# MODUL PERKULIAHAN REKAYASA VIDEO DAN AUDIO - PERTEMUAN 3

JUDUL: TEKNIK REKAMAN AUDIO

## SUB-CPMK

Mahasiswa mampu memahami dan mempraktikkan teknik rekaman audio menggunakan
berbagai jenis mikrofon dan konfigurasi rekaman.

Indikator:
- Mahasiswa dapat mengidentifikasi jenis-jenis mikrofon dan kegunaannya
- Mahasiswa memahami polar patterns dan aplikasinya
- Mahasiswa dapat melakukan setup rekaman audio sederhana
- Mahasiswa memahami teknik microphone placement yang tepat
- Mahasiswa dapat melakukan gain staging dan level setting yang benar
- Mahasiswa memahami recording environment dan acoustic treatment basics

## TUJUAN PEMBELAJARAN

Setelah mengikuti pertemuan ini, mahasiswa diharapkan mampu:

1. Mengidentifikasi dan menjelaskan karakteristik tiga tipe microphone utama:
dynamic, condenser, dan ribbon

### 2. Memahami dan mengaplikasikan microphone polar patterns (cardioid,
omnidirectional, bidirectional, shotgun)

### 3. Melakukan setup audio interface dan preamp dengan benar

### 4. Menerapkan prinsip gain staging untuk optimal recording levels

### 5. Menggunakan teknik microphone placement yang tepat untuk berbagai sumber
suara (voice, acoustic instruments)

### 6. Memahami karakteristik recording environment dan basic acoustic treatment

### 7. Melakukan recording session menggunakan Audacity dengan hasil berkualitas

### 8. Troubleshoot common recording problems (hum, noise, distortion)

## PENGANTAR MATERI

"The microphone is the first link in the audio chain. Get it right at the
source, everything after becomes easier."

Recording audio adalah art dan science. Tidak peduli seberapa powerful editing
dan mixing tools yang kita punya, semuanya start dengan RECORDING yang baik.
Prinsip "Garbage In, Garbage Out" sangat applicable di audio production -
poor recording tidak bisa di-fix completely di post-production.

Bayangkan microphone sebagai "telinga" dari recording setup kita. Just seperti
different types of cameras untuk different photography needs, ada different
microphones dengan characteristics berbeda untuk different recording situations.

Yang membuat recording audio fascinating adalah kombinasi dari:

TECHNICAL KNOWLEDGE:
- Understanding microphone types dan specifications
- Knowing polar patterns dan frequency response
- Proper gain staging dan signal flow
- Avoiding technical problems (clipping, noise, phase issues)

ARTISTIC CHOICES:
- Microphone selection untuk desired sound
- Placement untuk best capture
- Room acoustics dan character
- Creative decisions dalam recording process

PRACTICAL SKILLS:
- Setting up equipment efficiently
- Monitoring dan adjusting levels
- Working dengan performers/talent
- Problem-solving on the fly

Dalam pertemuan ini, we'll explore:
- Different microphone technologies dan when to use them
- Polar patterns dan how they affect what microphone "hears"
- Signal chain: Microphone → Preamp → Audio Interface → Computer
- Practical recording techniques you'll use immediately
- Common problems dan solutions

Dengan free tools (Audacity + budget/built-in microphones), you can achieve
professional-sounding recordings dengan proper technique. Expensive gear helps,
but knowledge dan technique matter MORE than equipment cost.

Let's dive into the fascinating world of audio recording!

## MATERI

### 1. JENIS-JENIS MICROPHONE

#### 1.1. DYNAMIC MICROPHONES

TEKNOLOGI:
- Menggunakan moving coil dalam magnetic field
- Sound waves menggerakkan diaphragm attached ke coil
- Coil movement generates electrical signal
- Simple, robust construction

CHARACTERISTICS:
- Durability: Very rugged, can handle rough use
- Sensitivity: Less sensitive (requires louder sources)
- Frequency Response: Generally good, some coloration
- Phantom Power: NOT needed (self-powered by signal)
- Handling Noise: More tolerant of physical handling
- SPL Handling: Excellent (can handle very loud sources)
- Price: Generally affordable

STRENGTHS:
+ Extremely durable (can drop, still works)
+ No power required
+ Excellent untuk loud sources (drums, guitar amps)
+ Good rejection of background noise
+ Great untuk live performances
+ Budget-friendly

LIMITATIONS:
- Less detailed high-frequency response
- Less sensitive to quiet sounds
- Not ideal untuk quiet, detailed sources

POPULAR MODELS:
- Shure SM57: Industry standard untuk instruments, amps
* Used on presidential podiums, studio standard
* Price: ~$100, incredibly versatile

- Shure SM58: Industry standard untuk live vocals
* Built-in windscreen, feedback resistant
* Price: ~$100, virtually indestructible

- Electrovoice RE20: Broadcast standard
* Low proximity effect, smooth response
* Price: ~$450

BEST USE CASES:
- Live vocals (stage performances)
- Loud instruments: drums, guitar cabinets, brass
- Podcast/broadcast (RE20 style)
- Situations requiring durability
- Budget recording setups
- High SPL (Sound Pressure Level) sources

#### 1.2. CONDENSER MICROPHONES

TEKNOLOGI:
- Uses capacitor (condenser) with charged diaphragm
- Sound waves change capacitance
- Requires phantom power (+48V) untuk charge
- More complex circuitry

CHARACTERISTICS:
- Durability: More fragile, requires careful handling
- Sensitivity: Very sensitive (captures subtle details)
- Frequency Response: Extended, accurate, detailed
- Phantom Power: REQUIRED (+48V dari interface/preamp)
- Handling Noise: Sensitive to physical vibration
- SPL Handling: Variable (some models untuk loud, some not)
- Price: Wide range ($50 - $5000+)

