SPS Distance Learning Blog

Bit depth is to audio as pixels per inch is to photo resolution. The higher the pixel count, the richer the colors, and the more vivid the image quality when we view it on a computer or print out. Have you ever seen a photo that appears grainy? That can result from a photo taken in low resolution (fewer pixels per inch) or from being stretched beyond its original pixel resolution. The same can be said about audio. The higher the bit depth, the wider the range of sounds that can be represented by a recording, from the lowest bass to the highest trebles. As in photography, where deeper, wider ranging colors result in large file sizes, so to do audio recordings full of wide-ranging highs and lows.

Audio files saved to MP3 and AAC, for example, generally produce manageable file sizes, but technically constitute a loss in quality. Generally we accept this quality as passable, and the average person likely could not discern a noticeable difference.

Audio latency is a delay or lag affecting digital audio playback. In digital recording, this is generally caused by the computer’s sound card. When you speak into the microphone, the signal is sent to the computer to record, and returned back to you to listen, ideally in real time. If the signal you hear is sent back by the computer on a delay, it can sound like an echo of yourself, or as if you are having to talk over someone, which can affect your speech delivery.

Let’s hear some demonstrations:

1. User experiences no latency in monitoring – Samson Go Mic Connect
2. User experiences extreme latency in monitoring – Samson Go Mic Connect

   You might have noticed the latency reading to be slower, possibly slurred. Trying to speak when you feel you are speaking over someone is very difficult to process, even when reading from a script.

“The polar pattern of a microphone is the sensitivity to sound relative to the direction or angle from which the sound arrives, or easier worded how well the microphone “hears“ sound from different directions. The most common types of directionality are: Omnidirectional, Cardioid and Supercardioid” ³

A Cardioid (or Unidirectional) pattern implies that a microphone is sensitive to sound coming from one direction, the front of the microphone, and will eliminate or be less sensitive to sounds coming from the sides, or rear of the microphone. In the case of cardioid, there is still sensitivity to sound from the sides, but is greatly diminished, and sound from the rear is generally eliminated. (see Microphones: Polar Patterns & Directionality concise visual representations)

Let’s hear some demonstrations:

1. Two-way conversation using a Cardioid (unidirectional) pick-up – Samson Go Mic

   The male voice is speaking from the front of the cardioid pattern, the female voice is speaking from the rear of the cardioid pattern.

2. Two-way conversation using an Omnidirectional pick-up – Samson Go Mic

   The mic is set to Omnidirectional, a 360 degree pic up. The Male (front of the mic) and Female (rear of the mic) voices are treated equally. You will notice some other room noise is sensed my the mic.

3. Two-way conversation using a Cardioid (unidirectional) pick-up – Samson Meteor Mic

   The male voice is speaking from the rear of the cardioid pattern, the female voice is speaking from the front of the cardioid pattern. The Meteor is built only for Cardioid (unidirectional) pick-up.

Sibailance refers to sounds created by producing air from vocal tracts through the use of lips and tongue which result in hissing sounds. Psst is a sibilant noise I use to get the attention of a cat. Other examples include (say these out loud): scraps, smell of steaks, storms, swells, mistakes.

When we form P, T, and B letter sounds a gust of air leaves the mouth. Just put your hand in front of your mouth and feel the blast you create.

Microphones convert moving air patterns into electrical patterns. The burst of air from P, T, and B sounds has significantly more force on the microphone element than other air vibrations made by a mouth. The sound of the air hitting the capsule is unnatural and distracting.⁴

A commercial pop-filter is a fabric screen often mounted on plastic or wire that you can place between you and the microphone to diffuse the explosive bursts of air created by plosives. Commercially, the fabric mounted by the manufacturer is selected for its ability to both stop air, and allow vocal frequencies to pass. However, one could slip a sock or available fabric over or near their mic to the same effect.

Pad in audio stands for ‘Passive Attenuation Device,’ which can be used to make an audio signal larger (+) or smaller (-). Generally this is a switch on a device that can be toggled physically, or in digital audio, a check box in a settings menu. The switch changes the circuit of the device to either boost or diminish electrical signals of audio based on their initial acoustic size. If the sound of a loud singing voice or an instrument is causing peaking or distortion sounds, the pad can be applied to ‘turn down’ or limit the intensity of the sound wave at the microphone. Also excellent for noisy environments.

A diaphragm is the microphone element that converts moving air patterns (or acoustic energy) into electrical patterns (electrical energy). When it comes to diaphragm size there is nothing better or worse depending on size. The main distinction is that a small diaphragm will represent sound more accurately, more neutral and uncolored. Whereas a large diaphragm can make audio come through sounding a bit larger, more beautiful. Large diaphragm mics are chosen to put lead vocals and solo instrumentation front and center.

