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Topic: Transient response of a microphone (Read 5217 times) previous topic - next topic
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Transient response of a microphone

Hello, I would like to know if the so called "transient response" of a microphone is really a different thing than frequency response or if they go hand in hand. They are quite correlated, aren't they? What are the specs that matter most for a microphone? I want to know more about this subject, thanks to all.

Sorry for my english.

Transient response of a microphone

Reply #1 –
Quote from: Bobber on
Hello, I would like to know if the so called "transient response" of a microphone is really a different thing than frequency response or if they go hand in hand. They are quite correlated, aren't they?


Yes - they are two sides of the same coin.

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What are the specs that matter most for a microphone?


Frequency response, distortion, sensitivity, directivity.

Transient response of a microphone

Reply #2 –
Thanks! So are they strictly linked or the transient response can vary a little between mics with similar frequency response specs?



Transient response of a microphone

Reply #3 –
Quote from: Bobber on
Thanks! So are they strictly linked or the transient response can vary a little between mics with similar frequency response specs?


They are directly linked. Any differences in transient response will show up in frequency response and vice versa. Time domain versus frequency domain views of same thing.

Transient response of a microphone

Reply #4 –
What are you planning on using the mic for?  It's a bit counter-intuitive, but most recording engineers don't choose super-flat instrument/measurement mics.

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So are they strictly linked or the transient response can vary a little between mics with similar frequency response specs?
I'm pretty sure if the frequency response is identical the transient response will be identical.

"Transient Response" is one of those terms that "audio experts" use to describe what's happening to the sound, and it might not "feel" like equalization or frequency response.  Most recording engineers don't have an engineering or science degrees or the math background to really understand this stuff...  (My math is rather weak an rusty too.) 

The main difference in "sound quality" between microphones is frequency response.  The most common type of all-round studio mic is a cardioid (directional) Large Diaphragm Condenser (LDC).  These tend to have a boost in the mid-highs for vocal clarity and presence.  Small diaphragm condensers tend to have more-extended high frequency response and these are often used as drum overheads  (to pick-up the cymbals).

Unless you are a pro working in a studio with a "mic locker" full of mics to choose from, it's a lot easier to use a little EQ than to choose the perfect mic for every application. 

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What are the specs that matter most for a microphone? I want to know more about this subject, thanks to all.
Besides frequency response, polar pattern (omnidirectional, cardioid, figure-8) and perhaps off-axis response.  Also the maximum SPL may be a consideration.

The application may influence your choice too.  For live hand-held use you might want a rugged dynamic (that also won't need phantom power).  ...The Shure SM57/58 (dynamic) is the most popular stage microphone of all time.  The SM57 is probably the most popular snare & guitar amp mic used in the studio, but dynamics are almost never used for vocals in the studio (except Bono uses an SM58).
 
BTW - Antares (the makers of AutoTune) sell a Microphone Modeling Plug-in that's supposed to make your mic sound like your choice of mic.    (Your actual mic needs be "on the list" so the software knows what changes to make.)

Transient response of a microphone

Reply #5 –
Quote from: Bobber on
Hello, I would like to know if the so called "transient response" of a microphone is really a different thing than frequency response or if they go hand in hand. They are quite correlated, aren't they? What are the specs that matter most for a microphone? I want to know more about this subject, thanks to all.


Depends. The characteristic that makes the frequency response of a device fully predictive of its phase response (and therefore transient response) is called "Minimum Phase'.

For a good example, just about every omnidirectional mic is largely minimum phase.  Measurement mics strongly tend to be minimum phase over the audio band. 

Just to make a pedantic point - even omnidirectional mics have small vents that equalize changes in barometric pressure, so at some really low frequency they may depart from being minimum phase.

The acoustical property of a transducer that tends to seriously detract from its minimum phase response is any time delay, and this means that cardiod mics which have rear vents or or two diaphragms, or shotgun mics are not minimum phase.

Yes and so that means that while speaker drivers tend to be minimum phase, vented speaker systems aren't.  Multiway speaker systems tend to not be minimum phase because their drivers have their acoustic centers displaced from each other. A true coaxial speaker tends to make speakers more likely to be close to being minimum phase because the acoustic centers of the drivers come close to being coincident.

Transient response of a microphone

Reply #6 –
Thanks, so, if I understood, mics with non-flat frequency response even if they can capture high frequency content, may have a worse transient response than flat microphones? Is it because there is a time delay for some frequencies? Can it be cured with an eq? Is there a place where I can find more informations on this subject?

Transient response of a microphone

Reply #7 –
Quote from: Bobber on
Thanks, so, if I understood, mics with non-flat frequency response even if they can capture high frequency content, may have a worse transient response than flat microphones?


A non-flat transmission path generally has worse transient response than a flat transmission path. There may be exceptions but they are rare and somewhat pathological.  Period.

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Is it because there is a time delay for some frequencies?


No, it is because they aren't flat.

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Can it be cured with an eq?


Whatever you cure with an eq on the electrical side of a transducer can only correct the response of the transducer in one direction. Unfortunately, how speakers and mics sound depends on their response in more than one direction.


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Is there a place where I can find more informations on this subject?


Sure, the web.  To really grasp this problem and its solutions you need at least what we in the US cal  a BSEE from a really good University or its equivalent.