TYPES:

### A. Large Diaphragm Condenser (LDC):
- Diaphragm > 1 inch
- Warm, rich sound
- Great untuk vocals, voice overs
- Examples: Audio-Technica AT2020, Rode NT1-A

### B. Small Diaphragm Condenser (SDC):
- Diaphragm < 1 inch
- Accurate, transparent
- Great untuk instruments, acoustic guitar, cymbals
- Examples: Rode M5, Audio-Technica AT2021

STRENGTHS:
+ Extremely detailed, accurate sound
+ Excellent frequency response (especially highs)
+ Great untuk quiet sources
+ Professional studio quality
+ Captures nuance dan subtlety

LIMITATIONS:
- Requires phantom power (+48V)
- More fragile construction
- Can be too sensitive (picks up room noise, handling)
- Some models cannot handle very loud sources
- Generally more expensive

POPULAR MODELS - BUDGET:
- Audio-Technica AT2020: ~$100
* Excellent budget LDC
* Great untuk home studios, vocals, instruments

- Behringer C-1: ~$50
* Ultra-budget option
* Surprisingly decent untuk price

- Rode M5 Matched Pair: ~$200
* Small diaphragm pair
* Stereo recording, acoustic instruments

POPULAR MODELS - PROFESSIONAL:
- Neumann U87: ~$3500
* Industry standard studio vocal mic
* Used on countless hit records

- AKG C414: ~$1000+
* Versatile, multiple polar patterns
* Studio workhorse

BEST USE CASES:
- Studio vocals (singing, voice over, podcast ADR)
- Acoustic instruments (guitar, strings, piano)
- Room ambience, stereo recording
- Detailed sound effects, foley
- Situations requiring accuracy dan detail
- Professional voice recording

#### 1.3. RIBBON MICROPHONES

TEKNOLOGI:
- Thin aluminum ribbon suspended dalam magnetic field
- Ribbon vibrates dengan sound waves
- Generates signal through electromagnetic induction
- Very delicate construction
- Classic "vintage" technology

CHARACTERISTICS:
- Durability: VERY fragile (wind, loud sounds can damage)
- Sensitivity: Variable (modern active ribbons more sensitive)
- Frequency Response: Smooth, natural, no harshness
- Phantom Power: Traditional: NO (can damage), Modern active: YES
- SPL Handling: Limited (loud sources can damage ribbon)
- Price: Generally expensive ($300 - $5000+)

STRENGTHS:
+ Extremely smooth, natural sound
+ No harsh frequencies
+ Excellent untuk brass, strings, vocals
+ Vintage character, warmth
+ Figure-8 pattern useful untuk specific applications

LIMITATIONS:
- Very fragile (avoid wind, plosives, loud transients)
- Expensive
- Lower output (requires good preamp)
- Phantom power can destroy traditional ribbons (check manual!)
- Not suitable untuk loud sources (can damage ribbon)

POPULAR MODELS:
- Royer R-121: ~$1400
* Modern classic
* Great on guitar cabinets, brass

- sE Electronics VR1/VR2: ~$300-400
* Budget-friendly active ribbons
* Phantom powered (safe)

- Rode NTR: ~$600
* Active ribbon
* More robust than traditional

BEST USE CASES:
- Smooth vocals (reducing sibilance naturally)
- Guitar cabinets (tames harshness)
- Brass instruments (trumpet, trombone, sax)
- String sections, orchestral recording
- Vintage character recordings
- Situations where you want to tame brightness

COMPARISON TABLE:

| Feature | Dynamic | Condenser | Ribbon |
|------------------|----------|-----------|--------------|
| Durability | Excellent| Fair | Poor |
| Sensitivity | Low | High | Medium |
| Detail/Accuracy | Good | Excellent | Very Good |
| Phantom Power | No | YES | Varies |
| Price (entry) | $50-150 | $50-200 | $300+ |
| Best For | Loud/Live| Studio | Smooth sound |
| SPL Handling | Excellent| Good | Limited |

### 2. MICROPHONE POLAR PATTERNS

Polar pattern menunjukkan sensitivity microphone terhadap sound dari different
directions. Understanding polar patterns critical untuk placement dan
background noise rejection.

#### 2.1. CARDIOID (Heart-shaped)

PATTERN DESCRIPTION:
- Most sensitive: Front (0°)
- Good pickup: 90° dan 270° (sides)
- Rejection: Rear (180°) - null point

CHARACTERISTICS:
- Rejects sound dari behind microphone
- Proximity effect: More bass saat close to mic
- Most common pattern untuk general use

APPLICATIONS:
- Live vocals (rejects stage monitors di rear)
- Studio vocals (rejects room reflections dari behind)
- Instrument recording (focus on instrument, reject room)
- Podcast/broadcast (rejects keyboard noise, room sound)
- General purpose recording

TIPS:
- Point rear null toward unwanted noise source
- Aware of proximity effect (bass boost when close)
- Good untuk untreated rooms (rejects rear reflections)

VARIATIONS:
- Supercardioid: Tighter front pickup, some rear sensitivity
* More rejection di sides
* Small pickup di rear (180°)
* Good untuk live sound (more gain before feedback)

- Hypercardioid: Even tighter, more rear sensitivity
* Very directional front
* More pronounced rear lobe
* Excellent side rejection

#### 2.2. OMNIDIRECTIONAL

PATTERN DESCRIPTION:
- Equal sensitivity di all directions (360°)
- Perfect sphere/circle pattern
- No null points

