The use of B&K Microphones in modern day recording
B&K has long set the standard for precision measurement equipment within the fields of acoustics and vibration. And, if you have ever “voiced” a pair of control room monitors, there is a good chance you’ve already used a B&K omnidirectional microphone.
B&K Microphones for Vocal Applications
Undoubtedly, the most popular application for the B&K omni microphone is the vocal. Once most singers hear the clarity the 4000 series provides, there is no turning back. Recording a “lead” with a B&K omni also has valuable “plusses”, such as greater freedom of movement. With a “traditional” lead vocal set up large-diaphragm condenser mic set to the cardioid polar pattern — there can be irritating problems with regard to singer/microphone relationships. As the singer moves closer to the mic there is a build-up in the low frequency area (proximity effect). In addition, the physical presence of these usually large—sized mics causes reﬂections between the microphone and the singer’s face. This results in changes in the insitu frequency response of the mic.
Generally the artist finds a distance that is most pleasing to the engineer/producer, and maintains that distance throughout the performance or the sound quality can change drastically. The artist must also watch their “p’s”, since the mic is highly susceptible to vocal pops. In comparison, working with the 4000 series is almost care-free. I generally place the mic approximately 12 — 16in (30 _ 40cm) directly in front of the artist’s lips. In this position, with a respectable amount of in-line limiting, the singer has a great deal of freedom of movement in all directions. Types B&K 4003 and B&K 4006 in particular are inherently in sensitive to vocal pops so they are a very good choice for this application.
View microphones in our Classic Catalogue.