1 05-Audio-Basics

Audio Video
Production
Audio
Basics
Copyright Texas Education Agency, 2012. All rights reserved.

Images and other multimedia content used with permission.
Sound
Sound has two basic

characteristics:
Loudness - measured in
decibels
Frequency - measured in
Hertz

Loudness
dBSPL (sound
pressure loudness)
Measure of acoustic
power
Sounds we can hear
with our ears
135 dB is considered
threshold of pain
Ears ring
Point at which hearing
damage can occur
Sound
dBs
Jet
140-150
Rock Concert/
Gunshot
135-140
Jackhammer
85-90
City Street/
Restaurant
70-75
Quiet
Conversation
60-80
Office
Environment
45
Whisper
30
Silent studio
20

Loudness
dBm
Unit of electrical power
Measured with VU meters
In live production, 0 is
considered the maximum
desirable sound level
Digital VU meter
Analog VU meter
0 is also called Unity
In post-production, the audio levels are between -12 and -6 dB.
0 should NOT to be reached
Copyright Texas Education Agency, 2012. All rights reserved. Images and
other multimedia content used with permission.
Frequency
Basic pitch of sound (how

high/low it is)
Audible (hearing) range:
20Hz - 20,000Hz
20Hz - extremely low pitch,

rumble
20,000Hz - extremely high
pitch, higher than highest
note of a violin
Common hearing range:

50Hz - 15,000Hz

Acoustics
Most sound booths

incorporate different types
of soundproofing materials
Hard walls; tile floors will

allow too much
reverberation
Reverb - sound remaining

after the original sound
stops
Too much soundproofing

causes a dead, lifeless
sound
Ideal room for recording

and listening has freestanding, sound-absorbing
items (furniture, rugs)
Types of mics
Dynamic microphone
Uses a small coil that moves within a magnetic
field when activated by sound
Pros:
Rugged and durable
Can withstand weather and rough handling
Great for ENG (electronic news gathering)
Low Cost
No power necessary
Cons:
Larger and heavier
Not the best choice for quality audio
Types of mics
Condenser microphone
Has a plate that moves against another plate to produce a signal
Pros:
More sensitive
Better quality
Can be small
Cons:
Fragile and sensitive to shock

and temperatures
Needs power
Battery
Phantom power supplied by
camera or audio mixer
Expensive
Types
of mics
Ribbon microphone
LuckyLouie. RCA 44 Ribbon

Microphone. 4 November 2007.
<http://en.wikipedia.org/wiki/File:Rc
a44.png>.
Uses a small ribbon (rather

than coil) moving in a
magnetic field
Similar to condenser mics in
pickup quality and sensitivity
Produce warm, rich sound
Very sensitive to rough
handling and moving air
Rarely used outside an audio
booth
How microphones hear

Microphone Pickup Patterns
Omnidirectional
Cardiod
Unidirectional (cardioid)
Omnidirectional
Unidirectional
Picks up sound in all

directions
Focused hearing in one
direction
Cardioid - heart-shaped
pickup pattern
Hypercardioid - narrow
pickup pattern with a long
reach (for distances)
10
How mics are used
Handheld mic
Lavalier (lapel) mic
Boom (shotgun) mic
Desktop mic
Headset mic
11
Handheld
Microphone
Held by the talent

Allows for talent to control mics location
Reporter can easily move it closer to

interview
Singer can control intimacy of the sound by
holding it closer
Field reporters - need dynamic handheld
(rugged, durable)
Singers - need condenser handheld (better
sound quality)
Disadvantages
Can be distracting (takes up visual space)

Talents hands are not free
Quality of sound depends on proper
placement by talent
12
Lavalier Microphone
Small, rugged, omnidirectional

Usually clipped to shirts six to
eight inches below talents chin
Advantages
Talent can move freely

Mic never moves
Sound is consistent
Disadvantages
Each on-camera subject

requires mic
Requires proper setup
and placement
Clothing may rub mic or
muffle sound
13
Lavalier Microphone
Dressing lapel mics (hiding wires)
Under clothing
Have talent run microphone under

the shirt
Clip mic to tie, lapel, collar or button
flap
Careful of material rubbing mic or
obstructing sound
Outside clothing
Run mic up the back of talent

(outside clothing) and over the
talents shoulder near the collar
(under collar if possible)
Clip mic to lapel, collar, or button flap
Use gaffers tape (on talents back) to
keep the mic cable from moving
14
Boom Microphone
Unidirectional mics
intended to pick up sound
without being seen on
camera
Shotgun microphone
mounted to the end of a
telescoping boom pole
Pole has shock-mount to

absorb all movement
Can be held above talent
or at low angle below
15
Desktop Microphone
Microphone mounted
on a small stand
Used for fixed positions
Often seen in:
Game shows
Speeches
Board rooms
Churches
16
Headset Microphone
Gives talent the freedom of

movement while keeping
the mic close to the mouth
Sometimes includes an
earphone for talkback
Important for loud arenas

and stadiums
Used by sportscasters,
musicians/performers and
public speakers
Small, wireless headsets

with no earphone are
sometimes called
countryman mics
17
Wireless Microphones
Involves a microphone with a

transmitter and a wireless receiver
Can come in any style
Lav, headset, hand
Allows complete freedom of

movement without wires
Transmits through frequency
bands
UHF
Least interference
More expensive
VHF
Cheaper
Most interference
18
Windscreens
Designed to let normal

sound frequencies
through and filter out
wind noise
Made of acoustic foam
rubber
Windsock
Used for shotgun mics

Ragged cloth that is
pulled over the
windscreen
19

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Audio Video

Copyright Texas Education Agency, 2012. All rights reserved.

Sound has two basic

Copyright Texas Education Agency, 2012. All rights reserved.

Copyright Texas Education Agency, 2012. All rights reserved.

0 is also called Unity

In post-production, the audio levels are between -12 and -6 dB.

0 should NOT to be reached

Basic pitch of sound (how

20Hz - extremely low pitch,

Common hearing range:

Copyright Texas Education Agency, 2012. All rights reserved.

Most sound booths

Hard walls; tile floors will

Reverb - sound remaining

Too much soundproofing

Ideal room for recording

Fragile and sensitive to shock

LuckyLouie. RCA 44 Ribbon

Uses a small ribbon (rather

How microphones hear

Picks up sound in all

How mics are used

Held by the talent

Reporter can easily move it closer to

Can be distracting (takes up visual space)

Small, rugged, omnidirectional

Talent can move freely

Each on-camera subject

Dressing lapel mics (hiding wires)

Have talent run microphone under

Run mic up the back of talent

Pole has shock-mount to

Gives talent the freedom of

Important for loud arenas

Small, wireless headsets

Involves a microphone with a

Lav, headset, hand

Allows complete freedom of

Designed to let normal

Used for shotgun mics

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