CHARACTERISTICS:
- Picks up sound equally dari semua arah
- No proximity effect (bass consistent)
- Natural, uncolored sound
- Picks up room ambience

APPLICATIONS:
- Room ambience recording
- Orchestra/ensemble recording (capturing space)
- Reference recording (accurate representation)
- Situations where you want room character
- Multiple speakers in group discussion

TIPS:
- Use dalam acoustically treated atau good-sounding rooms
- Bad dalam noisy atau bad-sounding rooms
- Position untuk best balance of direct sound dan room
- Works well untuk stereo recording techniques

ADVANTAGES:
+ Most natural, accurate frequency response
+ No proximity effect to worry about
+ Captures spatial character, ambience
+ Good untuk moving subjects (consistent pickup)

DISADVANTAGES:
- No directional isolation
- Picks up ALL room noise
- Requires good recording environment
- Feedback prone dalam live situations

#### 2.3. BIDIRECTIONAL / FIGURE-8

PATTERN DESCRIPTION:
- Sensitive: Front (0°) dan rear (180°)
- Maximum rejection: Sides (90° dan 270°)
- Pattern resembles number "8"

CHARACTERISTICS:
- Equal pickup front dan rear
- Excellent side rejection
- Classic ribbon microphone pattern
- Phase relationship: Front dan rear are opposite polarity

APPLICATIONS:
- Two-person interview (facing each other)
- Blumlein stereo recording (two figure-8 mics, 90° angle)
- MS (Mid-Side) stereo technique (side component)
- Rejecting side noise (traffic, windows)
- Musical duets (two performers)

TIPS:
- Position sides toward unwanted noise
- Aware of phase: Front dan rear 180° opposite
- Useful untuk stereo width techniques
- Less common than cardioid/omni

ADVANTAGES:
+ Excellent side rejection
+ Natural front/rear pickup
+ Useful untuk specific stereo techniques
+ Can record two sources simultaneously

DISADVANTAGES:
- Rear pickup may be unwanted
- Requires careful positioning
- Less common (fewer mics available)
- Can pick up unwanted rear sounds

#### 2.4. SHOTGUN (Line/Lobar)

PATTERN DESCRIPTION:
- Highly directional, very narrow front pickup
- Long interference tube increases directionality
- Some side lobes (minor sensitivity)
- Rear rejection

CHARACTERISTICS:
- Extreme directionality
- Long microphone design
- Must be pointed accurately at source
- Rejects off-axis sounds

APPLICATIONS:
- Film/video production (boom mic)
- Wildlife recording (distant subjects)
- Sports broadcasting (isolating specific sound)
- Situations requiring directional isolation
- Outdoor recording (rejecting wind pada sides)

TIPS:
- Must point precisely at source (narrow pickup)
- Longer mic = more directional (but also heavier)
- Indoor: Can sound unnatural (reflects sound weird)
- Outdoor: Excellent untuk isolating distant sounds

POPULAR MODELS:
- Rode VideoMic series: ~$100-250
* Camera-mount shotguns
* Popular untuk video work

- Sennheiser MKH-416: ~$1000
* Industry standard film/broadcast
* Used dalam professional film production

- Deity D3 Pro: ~$300
* Budget professional option

ADVANTAGES:
+ Excellent directional isolation
+ Rejects side dan rear sounds
+ Good untuk noisy environments
+ Professional film/video standard

DISADVANTAGES:
- Can sound unnatural indoors (comb filtering)
- Requires precise aiming
- Expensive untuk quality models
- Large/heavy untuk handheld use

#### 2.5. SWITCHABLE PATTERNS

Some condenser microphones offer multiple patterns dalam one mic:

COMMON MULTI-PATTERN MICS:
- AKG C414: 9 selectable patterns
- Audio-Technica AT4050: 3 patterns (cardioid, omni, figure-8)
- Rode NT2-A: 3 patterns

BENEFITS:
- Versatility dalam single microphone
- Can adapt to different recording situations
- Good studio investment (one mic, many uses)

COST:
- More expensive than fixed-pattern mics
- Investment worthwhile untuk studios

### 3. AUDIO INTERFACE DAN PREAMP

#### 3.1. SIGNAL FLOW: MICROPHONE TO COMPUTER

SIGNAL CHAIN:
Microphone → Preamp → ADC (Analog-Digital Converter) → Computer → DAW

COMPONENTS:

1. MICROPHONE:
- Converts acoustic energy → electrical signal
- Output: Mic-level signal (very low voltage, ~0.002-0.01V)
- Requires amplification

- Amplifies mic-level signal → line-level
- Provides gain (amplification)
- Provides phantom power (+48V) untuk condenser mics
- Critical untuk sound quality (good preamp = clean gain)

- Converts analog electrical signal → digital data
- Sampling dan quantization (covered pertemuan 2)
- Built into audio interface

- Receives digital audio
- Records, stores, plays back
- Software: Audacity, Ardour, etc.