While I would argue that the Go Mic Connect was designed to fill in a gap between the Go Mic and Meteor models, it would seem from their marketing that the mic is targeted towards real-time video game players and Skype/Facetime chatters unhappy with their device’s built-in components. For me, this model takes it a bit too far with its extreme gain sensitivity, and unforgiving omnidirectional polar pattern. The unit does come with a carry case that fits the mic and cable, but the shape and design make it difficult to pack tightly into a backpack or purse without worry of bending or breaking.

Let’s hear the Samson Go Mic Connect:

Pros: Like the Go Mic, the Samson Go Mic Connect is lightweight, compact, has minimum acceptable bit depth and sample rates, is Windows/Mac compatible, has Zero Latency monitoring (for PC only), and offers flexible polar patterns and noise reduction. The Go Mic Connect features an omni directional polar pattern with proprietary beam forming technology which effectively forms a shotgun style pick-up pattern, but is not technically shotgun. The Go Mic Connect clips onto any laptop screen, standard computer monitor and can stand on a flat surface.

Cons: Unfortunately, the drawbacks of the Go Mic Connect are simple, but major, and for some, they could be deal breakers. For starters, the Go Mic Connect requires a software download in order to maximize performance. The file size of the software is tiny, and operating the software doesn’t require any formal schooling, but it’s a step from plug and play, which so many prefer and desire. The software varies slightly from Mac to PC, which, while not an issue for most, could be irksome to those using both operating systems. The Go Mic Connect also has an extremely sensitive gain setting right out of the box. For professional podcasters or real-time video gamers with a shy sounding voice this can be an advantage, but it may take some experimenting to get the levels you like. And lastly, for Mac users, the latency in monitoring is echoey and unusable. When you plug it in, mute or remove your headphones and navigate straight to your system’s input levels. Otherwise, prepare for your ears to be left ringing.

Uses: Screencast recording, podcasts, lectures, and interviews.

Price: $49.99

The Polsen RC77u was designed with the “retro look” down to the last detail, including the artwork on the box. In that respect, the company also sought to deliver a sound consistent with old-timey microphones from about the 1940s to the 1960s. The old fashioned sound of its analog counterparts could be defined as “smooth and natural top end, mid‑range clarity and low‑end warmth.” 2 Does the Polsen RC77u Deliver?

Let’s hear the Polsen RC77u:

Pros: The RC77u is plug and play, has minimum acceptable bit depth and sample rates, is Windows/Mac compatible, and has Zero Latency monitoring for Mac and PC. The look and design are truly classic looking, and it features a tactile volume control for headphone monitoring.

Additionally, the Polsen RC77u comes with a lightweight metal stand and a cloth carry bag for scratchless carry in your backpack or purse, and is stand mountable to any standard threaded microphone stand.

Cons: According to the Polsen Audio website the Polsen RC77u has “an integrated dual-stage grille (which) minimizes pops and vocal plosives.” Unfortunately, our testing has proved otherwise. That does not make this a bad microphone, it only means that users with powerful voices would do well to sit back a few inches, and employ a pop-filter. We also experienced some slight latency monitoring using Adobe Audition in the Multitrack editor mode. Otherwise, latency was not noticed.

Uses: Screencast recording, podcasts, and lectures.

Price: $59.95

I saved the Shure MV5 for last, because it offers some unique features above and beyond our five point checklist. For starters, the MV5 comes with a lightning adapter cable, allowing users to plug into an iPad or iPhone. This mobile utility does require an app, but is free and quick to install. Files can be sent or shared from the device and are otherwise identical to their standard computer counterparts. The mobile app has features and audio effects for limiting, compression, and equalization on-the-go. However, I recommend sending the file to your computer and processing those effects using professional software.

Let’s hear the MV5 in all three of its modes:

1. Flat Response Mode
2. Voice Mode
3. Instrument Mode

Pros: The Shure MV5 offers three mode settings for flat response, voice, and instrument, which are manufacturer presets designed for non-audio professionals looking to streamline their recording experience. For our purposes, it’s an excellent feature. (Audio professionals may consider this a drawback, but I think it’s one we can live with.) The vocal setting is tuned to brighten up frequencies in the vocal range, which to the untrained ear presents as having your voice sound louder than normal. And for the powerful vocal user, the instrument setting serves as a pad, to soften the blow of loudness.

Cons: While the unit has a tactile volume control for monitoring, it’s kind of tough to reach and does not boost all that high without aid from your computer’s volume controls. The Shure MV5 also comes with a really short mounting stand and a non-standard mount known as ¼-20 thread. Quarter twenty thread is the standard for camera stands, which means you can mount the microphone head to a camera tripod, which would be weird, unless it’s a cellphone tripod (still weird.) But you can purchase ¼ -20 adapters for standard mic stand mounts, and they are not cost prohibitive.

Uses: Web conference, screencast recording, podcasts, lectures, and interviews.

Price: $99.00