How to improve mic and/or voice quality with my interface?

Microphone specifications tend to be about as loose as a cow with amoebic dysentery. Even some big names and high cost mics leave of frequency limits and such data.

Dave.

You're very correct on this. This is the published "20-20000" frequency response for a very popular microphone. Its down 10dB at both 20 and 20,000Hz. It's +3dB at 8-10K. If this was an amp or interface they would be thrown out as junk! They are typically +/- 0.5dB or better across that range.

Oh yeah, it's the reponse curve of a Neumann U87.
 

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You're very correct on this. This is the published "20-20000" frequency response for a very popular microphone. Its down 10dB at both 20 and 20,000Hz. It's +3dB at 8-10K. If this was an amp or interface they would be thrown out as junk! They are typically +/- 0.5dB or better across that range.

Oh yeah, it's the reponse curve of a Neumann U87.

Heh! Well to be fair I was more referring to specs that just give a bare "25 to 18kHz" with no decibel points.

And! Be careful what you say about U87s over here, liable to get beaten to death with a mic stand!

Dave.
 
That's exactly what Neumann states for it's specs, no +/- dB listed. From their website:

Frequency Range 20 Hz ... 20 kHz

Sensitivity at 1 kHz into 1 kohm 20/28/22 mV/Pa ± 1 dB (Omni/cardioid/8)
Rated Impedance 200 ohms
Rated load impedance 1 kohms
Equivalent noise level, CCIR 1 26/23/25 dB (Omni/cardioid/8)
Equivalent noise level, A-weighted 2 15/12/14 dB-A (Omni/cardioid/8)

Maximum SPL for THD 0.5% 3 117 dB (cardioid)
Maximum SPL for THD 0.5% with preattenuation (4) 127 dB


Also look at the distortion ratings vs SPL. 0.5% at 117dB. Since the 10dB pad increases that to 127, then its obvious that the THD is coming from the mic circuitry, not the capsule.

Some would say this is euphonic coloration, and it probably is. There's absolutely nothing wrong with choosing something that sounds "better" or "natural". Its just not necessarily the most accurate.

BTW, I've already barred the door, lest the hoards attack!
 
Surely the point of microphones is that we want them to sound 'nice' on whatever source we are using? Plus the mic type will change for different sources and voices. Yes, you CAN use any mic to record anything but the pros know what goes best with what.

Of course we want decent quality. A sensitivity that makes them a bit pre amp independent. A noise floor that is unobtrusive for the job in hand and an overload capacity such that they don't fart out if someone coughs near it.

Stereo pairs need to be matched for response but that does not mean they are 'flat' just that both bump and dip in the same places.

IF you want 20 to 20 +&-1dB (and beyond) you can have it. Called "measurement" microphones. Most of them are bit noisy though because they perforce use tiny diaphragms.

Dave.
 
The trouble is, for some products a flat frequency response is the claim to fame, and for mics, the last thing they want is a flat response - unless it's for an analyser - and these mics usually sounds horrible for music.
 
OKk ok ok, chill, guys! :) Don't go TOO technical on this noob, please.

Interestingly enough, even though i am trying to understand HOW and WHY having the PAD-button 'ON' for voiceover (i don't use instruments), i cannot see if it's useful or not. When do you know how to use the PAD-function? Any examples? Does it matter whether i am using a dynamic mic (phantom power off) or a condenser mic, or?

And direct monitor-button on the 202HD.. That button is if i would have speakers/monitors connected to the AI, correct?

Sorry for "re-opening" these old threads, but i still don't know the answers to those things, hence why i am still wondering...
 
When do you know how to use the PAD-function?

The pad switch is used if you are going to record a very loud source, or if you are getting a very high level from a line input.

Does it matter whether i am using a dynamic mic (phantom power off) or a condenser mic, or?
No. It doesn't matter.

And direct monitor-button on the 202HD.

The direct monitor button sends a signal direct from input to output on the interface. It provides zero latency when recording. It is an alternative to software monitoring, i.e. the input goes into interface, into computer, back into interface, then to output.

That button is if i would have speakers/monitors connected to the AI, correct?
You should have speakers connected to the interface anyway. It should be the hub for all inputs and outputs.
 
I think that the reason we get wound up or ecstatic about mics is because unlike any other audio product which tries to be accurate, honest and neutral - we choose mics because they flatter and hide. They do it because it makes them different. You can buy a flat response microphone. We don’t record people and music with them. Maybe now we all have access to comprehensive eq, we could do it better? What we like are mics that are different. Proximity effect and polar pattern, pop and blast rejection, wind rejection, handling noise, output level, size and durability - these are what we really choose mics on. Years back, when money was tight, I nearly stretched myself and bought a U87. Just before ordering, in the studio I did what I often do. I tripped over a cable and smashed an SM57 hard into the wall. No damage at all. I decided then that I’d not buy the 87. I’m not safe. I’ve borrowed them occasionally, but I’m still not safe with them.
 
Whist the pad function (on a mic or AI or pre amp) is normally used to prevent distortion from a very high sound level, e.g. inside a kick, there is another reason. Level shift is the basis of it but with some additional nuance.

A person might choose to us a capacitor microphone for their wide frequency response, especially the high HF for clarity and 'air' on say a V/O but, such a mic, especially LDCs, are very sensitive and might 'blast" the pre amp input when used close up. However, you need to be close in many situations in order to reduce the effects of a bad room or/and 'noises off'. So. attenuate!

Most pads on mics and electronics insert around 20dB of loss and this handily drops most cap' mics to dynamic mic levels. N.B. you must use a pop shield and probably some LFcut to combat proximity effect but you would get the latter sucking a dynamic anyway.

Dave.
 
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