#### 3.2. AUDIO INTERFACE

WHAT IS IT:
External atau internal device untuk audio I/O (Input/Output)

FUNCTIONS:
- Preamplifiers untuk microphones
- Phantom power supply
- Analog-to-Digital Conversion (recording)
- Digital-to-Analog Conversion (playback)
- Monitoring capabilities (headphone out, speaker out)
- Better quality than built-in soundcard

KEY SPECIFICATIONS:

### A. NUMBER OF INPUTS:
- Solo recording: 1-2 inputs sufficient
- Band recording: 4-8+ inputs
- Common: 2-channel interfaces popular untuk home studios

### B. PREAMP QUALITY:
- Determines noise floor, headroom, clarity
- Better preamps = cleaner sound, more gain
- Budget interfaces: Acceptable quality
- Pro interfaces: Excellent transparency

### C. SAMPLE RATE & BIT DEPTH:
- Modern standard: 24-bit / 48 kHz minimum
- High-end: 24-bit / 192 kHz capable
- Untuk learning: 24-bit / 48 kHz perfect

### D. CONNECTIVITY:
- USB: Most common, compatible, USB-C best
- Thunderbolt: Faster, lower latency, Mac-common
- FireWire: Older standard, less common now

### E. MONITORING:
- Direct monitoring: Hear input with zero-latency
- Headphone output: Essential untuk recording
- Volume controls: Independent headphone/monitor control

POPULAR BUDGET INTERFACES ($50-$200):
- Behringer U-Phoria UM2/UMC22: ~$50
* Ultra-budget, 1-2 inputs
* Good untuk starting out

- Focusrite Scarlett Solo/2i2: ~$120-180
* Industry standard beginner interface
* Excellent preamps untuk price
* 2i2: 2 inputs (most popular)

- PreSonus AudioBox USB: ~$100
* Good alternative to Scarlett
* Solid build, decent preamps

MID-RANGE ($200-$500):
- Focusrite Scarlett 4i4/8i6: ~$250-350
* More inputs, better monitoring

- Universal Audio Volt 2/4: ~$200-300
* Vintage preamp mode
* Excellent build quality

- MOTU M2/M4: ~$200-300
* Excellent metering
* High-quality converters

USING BUILT-IN SOUNDCARD:
- Possible untuk learning, but limitations:
* Lower quality preamps (more noise)
* May not provide phantom power
* Latency dapat lebih tinggi
* Acceptable untuk starting out dengan dynamic mics

#### 3.3. PHANTOM POWER (+48V)

WHAT IS IT:
- DC power (48 volts) sent melalui microphone cable
- Powers condenser microphones' active circuitry
- Standard: +48V (sometimes +24V atau +12V available)

HOW IT WORKS:
- Sent through same XLR cable as audio signal
- Pins 2 dan 3: +48V, Pin 1: Ground (return)
- Balanced cable allows this without interfering dengan audio

IMPORTANT NOTES:
✓ SAFE untuk dynamic mics (they ignore phantom power)
✓ REQUIRED untuk condenser mics (won't work without it)
✗ DANGEROUS untuk traditional ribbon mics (can destroy them)
* Modern active ribbons are usually phantom-safe (check manual!)

TURNING ON:
- Most audio interfaces: "+48V" button atau switch
- Indicator light shows when active
- Turn ON before plugging in mic (avoid pop)
- Turn OFF before removing mic (avoid pop)

TROUBLESHOOTING:
"My condenser mic isn't working":
→ Check: Is phantom power turned ON?

"Mic signal very weak":
→ Condenser without phantom power = very weak/no signal

### 4. GAIN STAGING DAN LEVEL SETTING

#### 4.1. WHAT IS GAIN STAGING?

DEFINITION:
Process of managing signal levels throughout audio chain untuk optimize
signal-to-noise ratio while avoiding clipping/distortion.

GOAL:
"Hot signal, not clipping" - Strong signal well above noise floor, with
headroom below 0 dBFS.

THE SIGNAL CHAIN:
Mic → Preamp Gain → Interface Input → Digital Level → DAW

Each stage must be set properly untuk avoid:
- Too low: Weak signal, high noise, poor SNR
- Too high: Distortion, clipping, ruined recording

#### 4.2. SETTING INPUT GAIN (MOST IMPORTANT)

LOCATION:
- Gain knob pada audio interface atau preamp
- Controls how much preamplification applied to mic signal

PROCEDURE:
1. START LOW:
- Turn gain knob all the way down (counter-clockwise)
- Avoid surprises, clipping, ear damage

- Have talent speak/sing/play at PERFORMANCE LEVEL
- Not quieter (will record too hot later)
- Represent loudest parts dari recording

- While monitoring meter dalam DAW (Audacity)
- Watch peak levels

- CONSERVATIVE: Peaks at -18 to -12 dBFS (lots of headroom)
- NORMAL: Peaks at -12 to -6 dBFS (good balance)
- AGGRESSIVE: Peaks at -6 to -3 dBFS (minimum headroom)
- NEVER: Peaks at 0 dBFS atau above (CLIPPING!)

- Ask talent untuk perform loudest part
- Ensure no clipping even at loudest moments
- Better too quiet than too loud (can amplify later)

#### 4.3. READING METERS IN AUDACITY

DURING RECORDING:
- Red bars show input level
- Green: Good signal
- Yellow: Getting hot (be careful)
- Red zone: TOO HOT (will clip)
- Red vertical line: CLIPPING occurred (bad!)

TARGET:
- Majority dalam green (-18 to -6 dBFS)
- Occasional yellow okay (-6 to -3 dBFS)
- NEVER red (0 dBFS+)

AUDACITY METER TOOLBAR:
- View > Toolbars > Meter Toolbar (enable if not visible)
- Click dropdown: Monitoring mode
- Shows real-time input levels

POST-RECORDING CHECK:
- View waveform: Should have good amplitude, not tiny
- Zoom in pada peaks: Should NOT be flat-topped (indicates clipping)
- Quiet sections: Should be visible above noise floor

#### 4.4. HEADROOM

CONCEPT:
Space between peak levels dan 0 dBFS (maximum digital level)

WHY IMPORTANT:
- Unexpected loud sounds won't clip
- Room untuk processing (plugins can add gain)
- Safety margin untuk mistakes
- Professional practice

RECOMMENDED:
- Recording: -12 to -6 dB peaks (6-12 dB headroom)
- Mixing: -6 to -3 dB peaks
- Mastering: Final product at -1 to -0.3 dB peaks

REMEMBER:
"You can always make quiet audio louder, but you CANNOT fix clipped audio."

