12
“Differential” means it cancels sounds at a distance,
and “cardioid” means it cancels sounds from be-
hind the microphone. Because of these abilities, the
CM-310A permits extreme isolation from back-
ground noise. When used as a stage vocal mic, it
provides extremely high gain-before-feedback.
To keep from canceling the announcer’s voice, the
microphone must be used with lips touching the
grille. Also, the announcer must talk directly into
the front of the microphone, not the side, or the
voice may get canceled and sound thin.
The Differoid is used by the Indianapolis 500 Speed-
way announcer who announces while sitting in the
stands. Even with the loudspeakers blaring in the
background, the Differoid rejects the sound of the
P.A., the cars, and the crowd.
In the studio, the announcer’s mic is often placed
about 8" away at eye level to prevent pops (Figure
25). A hoop-type pop filter also works quite well.
Fig. 25 – Placing an annuoncer’s mic to avoid breath
pops.
Announcer with ambience. If you want to pick up
the announcer along with ambient sound in stereo,
use a SASS microphone about 4 feet away (Figure
26, left side). For more flexibility in post produc-
tion, use a SASS several feet away for ambience,
Fig. 26– Two ways to pick up an announcer and
ambience with a SASS-MK11 stereo microphone.
Dialog at a video shoot
In this case, you don’t want to see the microphone
on camera.
•Shotgun microphone. The most common choice
is a shock-mounted shotgun mic placed above the
actor and in front, as close as possible but just out
of the camera view.
•Lavalier microphone. To hide the microphone, at-
tach it under clothing. Since clothing can attenuate
high frequencies, boost the highs with your mixer
EQ until the sound is natural. Go wireless if the ac-
tor moves around a lot. The Crown GLM-100-E is
an omni lavalier without electronics, which you plug
into a wireless transmitter.
Ambience or environmental sound:
Try a stereo mic (Crown SASS-P MK11), or two
spaced omnis 25 feet apart (such as PZMs), or a
single omnidirectional mic for mono. The ambience
mic can be handheld, on a stand, on a camera hot
shoe, or on a Steadicam platform.
General Television Network used two PZMs in ear-
spaced plexiglass pyramids to create the soundtrack
of an air show and a Muzzleloaders festival. Both
and mix it with a closeup mic on the announcer (Fig-
ure 26, right side). This produces mono centered
dialog with stereo ambience.
To Next Page
Loading...
