Continuing from the last article regarding fireworks sound effects, Part Two looks closely at microphones for recording fireworks samples. While mostly microphone choice is about the best quality and most accurate possible recordings, its important to consider obstacles and dangers with the recording location, such as weather, crowds and your own security.
Microphones Used for Recording Fireworks
The following four microphones were used for recording fireworks sound effects; Firstly, the Takstar SGC-578, a shotgun microphone for dialogue and sound effects. Secondly, the Takstar PCM-6100, an instrument microphone mostly for orchestral and piano recordings. Thirdly, a compact stereo condenser microphone that ships with the M-Audio Microtrack II. And lastly, a Sony lapel condenser microphone.
All four microphones gave acceptable and usable recordings, but in regards to quality and convenience of recording, they are very different microphones. To understand the fireworks recordings below, we need to take a closer look at each microphone.
Note: All samples below are straight from the audio recorder and have been normalized for easier listening. The process of mixing samples will be explained in more detail in Fireworks Sound Effects – Part Three.
Shotgun Microphone
The Takstar SGC-578 is a decent location sound effects microphone with a bright, clean middle range. Its two polar patterns make it useful for choosing between directional and more ambient sounds. Its large size and the essential use of a shock-mount make using this microphone less convenient than the other smaller microphones. Whilst its bright mid-range delivers clear and results full of presence, its gradual roll-off above 5K misses some of the nice ‘fizzing’ sounds heard from many fireworks. It also seems to be lacking a good low-frequency response compared to the other microphones.
The first fireworks sample was recorded with a cardioid pattern.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Whilst the second fireworks sample was recorded with a hyper-cardioid pattern.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Instrument Microphone
The Takstar PCM-6100 is an instrument microphone mostly for orchestral and piano recordings. Apart from its peak at around 9K it has a reasonably flat response.
Stereo Microphone
The M-Audio Microtrack II ships with a compact stereo condenser, that with its mini-jack, conveniently plugs into the recorder. Surprisingly, this microphone offers a very wide and accurate frequency response, with an adequate stereo image. There is a noticeable proximity effect, though when recording ambiance or the high sound pressure sources such as fireworks this is not a noticeable issue.
Lapel Microphone
This very small microphone is designed for speech recordings and so has a very good mid-range response for fireworks recordings. Most small capsule condensers, like the lapel and the stereo microphone, also have a bright high-frequency response making them highly effective for capturing the complex characteristics of fireworks.
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Final Thoughts
Microphone choice for recording fireworks samples is dependent on many factors. Of course quality is of utmost priority but its not always easy carrying a larger microphone, especially in crowded or dangerous locations. While small capsule microphones can provide excellent results, it is an ideal situation to have several microphones and spend the time recording enough samples that you can later go through and edit.
For more on mixing and editing fireworks samples, read through Fireworks Sound Effects or keep an eye out for the next audio industry article by Spencer Sternberg.
**********
Was reading this article useful? Do youwant to read more music industry articles? Why not subscribe to the Spencer Sternberg Feed.
Tags: listen, recording technique, sound design, sound effects