#### 4.5. TROUBLESHOOTING COMMON LEVEL PROBLEMS

PROBLEM: Signal too quiet, lots of noise when amplified
SOLUTION:
- Increase input gain pada interface
- Move closer to microphone
- Use louder voice/performance
- Check: Is phantom power on (untuk condenser)?

PROBLEM: Clipping, distorted audio
SOLUTION:
- Reduce input gain pada interface
- Move farther dari microphone
- Reduce volume of source (if possible)
- Check: Not hitting 0 dBFS?

PROBLEM: Inconsistent levels (quiet dan loud sections)
SOLUTION:
- Use compression (dalam post-production)
- Maintain consistent distance dari mic
- Consistent performance volume
- Better mic technique

PROBLEM: One channel louder than other (stereo)
SOLUTION:
- Check gain settings (should match untuk stereo)
- Check mic positioning (equidistant?)
- Check phase (both pointing same direction?)

### 5. TEKNIK MICROPHONE PLACEMENT

#### 5.1. GENERAL PRINCIPLES

PROXIMITY EFFECT:
- Cardioid mics: More bass when closer
- Use to advantage: Close untuk warm, intimate sound
- Avoid: Move back untuk neutral, natural tone
- Severe pada 2-6 inches

DISTANCE GENERAL GUIDELINES:
- Close mic (2-6 inches): Intimate, detailed, dry
* Good untuk isolating source
* More bass (proximity effect)
* Less room sound

- Medium distance (6-12 inches): Natural, balanced
* Good general-purpose distance
* Balanced frequency response
* Some room character

- Far (1-3 feet): Room ambience, natural
* Captures room character
* Less isolation
* Good untuk good-sounding spaces

ANGLE / AXIS:
- On-axis: Pointing directly at source (brightest)
- Off-axis: Angled away (darker, softer)
- Experiment dengan angle untuk tone shaping

#### 5.2. VOICE RECORDING (SPOKEN WORD, PODCAST, VOICE OVER)

SETUP 1: Dynamic Mic (Shure SM58 style)
- Distance: 4-8 inches dari mouth
- Position: Slightly below mouth, angled up
- Angle: Slight off-axis dapat reduce plosives
- Presence: Close proximity untuk intimacy

SETUP 2: Large Diaphragm Condenser
- Distance: 6-12 inches
- Use: Pop filter essential (prevent plosives)
- Position: Mouth height or slightly above, angled down
- Pattern: Cardioid (rejects room)

TIPS:
- Consistency: Maintain distance throughout (use visual marker)
- Pop filter: Fabric screen 2-3 inches in front of mic
* Prevents "P" dan "B" plosives
* DIY: Pantyhose stretched over embroidery hoop
- Room: Deaden echoes (blankets, closet, foam)
- Editing: Remove breaths, clicks, pops later

AVOIDING PLOSIVES (P, B, T sounds):
- Pop filter (primary defense)
- Microphone slightly off-axis
- Microphone above atau below mouth (not directly in front)
- Distance (farther = less plosives)
- High-pass filter dalam post (removes low-freq plosives)

AVOIDING SIBILANCE (harsh S, SH sounds):
- De-esser plugin dalam post (primary fix)
- Microphone slightly off-axis (reduces highs)
- Proper distance (not too close)
- Choose mic: Ribbon atau darker mics have less sibilance

#### 5.3. SINGING / VOCAL PERFORMANCE

SIMILAR TO SPOKEN WORD, dengan considerations:

DISTANCE:
- 6-12 inches typical
- Can work closer atau farther untuk artistic effect
- Singer may move dinamis with performance (encourage consistency)

CONSIDERATIONS:
- Dynamic range: Singing has wider range than speech
- Set levels untuk loudest passages (avoid clipping)
- Pop filter essential
- Consider room sound: Reflections can add ambience (atau mud)

STYLE-SPECIFIC:
- Intimate ballad: Close mic (4-6 inches), warm tone
- Powerful belting: Farther (8-12 inches), avoid overwhelming
- Rap/Hip-hop: Close untuk presence, pop filter critical

#### 5.4. ACOUSTIC GUITAR

TECHNIQUE 1: Single Mic, 12th Fret
- Position: 6-12 inches dari 12th fret
- Angle: Pointed toward sound hole area
- Result: Balanced tone, common starting point

TECHNIQUE 2: Sound Hole
- Position: Pointed at sound hole, 6-8 inches
- Result: More bass, full-bodied
- Risk: Can be boomy (too much bass)

TECHNIQUE 3: Bridge
- Position: Toward bridge, 6-8 inches
- Result: Brighter, more string attack
- Use: When you want clarity, brightness

TECHNIQUE 4: Neck/Upper Frets
- Position: Higher on neck, toward headstock
- Result: Mellower, warmer, less brightness
- Use: Taming bright guitar

STEREO (Two mics):
- Technique: One at 12th fret, one at bridge
- Spacing: 3-to-1 rule (3x farther apart than distance to source)
- Blend: For richer, wider sound

TIPS:
- Small diaphragm condenser ideal (accurate)
- Watch boomy frequencies (80-150 Hz)
- Experiment with distance: Closer = more detail, farther = natural

#### 5.5. RECORDING IN NON-IDEAL ENVIRONMENTS

MOST STUDENTS WON'T HAVE TREATED STUDIOS. How to maximize quality?

