吉他录音常见问题解答:录制原声吉他的最佳麦克风类型是什么?

In the first instalment of a new Guitar.com column, we answer your burning questions and help you capture pro-quality guitar tones.

你好Guitar.com, I want to make a simple mono recording of my acoustic guitar but don’t know which type of microphone to choose. Should I buy a condenser, a dynamic or a ribbon mic?

史蒂夫,阿伯丁

感谢史蒂夫,这是一个很好的问题,我们在不分解各种录制麦克风及其优势和缺点的情况下无法正确回答。为了记录目的,有三种主要的麦克风类型,因此让我们单独查看它们。

Moving coil microphones

Sennheiser MD 441 U
Sennheiser MD 441 U

这些通常被称为动态麦克风,但是由于色带麦克风也是动态麦克风,因此我们会避免使用该术语。两者都是“动态”,因为声波会导致电导体在磁场内移动,从而在该导体内诱导电流。

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在移动线圈设计的情况下,将一根线线圈包裹在圆柱形前,该圆柱体附着在隔膜上。隔膜悬挂在其外边缘周围,因此整个组件响应声波而移动。电流通过电磁作用在线圈中产生,而移动的线圈MIC基本上是在反向工作的扬声器。

优点:Most moving coil microphones are inexpensive, they’re physically robust and do not require external power. They invariably have a cardioid pickup pattern, which means they are most sensitive at the front, less sensitive at the sides and reject sound arriving from the rear.

缺点:The frequency response usually begins to roll off between 6kHz and 10kHz. Some high-end moving coils do a little better, but most struggle to capture upper-harmonic sparkle. Many are optimised for close vocal use, so they tend to have preset bass roll-off.

最适合:移动线圈MIC并不是准确,高保真录制的理想选择,但这并不意味着它们是糟糕的原声吉他麦克风。狭窄的频率范围和中心的音调特性可能会导致出人意料的自然和特征色调。尝试使用均衡器添加一些亮度,您可能更喜欢质量移动线圈的高音特性,而不是一些冷凝器麦克风。

TRY THESE:SennheiserMD 441,BeyerdynamicM 201,Electro-Voice RE20

冷凝器麦克风

阿斯顿精神
阿斯顿精神

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These come in large and small capsule formats and have traditionally been the choice for acoustics. They need to be matched with a preamp that can supply 48v of phantom power and many have switchable bass roll-off plus attenuation pads to prevent overloading. A fixed cardioid pickup pattern is common, but some offer switchable omni-directional and figure-eight patterns.

胶囊是用实心金属背板和非常薄(通常)塑料隔膜平行排列的。隔膜具有沉积在其表面上的微观金属层,板和隔膜之间有气隙。使用直流极化电压,如果您愿意,它会形成电容器或“冷凝器”。

当声波导致隔膜移动时,间隙会改变,这会改变电容并使偏振电压变为交替。该信号进入板载前置放大器,该前置放大器可提高电平并调节阻抗。这些前置放大器可以基于阀门或晶体管,并且两种类型都可以广泛使用。

优点:冷凝器麦克风非常敏感,具有全频率范围和非常快速的瞬态响应。它们可以捕获谐波泛音,最低的低音音符,并使实现自然和栩栩如生的结果相对容易。

缺点:They can be fragile and if broken, may be uneconomic to repair. Cheap examples may sound unnaturally bright and harsh in the treble frequencies and a suspension mount may be required to minimise rumble if your recording room is close to street traffic.

最适合:If high fidelity is your priority, then a small-capsule condenser could be your best option. And for solo recordings in a room with pleasing natural ambience, an omnidirectional capsule might be preferred. Large capsule condensers may impart more of their own sonic characteristics and have a warmer and fuller midrange. This can have beneficial results and switchable pickup patterns can optimise the response for various acoustic environments and recording scenarios.

TRY THESE:阿斯顿Spirit, Shure KSM141, Peluso P12

色带麦克风

Beyerdynamic M 160
Beyerdynamic M 160

Ribbons were the first high-quality microphones to be used for recording music, with RCA introducing the Type 77 in 1932. They were used throughout the jazz and big band era, continued through 1950s rock ’n’ roll and remained a studio staple throughout the 1960s. They fell out of favour in the 1970s, but have long been back in style.

色带设计不是电线线圈,而是基于悬挂在磁场中的极其薄的波纹金属色带。色带具有与移动线圈麦克风中的隔膜和电线线圈相同的目的,因为随着响应声波的响应,它在色带中产生了交流电流。大多数丝带麦克风都有一个图形的拾音器模式。

优点:The ribbon is so light and moves so freely, there’s no physical impediment to the way it responds. Where moving coils can sound coloured and condensers can sound hyped, the sonic characteristics of a good ribbon microphone tend to be smooth and natural. Quality ribbon microphones are now widely available at very affordable prices.

缺点:丝带很细腻,可能会因风爆和高体积水平而损坏。它们可能会随着时间的推移而伸展,但是可以很容易地更换以恢复原始声音。除非您选择现代化的幻影动力活性色带设计,例如Audio-Technica的优秀AT4080和AT4081,否则功能区MIC输出水平相对较低,因此您需要高增强/低噪声麦克风前置放大器。

最适合:大多数功能区麦克风具有一定程度的高音滚动,但是它们对均衡的反应非常好,以至于您可以轻松地恢复任何缺失的火花。您可以期待乐器的真实且相当中立的表示,并且形象八模式会将一些房间的氛围引入录制的声音中。如果您需要声学才能通过密集的混合物进行剪切,那么丝带并不总是理想的,但是它们具有令人惊叹的真实感,以实现独奏和整洁的布置。

TRY THESE:Beyerdynamic M 160, Superlux R-102,Audio-TechnicaAT4080

Conclusion

There is no ‘best’ acoustic microphone as such. Ultimately it depends on the style of recording you want to make, your sonic tastes and the guitar itself. High-fidelity isn’t always ideal – especially if the guitar doesn’t sound that good to start with. On occasion, the technical shortcomings of a microphone can actually be beneficial.

尝试按照踩踏和放大放大器来接近麦克风选择。有些是通用工具,而另一些则是最适合特殊效果的工具。了解基本特征将帮助您选择最适合每项工作的麦克风。祝您即将出版的录音好运!

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