DIGITAL MICROPHONE INTERFACE

Digital microphone interface

    The AES 42 standard, published by the Audio Engineering Society, defines a digital interface for microphones. Microphones conforming to this standard directly output a digital audio stream through an XLR or XLD male connector, rather than producing an analog output. Digital microphones may be used either with new equipment with appropriate input connections that conform to the AES 42 standard, or else via a suitable interface box. Studio-quality microphones that operate in accordance with the AES 42 standard are now available from a number of microphone manufacturers.

Measurements and specifications

   Because of differences in their construction, microphones have their own characteristic responses to sound. This difference in response produces non-uniform phase and frequencyresponses. In addition, microphones are not uniformly sensitive to sound pressure, and can accept differing levels without distorting. Although for scientific applications microphones with a more uniform response are desirable, this is often not the case for music recording, as the non-uniform response of a microphone can produce a desirable coloration of the sound. There is an international standard for microphone specifications,[39] but few manufacturers adhere to it. As a result, comparison of published data from different manufacturers is difficult because different measurement techniques are used. The Microphone Data Website has collated the technical specifications complete with pictures, response curves and technical data from the microphone manufacturers for every currently listed microphone, and even a few obsolete models, and shows the data for them all in one common format for ease of comparison.[3]. Caution should be used in drawing any solid conclusions from this or any other published data, however, unless it is known that the manufacturer has supplied specifications in accordance with IEC 60268-4.

   A frequency response diagram plots the microphone sensitivity in decibels over a range of frequencies (typically 20 Hz to 20 kHz), generally for perfectly on-axis sound (sound arriving at 0° to the capsule). Frequency response may be less informatively stated textually like so: "30 Hz–16 kHz ±3 dB". This is interpreted as meaning a nearly flat, linear, plot between the stated frequencies, with variations in amplitude of no more than plus or minus 3 dB. However, one cannot determine from this information how smooth the variations are, nor in what parts of the spectrum they occur. Note that commonly made statements such as "20 Hz–20 kHz" are meaningless without a decibel measure of tolerance. Directional microphones' frequency response varies greatly with distance from the sound source, and with the geometry of the sound source. IEC 60268-4 specifies that frequency response should be measured in plane progressive wave conditions (very far away from the source) but this is seldom practical. Close talking microphones may be measured with different sound sources and distances, but there is no standard and therefore no way to compare data from different models unless the measurement technique is described.

   The self-noise or equivalent input noise level is the sound level that creates the same output voltage as the microphone does in the absence of sound. This represents the lowest point of the microphone's dynamic range, and is particularly important should you wish to record sounds that are quiet. The          measure is often stated in dB(A), which is the equivalent loudness of the noise on a decibel scale frequency-weighted for how the ear hears, for example: "15 dBA SPL" (SPL meanssound pressure level relative to 20 micropascals). The lower the number the better. Some microphone manufacturers state the noise level using ITU-R 468 noise weighting, which more accurately represents the way we hear noise, but gives a figure some 11–14 dB higher. A quiet microphone typically measures 20 dBA SPL or 32 dB SPL 468-weighted. Very quiet microphones have existed for years for special applications, such the Brüel & Kjaer 4179, with a noise level around 0 dB SPL. Recently some microphones with low noise specifications have been introduced in the studio/entertainment market, such as models from Neumann and Rødethat advertise noise levels between 5–7 dBA. Typically this is achieved by altering the frequency response of the capsule and electronics to result in lower noise within the A-weighting curve while broadband noise may be increased.

    The maximum SPL the microphone can accept is measured for particular values of total harmonic distortion (THD), typically 0.5%. This amount of distortion is generally inaudible, so one can safely use the microphone at this SPL without harming the recording. Example: "142 dB SPL peak (at 0.5% THD)". The higher the value, the better, although microphones with a very high maximum SPL also have a higher self-noise.

   The clipping level is an important indicator of maximum usable level, as the 1% THD figure usually quoted under max SPL is really a very mild level of distortion, quite inaudible especially on brief high peaks. Clipping is much more audible. For some microphones the clipping level may be much higher than the max SPL.

    The dynamic range of a microphone is the difference in SPL between the noise floor and the maximum SPL. If stated on its own, for example "120 dB", it conveys significantly less information than having the self-noise and maximum SPL figures individually.

   Sensitivity indicates how well the microphone converts acoustic pressure to output voltage. A high sensitivity microphone creates more voltage and so needs less amplification at the mixer or recording device. This is a practical concern but is not directly an indication of the microphone's quality, and in fact the term sensitivity is something of a misnomer, "transduction gain" being perhaps more meaningful, (or just "output level") because true sensitivity is generally set by the noise floor, and too much "sensitivity" in terms of output level compromises the clipping level. There are two common measures. The (preferred) international standard is made in millivolts per pascal at 1 kHz. A higher value indicates greater sensitivity. The older American method is referred to a 1 V/Pa standard and measured in plain decibels, resulting in a negative value. Again, a higher value indicates greater sensitivity, so −60  dB is more sensitive than −70 dB