CHOOSE BEST ROOM:
- Smallest room often better (fewer reflections)
- Carpeted better than hard floors
- Furnished better than empty (furniture absorbs/diffuses)
- Closet full of clothes: Excellent makeshift booth!

DEADEN REFLECTIONS:
- Hang blankets on walls/stands behind mic
- Surround mic dengan pillows, cushions
- Use mattress against wall
- DIY reflection filter: Curved surface behind mic

ELIMINATE NOISE SOURCES:
- Turn off fans, AC, heating (during takes)
- Close windows (traffic noise)
- Turn off computer fans if possible (atau move away)
- Silence phones, notifications
- Record at quiet times (night, early morning)

MICROPHONE CHOICE FOR BAD ROOMS:
- Dynamic: Better rejection of room sound
- Cardioid pattern: Rejects rear reflections
- Close mic: Increases direct sound vs room sound ratio

POSITION IN ROOM:
- Avoid center (maximizes room modes)
- Not equidistant dari walls (avoid standing waves)
- Experiment with corners vs center

#### 5.6. THREE-TO-ONE RULE (Multiple Microphones)

When using multiple mics to avoid phase issues:

RULE:
For every 1 unit away dari source, mics should be 3 units apart from each other.

EXAMPLE:
- Mic A: 1 foot dari guitar
- Mic B: Should be 3+ feet away dari Mic A

WHY:
- Prevents phase cancellation
- Ensures one mic receives signal stronger than others
- Avoids comb filtering

APPLICATION:
- Multi-mic setups
- Stereo recording
- Multiple sources dalam same room

### 6. MONITORING DAN WORKING DENGAN TALENT

#### 6.1. MONITORING DURING RECORDING

HEADPHONES:
- Essential untuk monitoring what's being recorded
- Closed-back preferred (prevents leakage into mic)
- Check: Is what I hear what microphone captures?

WHAT TO LISTEN FOR:
- Proper level (not too quiet, not clipping)
- No distortion
- No unwanted noises (rumble, hum, clicks)
- Consistent tone dan level
- Room sound (too much echo/reverb?)

DIRECT MONITORING:
- Feature pada audio interfaces
- Hear input with zero latency
- Enable untuk comfortable performance
- Disable untuk hearing processed signal from DAW

#### 6.2. WORKING WITH TALENT (PERFORMERS, INTERVIEWEES)

COMMUNICATION:
- Explain what you're doing (reduces anxiety)
- Give clear instructions (distance, volume)
- Encourage natural performance (not too self-conscious)

SOUND CHECK:
- "Can you speak/sing at the level you'll perform?"
- Set levels dengan actual performance, not quiet talk
- Verify headphone mix is comfortable

TAKES:
- Multiple takes okay (editing later)
- Stop immediately if technical problem (don't waste time)
- Mark good takes (mental note atau Audacity label)

ADJUSTMENTS:
- Too quiet: "Can you speak up a bit?"
- Too loud: Adjust gain, sau "Ease back slightly"
- Distance: "Stay within this area please" (mark dengan tape)
- Plosives: "Turn slightly away" atau adjust pop filter

#### 6.3. RECORDING WITH AUDACITY - WORKFLOW

PREPARATION:
1. Connect microphone → audio interface → computer

### 3. Set input device: Audio Setup button → Choose interface

### 4. Enable Monitoring: Meter Toolbar → Start Monitoring

LEVEL CHECK:
1. Talent performs at performance level

### 3. Watch meters dalam Audacity (target -12 to -6 dB peaks)

RECORDING:
1. Click Record button (red circle) atau press R

### 2. Slate: "This is Take 1" (helps organizing later)

### 5. Listen back: Click to start waveform, press Space to play

MULTIPLE TAKES:
1. APPEND RECORDING (Shift+R): Continues pada same track

### 2. NEW TRACK: Tracks > Add New > Stereo/Mono track, then Record

### 3. LABEL takes: Edit > Labels > Add Label at Selection (Ctrl+B)

SAVING:
- Save Project: File > Save Project (Audacity's .aup3 format)
* Saves untuk editing, non-destructive
- Export Audio: File > Export > Export Audio
* Creates deliverable file (WAV, MP3, etc.)

## VIDEO PEMBELAJARAN YANG DIREKOMENDASIKAN

MICROPHONE FUNDAMENTALS:
1. "Dynamic vs Condenser Microphones - Complete Comparison"
https://www.youtube.com/results?search_query=dynamic+vs+condenser+microphone

2. "Microphone Polar Patterns Explained - Cardioid, Omni, Figure-8"
https://www.youtube.com/results?search_query=microphone+polar+patterns+tutorial

3. "How to Choose the Right Microphone for Your Needs"
https://www.youtube.com/results?search_query=choosing+the+right+microphone

RECORDING TECHNIQUES:
4. "Proper Microphone Technique for Vocals and Podcasts"
https://www.youtube.com/results?search_query=microphone+technique+vocals+podcast

5. "How to Record Acoustic Guitar - Microphone Placement"
https://www.youtube.com/results?search_query=recording+acoustic+guitar+mic+placement

6. "Gain Staging Tutorial - Setting Recording Levels Correctly"
https://www.youtube.com/results?search_query=gain+staging+recording+levels

AUDIO INTERFACE:
7. "Audio Interface Explained - What It Is and Why You Need One"
https://www.youtube.com/results?search_query=audio+interface+explained+beginners

8. "Focusrite Scarlett 2i2 Setup and Tutorial"
https://www.youtube.com/results?search_query=focusrite+scarlett+2i2+setup

RECORDING WITH AUDACITY:
9. "How to Record High Quality Audio with Audacity"
https://www.youtube.com/results?search_query=record+high+quality+audacity

