 600hz in the overheads. the small diaphragm is then able to focus the transients of the cymbal hits and completely disregard the rest of the kit. But if i'm working with darker sounding cymbals or an artist wants a darker sound i'll use the large diaphragms and cut everything below 500hz. Honestly preference is dependent upon the sound you're looking for
Very informative. Helped me lots. Thanks!
Interestingly, I have also heard people say that the small diaphragm are more natural, which is why they are used for string instruments. Alas, the small I have available to compare with large are much cheaper than the large, so it's probably not a fair comparison. They are definitely edgier sounding
For flute recording which is best small or large dia. ????
Very nice video. Would a larger diaphragm condenser have higher fidelity low frequency response compared to a smaller diaphragm? Or would both types pick up the same spectrum, maybe with less low end for the smaller one (EQ compensatable to match the larger diaphragm)?
hello all
small diaphragm mics do not need
phantom power right guys
super interested if this were the case
if not meh
like what is the point right
Thank you
welle stateds and thnake youe!
Great video, thanks!
Thanks dudes!
I'm looking for condenser mic's that eliminates voice vibrations if i rap too loud i get vibrations ? And condenser mic's that takes 5v to power on with a mic volume that i can plug my headphones into ?
Actually I am confused because in my book it is "a thin,springy piece of material, often metal, which vibrates easily".
I've noticed most people use the same 2 condenser mics on overheads.....but is it okay to use 2 different large diaphragm as a pair for overhead mics?..... We've got a Nuemann Tlm 103 and and AKG c414.......Thanks
Hi proaudioland:-)
I have a question:
I am recording my acc.guitar with a large on the body and a small on the 12thred.
It sounds realy great when they are panned in each direction.
The problem that i have, is that when i want them to be in mono, they sound much to boomy, is that normal, or am i doing anything wrong?
Scould i stand further away from the mics perhaps?
Thank you:-)
This issue could come from a few different variables. If your are not already, be aware of the polar pattern on your microphone as they can vary. For instance if you have a hyper-cardioid polar pattern, you could be picking up a bit of the room which could introduce room tone to your recording causing the "boomyness." This is not most likely a factor, but it can be. The issue could lie in how you are pointing the microphones at the guitar as well. For example If you are placing your large diaphragm microphone on-axis (DIRECTLY AT the sound hole assuming you have a cardioid polar pattern) your going to capture a bit more low end due to all the sound waves hitting the diaphragm of the microphone straight on. If you place the microphone a bit off axis meaning rotating the microphone to where the polar pattern isn't pointed directly at the source you will decrease the amount of sound waves hitting the diaphragm directly. Perhaps aiming the cardioid polar pattern A BIT more towards the bridge, you will reduce the amount of low end frequencies hitting the microphone directly essentially equalizing your recording at the source. The same can be said about your small diaphragm condenser microphone.
If your pointing the microphone directly at your 12th fret, all the sound waves are hitting the diaphragm directly and could possibly be picking up low frequencies from the sound hole. If you point your microphone a bit off axis, you will reduce the frequencies hitting the diaphragm straight on. Perhaps you might want to point your microphone still at the 12th fret, but slightly more towards the neck.
In addition, this being that you are playing an acoustic guitar, dynamics play a role in what type of sound is being produced from your guitar. If your doing fairly strong strumming, you could be producing more low end as opposed to just slightly picking the guitar.
Now to answer your question about standing further back. If you are in a great studio space with a properly treated room, you could stand a bit further back, however, if you are not in a properly treated room, standing further away from the microphone is going to introduce more of the room sound because the sound waves must travel a greater distance capturing some of the room on the way.
Ideally you want the microphone to be fairly close to the source you are recording and placing the microphones a bit off-axis will help roll off some low end which will allow you to be a bit closer to the source with out having the proximity effect add boomyness.
One last solution to this problem would be to do some subtractive equalization to the recording if you definitely can not get the recording how you want it from the source. This is the process in which you sweep a FAIRLY NARROW band across the frequency spectrum until you target the boomyness your referring too, then when you find the problem frequencies, perform a narrow band cut the frequencies by about 3dB or even 4dB in some cases. Hope this helps and happy recording!
This could also be a phase issue, since the sound changes when summed to mono. The 3:1 rule might solve it. Place the mics at least 3 times the distance apart from each other, as they are from the sound source.
Do small diaphragms require 48V power? Phantom power I think it's called?
They do!
Audio on your video is terrible.