12 Weeks
Level 2
3-Credit Tuition
$1,545Non-Credit Tuition
$1,290This course will emphasize the differences in approach to microphone techniques, and give you the tools necessary to make informed decisions about microphones in live sound. You will learn standard microphone selections and various microphone techniques specific to live sound applications.
Miking in the live sound environment is often difficult due to acoustic challenges and possibilities. Microphone choices, pickup polar patterns, and placement become far more important in the acoustic to electric transduction capture of instruments in the live sound environment vs. studio recording because of many differing factors. This course will emphasize the differences, and give you the tools necessary to make informed decisions to combat the difficulties associated with microphone techniques in live sound.
The first half of the course will focus on types of microphones, selection and placement techniques, anatomy and function of dynamic and condenser microphones, polar patterns, and various applications. The second half of the course will focus on challenging environments, room acoustics, feedback, multiple adjoining sources, phase alignment issues, electrostatic interference, electrical resistance/impedance, sensitivity, maximum SPL capture, and wireless technologies.
Through these 12 weeks you will learn to understand, identify, and apply miking techniques in challenging environments.
By the end of the course, you will be able to:
- classify the various types of microphones (dynamic, condenser, and ribbon microphones), including their components sensitivity, maximum SPL, and frequency response
- discuss microphone polar patterns and various applications
- define the function and applications of phantom power
- describe electrostatic interference and locate electrical noise from unbalanced connections
- creatively use the sonic influence of proximity effect
- evaluate frequency-dependent electrical resistance and impedance
- use wireless microphone transmission and reception
- use DI boxes and discuss their function
- choose the best mic and placement for an instrument
Syllabus
Lesson 1: Dynamic Microphones
- Dynamic Microphone Basics
- Dynamic Microphone Polar Patterns
- Dynamic Microphone Usage
- Common Dynamic Microphones in Live Sound
- Dynamic Microphone on a Snare Drum
- Assignment 1: Dynamics
Lesson 2: Condenser and Electret Condenser Microphones
- Condenser Microphone Basics
- Explanation of Phantom Power
- Condenser Microphone Polar Patterns
- Condenser Microphone Usage
- Common Condenser Microphones in Live Sound
- Condenser Microphone on Acoustic Piano
- Assignment 2: Mic Internals
Lesson 3: Why We Close Mic Everything in Live Sound
- Room Acoustics and Far Away Miking
- Sheer Volume
- Gain before Feedback and Resonance and Uncoupling
- The Mix Destroyer: Multiple Microphones on a Single Source
- Assignment 3: Multiple Microphones on a Single Source
Lesson 4: Acoustic and Electrical Transduction Characteristics
- Transient Response
- Output Level and Sensitivity
- Overload and Max SPL
- Impedance
- Assignment 4: Record a High SPL Impulse
Lesson 5: Drum Microphone Placement
- Choosing the Right Drum Microphones
- Multiple Microphone Phase Issues
- Inside or Outside the Kick Drum
- Common Microphones and Placement
- Overheads and Stereo Miking
- Working with a Mono PA System
- Assignment 5: Input List
Lesson 6: Ribbon Microphones and Stereo Mic Configurations
- Ribbon Microphone Basics
- Ribbon Microphone Polar Patterns
- Common Ribbon Microphones in Live Sound
- Simple Setup on a Guitar Amplifier
- Stereo Microphone Configurations
- Assignment 6: Placement
Lesson 7: Miking Electric Guitar, Bass, and Acoustic Instruments
- Guitar Speakers
- Choosing the Right Microphone
- Multiple Speakers
- Guitar and Bass Cabinet Isolation Boxes
- Speaker Emulator Direct Boxes
- Contact Pickups and Super Cardioid Microphones
- Assignment 7: Record an Amplifier Using a Direct Box and a Microphone
Lesson 8: Vocal Microphones
- Characteristics of a Vocal Microphone
- Handling Noise
- The Conversation
- Proximity Effect
- Assignment 8: Microphone Technique
Lesson 9: Proper Care of Microphones and Troubleshooting
- Microphone Care
- Troubleshooting
- Is It Broken?
- Recognizing Microphone Diaphragm ‘Tiredness’
- Assignment 9: Disassembly and Cleaning
Lesson 10: Multiple Microphones and Direct Box on the Same Source
- Pros and Cons of Multiple Microphones
- Spaced Pair, X/Y Placement, Mid-Side, Coincident
- Shock Mounts
- Using a DI and Multiple Microphones
- Assignment 10: Phase Cancellation
Lesson 11: Wireless Microphones and Wireless Technology
- Transmitters and Receivers
- Multipath Reflections, Diversity, and Signal Dropout
- FCC
- Why Cables Are Better
- Wireless In-Ear Monitoring
- Assignment 11: Shure Axient
Lesson 12: Putting It All together
- Best Mic Choice for the Source
- The 20 Best Microphones
- Unusual Solutions
- Assignment 12: Input Lists of Top Tours
Requirements
Prerequisites and Course-Specific Requirements
Prerequisite Courses, Knowledge, and/or Skills
Students should have experience working with their Digital Audio Workstation (DAW) of choice.
Textbook(s)
- Mic It!: Microphones, Microphone Techniques, and Their Impact on the Final Mix by Ian Corbett (Routledge Publishing, 2020)
Recording
- Students will need to record the following:
- Spoken voice in weeks 1 and 2
- A single source, such as a guitar amplifier or acoustic instrument, in weeks 3 and 10
- A high transient source, such as a snare drum, in week 4
- A drum set in week 5
- A live band in week 6 (using a stereo miking configuration)
- A guitar amplifier in week 7
Software
- Digital Audio Workstation (DAW). Free options, such as GarageBand (Mac) or Cakewalk by BandLab (PC), are acceptable.
- Rational Acoustics Smaart LE (perpetual license or subscription)
- If necessary, Room EQ Wizard (free) could be used to fulfill this requirement, but Smaart remains strongly recommended.
Hardware
- Audio interface with at least 4 mic preamps
- 2 XLR dynamic microphones and cables (3 recommended)
- 2 XLR condenser microphones and cables (3 recommended)
- Direct box (DI box)
- Multimeter
Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact support@online.berklee.edu with any questions.
General Course Requirements
Below are the minimum requirements to access the course environment and participate in Live Chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course.
Mac Users
PC Users
All Users
- Latest version of Google Chrome
- Zoom meeting software
- Webcam
- Speakers or headphones
- External or internal microphone
- Broadband Internet connection
Instructors
Author
Ben Cochran is an engineer and technology adviser at Audio-Technica in Stow, Ohio, and is the worship and production director at Christ Community Chapel in Hudson, Ohio. He holds a master’s degree in electrical engineering.
Author
Pooch is a tenured and acclaimed producer, engineer, and live sound engineer. His track record of recognition for flawless engineering started at Berklee College of Music and has continued through three Grammy nominations and a history of Platinum and Gold records. He is the FOH engineer and production master behind Jay-Z, Travis Scott, Justin Bieber, Iron Maiden, KISS, Guns N’ Roses, Linkin Park, and many more. He holds close to a dozen FOH engineer accolades.
What's Next?
When taken for credit, Microphone Techniques for Live Sound Production can be applied towards the completion of these related programs:
Related Certificate Programs
Related Music Career Role
Employers look for skills learned in this course, when hiring for the following music career role:
Questions?
Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.