10. "Setting Up Your Microphone in Audacity - Complete Guide"
https://www.youtube.com/results?search_query=audacity+microphone+setup

PROBLEM SOLVING:
11. "How to Reduce Background Noise When Recording"
https://www.youtube.com/results?search_query=reduce+background+noise+recording

12. "DIY Acoustic Treatment for Home Studios on a Budget"
https://www.youtube.com/results?search_query=diy+acoustic+treatment+home+studio

RECOMMENDED CHANNELS:
- Booth Junkie (Voice recording specialist)
- Podcastage (Microphone reviews dan tutorials)
- Audio University (Educational, clear explanations)
- Curtis Judd (Audio untuk video)

## PRAKTIKUM

### PRAKTIKUM 1: MICROPHONE TYPE EXPLORATION

TUJUAN:
Memahami perbedaan karakteristik antara microphone types yang tersedia.

LANGKAH:
1. IDENTIFY YOUR EQUIPMENT:
- What microphone(s) do you have access to?
- Built-in laptop mic?
- USB microphone?
- XLR microphone dengan audio interface?
- Headset atau earbud mic?

Document:
- Model/brand (if known)
- Type: Dynamic, condenser, atau unknown
- Connection type: USB, XLR, 3.5mm, built-in

- Google: "[Your mic model] specifications"
- Find: Type, polar pattern, frequency response
- If built-in/unknown: Likely omnidirectional atau wide cardioid

a. Open Audacity
b. Record yourself:
- Normal speaking voice: "This is my normal voice"
- Low pitch: Hum low note
- High pitch: Whistle atau high voice "Eeeeee"
c. Analyze > Plot Spectrum
d. Observe: Which frequencies are captured well/poorly?
e. Screenshot spectrum

a. Record test phrase dari different angles:
- Front (on-axis): "This is front"
- Side (90°): "This is side"
- Rear (180°): "This is rear"
b. Compare volume dan tone
c. Determine approximate polar pattern

DELIVERABLE:
- Equipment documentation dengan specifications
- Spectrum analysis screenshot
- Positional test recordings
- Report (300 words): Characteristicsyang discovered

### PRAKTIKUM 2: GAIN STAGING PRACTICE

TUJUAN:
Master proper level setting untuk clean recordings.

LANGKAH:
1. SETUP:
- Connect microphone
- Open Audacity
- Enable Meter Toolbar (View > Toolbars > Meter Toolbar)
- Start Monitoring

a. Set input gain very low (if adjustable)
b. Record speaking at normal volume (15 seconds)
c. Observe: Tiny waveform, low meter levels
d. Play back at normal volume
e. Note: Needs amplification, possibly noisy

a. Set gain too high
b. Record speaking at normal volume
c. Intentionally cause clipping (red meters)
d. Observe: Flat-topped waveform (clipping)
e. Play back: Distorted, harsh

a. Reset gain
b. Gradually increase while speaking at PERFORMANCE level
c. Target: Peaks at -12 to -6 dBFS
d. Record 30 second passage
e. Check: No clipping, good amplitude, clean playback

Record sama phrase dengan different distances:
a. Very close (2-3 inches): Note proximity effect
b. Normal (6-8 inches): Balanced
c. Far (18-24 inches): Room sound increases

Keep gain same untuk all tests.

Using optimal settings, record clean 1-minute audio:
- Spoken word OR
- Reading passage OR
- Acoustic instrument

Requirements:
- No clipping
- Peaks at -12 to -6 dBFS
- Minimal background noise
- Consistent level throughout

DELIVERABLE:
- 3 recordings: Too quiet, too loud (clipped), optimal
- Distance test recordings
- Final 1-minute clean recording
- Meter screenshots showing levels
- Report (300 words): What you learned tentang level setting

### PRAKTIKUM 3: MICROPHONE PLACEMENT EXPLORATION

TUJUAN:
Discover how placement affects tone dan quality.

SCENARIO PILIHAN (Choose yang applicable):

OPTION A: VOICE RECORDING
1. Setup dengan pop filter if available (atau improvise)

### 2. Record same passage dengan different placements:
a. 4 inches, on-axis (directly in front)
b. 8 inches, on-axis
c. 12 inches, on-axis
d. 8 inches, 45° off-axis
e. 8 inches, dengan pop filter vs without (jika ada)

- Which has most bass (proximity effect)?
- Which has best clarity?
- Which best prevents plosives?
- Your preferred sound?

OPTION B: ACOUSTIC GUITAR (or other instrument)
1. Record same musical phrase dengan different positions:
a. Sound hole (6 inches)
b. 12th fret (8 inches)
c. Bridge area (8 inches)
d. Neck/upper frets (8 inches)

- Which is most balanced?
- Which has most bass?
- Which has most brightness/clarity?
- Your preferred tone?

OPTION C: ROOM EXPLORATION (any source)
1. Record dalam different locations:
a. Center of room
b. Corner
c. Near wall
d. Closet atau small space
e. With makeshift acoustic treatment

- Which has most echo/reverb?
- Which sounds driest (least room sound)?
- Best recording location dalam your space?

DELIVERABLE:
- All placement test recordings (labeled clearly)
- Side-by-side waveform comparison screenshot
- Spectrum comparison (if significant differences)
- Report (400 words):
* Describe differences heard
* Which placement preferred dan why?
* What did you learn tentang placement?

