Microphone DesignThe Dynamic MicrophoneThe Ribbon MicrophoneFurther Developments in Ribbon TechnologyThe Condenser MicrophonePowering a Condenser MicExternal Power SupplyPhantom PowerThe Electret-Condenser MicrophoneMicrophone CharacteristicsDirectional ResponseFrequency ResponseTransient ResponseOutput CharacteristicsSensitivity RatingEquivalent Noise RatingOverload CharacteristicsMicrophone ImpedanceBalanced/Unbalanced LinesSoldering, Baby!Microphone PreampsModeled Condenser Mic SystemsMicrophone TechniquesOther Microphone Pickup IssuesLow-Frequency RumbleProximity EffectPoppingOff-Axis PickupPickup Characteristics as a Function of Working DistanceClose Microphone PlacementLeakageRecording DirectDistant Microphone PlacementRoom Microphone PlacementRoom Pickup in the StudioThe Boundary Effect“Reamping It” in the MixAccent Microphone PlacementStereo and Immersive Mic TechniquesSpaced PairX/YM/SDecca TreeSurround Miking TechniquesAmbient/Room Surround MicsImmersive Decca TreeAmbisonic PickupMicrophone Placement TechniquesBrass InstrumentsTrumpetTromboneTubaFrench HornGuitarAcoustic GuitarMiking Near the Sound HoleRoom and Surround Guitar MikingNylon or Spanish GuitarThe Electric GuitarMiking the Guitar AmpRecording DirectThe Electric Bass GuitarKeyboard InstrumentsGrand PianoSeparationUpright PianoElectronic Keyboard InstrumentsPercussionDrum SetMiking the Drum SetKick DrumSnare DrumOverheadsRack TomsFloor TomHi-HatTuned Percussion InstrumentsCongas and Hand DrumsXylophone, Vibraphone and MarimbaStringed InstrumentsViolin and ViolaCelloDouble BassVoiceMic Tools for the VoiceWoodwind InstrumentsClarinetFluteSaxophoneHarmonicaMicrophone SelectionShure SM57Telefunken M81AKG D112Royer Labs R-121Beyerdynamic M-160AEA A440Audio-Technica AT5045AKG C214Neumann TLM102Warm Audio WA-47Telefunken U47, C12 and ELA M251E