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(詳細はmicrophone techniques used for miking musical, film, or voice sources. Choice of technique depends on a number of factors, including: * The collection of extraneous noise. This can be a concern, especially in amplified performances, where audio feedback can be a significant problem. Alternatively, it can be a desired outcome, in situations where ambient noise is useful (hall reverberation, audience reaction). * Choice of a signal type: Mono, stereo or multi-channel. * Type of sound-source: Acoustic instruments produce a sound very different from electric instruments, which are again different from the human voice. * Situational circumstances: Sometimes a microphone should not be visible, or having a microphone nearby is not appropriate. In scenes for a movie the microphone may be held above the pictureframe, just out of sight. In this way there is always a certain distance between the actor and the microphone. * Processing: If the signal is destined to be heavily processed, or "mixed down", a different type of input may be required. * The use of a windshield as well as a pop shield, designed to reduce vocal plosives. ==Basic techniques== There are several classes of microphone placement for recording and amplification. * In close miking, a microphone is placed relatively close to an instrument or sound source, within three to twelve inches, producing a dry or non-reverberant sound.〔Hodgson, Jay (2010). ''Understanding Records'', p.32. ISBN 978-1-4411-5607-5.〕 This serves to reduce extraneous noise, including room reverberation, and is commonly used when attempting to record a number of separate instruments while keeping the signals separate, or when trying to avoid feedback in an amplified performance. Close miking often affects the frequency response of the microphone, especially for directional mics which exhibit bass boost from the proximity effect. Ubiquitous in the tracking of instruments used in pop and popular music, examples of close-mic vocal tracks include many songs on Elliott Smith's ''Elliott Smith'' and ''Either/Or'', Lily Allen's "The Fear", the chorus of Fergie's "Glamorous", Imogen Heap's lead on "Hide and Seek", and Madonna's spoken verses on "Erotica".〔Hodgson (2010), p.34.〕 * In ambient or distant miking, a microphone — typically a sensitive one — is placed at some distance from the sound source. The goal of this technique is to get a broader, natural mix of the sound source or sources, along with ambient sound, including reverberation from the room or hall. Example include The Jesus and Mary Chain's ''Psychocandy'' (excepting the vocals), Robert Plant's vocals on songs from ''Physical Graffiti'', Tom Waits's lead vocals on his "junkyard" records, and Mick Jagger's lead-vocals on songs from ''Exile On Main Street''.〔Hodgson (2010), p.35-36.〕 * In room miking a distant mic, referred to as the room mic, is used in conjunction with a close mic, "typically placed far enough past the critical distance in a room that the room's ambience and reverberations transduce at an equivalent, if not greater, volume than the sound source itself."〔Hodgson (2010), p.39.〕 Ubiquitous in pop, it is the industry standard for tracking rhythm guitars in rock. A "celebrated" example is the rhythm guitar on Led Zeppelin's "Communication Breakdown"〔 while other examples include John Frusciante's electric guitar parts on ''BloodSugarSexMagik'', Noel Gallagher's lead-guitar on "Champagne Supernova", and Billy Corgan's guitar on "Cherub Rock", "Today", "Bullet With Butterfly Wings", "Zero", and "Fuck You (An Ode To No One)".〔Hodgson (2010), p.40.〕 * Accent (or Spot) Microphone Placement. Often, the tonal and ambient qualities will sound very different between a distant- and close-miked pickup. Under certain circumstances, it’s difficult to obtain a naturally recorded balance when mixing the two together. For example, if a solo instrument within an orchestra needs an extra mic for added volume and presence, placing the mic too close would result in a pickup that sounds overly present, unnatural and out of context with the distant, overall orchestral pickup. To avoid this pitfall, a compromise in distance should be struck. A microphone that has been placed within a reasonably close range to an instrument or section within a larger ensemble (but not so close as to have an unnatural sound) is known as an accent (or spot) pickup . Whenever accent miking is used, care should be exercised in placement and pickup choices. The amount of accent signal that’s introduced into the mix should sound natural relative to the overall pickup, and a good accent mic should only add presence to a solo passage and not stick out as separate, identifiable pickup. 〔Huber, David Miles (2009). ''Modern Recording Techniques 7th Edition'' p.141.〕 〔Huber, David Miles (2013). ''Modern Recording Techniques 8th Edition'' p.141.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Microphone practice」の詳細全文を読む スポンサード リンク
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