## RINGKASAN

Pertemuan ini covered comprehensive recording techniques:

1. MICROPHONE TYPES:
- Dynamic: Rugged, affordable, good untuk loud sources, no phantom power
- Condenser: Detailed, sensitive, requires phantom power, studio standard
- Ribbon: Smooth, fragile, expensive, vintage character

- Cardioid: Front pickup, rear rejection (most common)
- Omnidirectional: Equal all directions, natural sound
- Bidirectional (Figure-8): Front dan rear, side rejection
- Shotgun: Highly directional, film/video standard

- Microphone → Preamp → ADC → Computer → DAW
- Audio interface provides preamp dan ADC
- Phantom power (+48V) untuk condenser mics

- Set levels untuk strong signal without clipping
- Target: Peaks at -12 to -6 dBFS during recording
- Better too quiet than too loud
- "You can't fix clipping"

- Distance affects tone: Close = intimate, Far = roomy
- Proximity effect: Cardioid mics have more bass saat close
- Voice: 6-12 inches dengan pop filter
- Acoustic guitar: Multiple techniques (12th fret, sound hole, bridge)
- Room choice matters: Quiet, deadened spaces best

- Monitor levels continuously
- Use headphones untuk monitoring
- Multiple takes okay
- Work dengan talent professionally
- Save project files, export deliverables

SKILLS DEVELOPED:
- Equipment identification dan setup
- Proper gain setting untuk optimal SNR
- Microphone selection untuk different sources
- Placement techniques untuk various scenarios
- Troubleshooting recording problems

Next: We'll take these recordings dan learn comprehensive editing techniques!

## TUGAS: RECORDING PROJECT (10% - Due Next Week)

ASSIGNMENT: Professional Voice Recording

OBJECTIVE:
Demonstrate mastery of recording techniques learned.

REQUIREMENTS:

1. CONTENT (Choose ONE):
OPTION A: Podcast Intro (60-90 seconds)
- Introduce imaginary podcast
- Your name, topic, what listeners akan learn
- Professional, engaging delivery

OPTION B: Voice Over / Narration (60-90 seconds)
- Read provided script (or find public domain text)
- Clear, professional delivery
- Suitable untuk educational video or documentary

OPTION C: Music Performance (60-90 seconds)
- Singing OR
- Acoustic instrument
- Original atau cover acceptable

✓ Clean recording (no distortion/clipping)
✓ Proper levels: Peaks -12 to -6 dBFS
✓ Minimal background noise
✓ Appropriate microphone technique
✓ Consistent placement dan level
✓ Format: WAV, 48kHz, 24-bit

- Equipment used (mic, interface, software)
- Recording location dan setup
- Challenges encountered dan solutions
- Screenshot of waveform dalam Audacity
- Screenshot of spectrum analysis
- 500-800 words reflection

- Audio file: [NamaAnda]_Recording.wav
- Documentation: [NamaAnda]_Recording_Report.pdf
- Via LMS before deadline

GRADING RUBRIC (Total: 100 points):

AUDIO QUALITY (60 points):
- Proper levels (15 pts): No clipping, good amplitude
- Clarity (15 pts): Clear, intelligible, minimal noise
- Consistency (15 pts): Even levels, stable placement
- Microphone technique (15 pts): Appropriate distance, pop control

CONTENT (20 points):
- Delivery (10 pts): Professional, confident, appropriate pacing
- Content quality (10 pts): Well-prepared, coherent

DOCUMENTATION (20 points):
- Completeness (10 pts): All required elements included
- Reflection quality (10 pts): Thoughtful, demonstrates learning

DEADLINE: [Insert deadline - 1 week from class]
LATE PENALTY: -10% per day

TIPS FOR SUCCESS:
- Test dan practice before final recording
- Record dalam quiet environment
- Multiple takes okay - choose best
- Focus on quality over length (60 seconds excellent better than 90 mediocre)
- Ask questions dalam class if unclear

## RESOURCE TAMBAHAN

MICROPHONE DATABASES:
- RecordingHacks.com/microphones - Comprehensive mic database
- Sweetwater Microphone Buying Guide

ACOUSTIC TREATMENT DIY:
- "The Home Recording Show" - DIY acoustic panels
- GIK Acoustics - Educational resources on acoustics

RECORDING TECHNIQUE BOOKS:
- "The Recording Engineer's Handbook" - Bobby Owsinski
- "Modern Recording Techniques" - Huber & Runstein
- (Search untuk PDFs atau library copies)

FORUMS & COMMUNITIES:
- r/audioengineering subreddit
- Gearslutz forums (now Gearspace.com)
- Sound on Sound forums

FREE TOOLS:
- Room EQ Wizard - Room acoustics measurement
- REW (Room EQ Wizard) - Frequency analysis

## PERSIAPAN PERTEMUAN SELANJUTNYA

MATERI YANG AKAN DIBAHAS:
Pertemuan 4: "Audio Editing dengan Audacity"
- Audacity interface lengkap
- Import/export audio berbagai format
- Selection tools, cutting, copying, trimming
- Effects: Noise Reduction, Normalization, EQ, Compression
- Multi-track editing dan arrangement
- Fade in/out, crossfade
- Generate tones dan silence
- Export untuk podcast, voice over, YouTube

PERSIAPAN:
1. Ensure Audacity fully functional

### 2. Have recording dari Pertemuan 3 ready untuk editing

### 3. Optional: Download sample audio files untuk editing practice

### 4. Familiarize dengan Audacity interface (explore menus)

PRE-READING:
- "Audacity Manual" - Basic editing concepts
https://manual.audacityteam.org/

VIDEO PREVIEW:
"Audacity Complete Tutorial for Beginners"
https://www.youtube.com/results?search_query=audacity+complete+tutorial

BRING TO CLASS:
- Laptop dengan Audacity installed
- Headphones untuk critical listening
- Recording dari Pertemuan 3 atau Tugas

Pertemuan selanjutnya akan hands-on editing intensive!