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Boundary microphone (Audio-Technica ATM87R) A boundary microphone (or pressure zone microphone) is one or more small omnidirectional or cardioid condenser mic capsule(s) positioned near or flush with a boundary (surface) such as a floor, table, or wall. The capsule(s) is/are typically mounted in a flat plate or housing.
The Shure SM58 is a professional cardioid dynamic microphone, commonly used in live vocal applications. Produced since 1966 by Shure Incorporated , it has built a reputation among musicians for its durability and sound, and is still the industry standard for live vocal performance microphones.
The Electro-Voice RE20 is an American professional cardioid dynamic microphone, commonly used in broadcasting applications since 1968. Designed by Electro-Voice using the company's patented Variable-D technology and a large-diaphragm element, it has been described as an industry standard "iconic" microphone for its natural sound and its wide ...
The Neumann U 87 is a poly-directional large-diaphragm condenser microphone. Originally introduced in 1967, a version of the U 87 is still produced by Georg Neumann GmbH. The U 87 became an industry standard recording microphone, a reputation that continues to endure. [1] [2] The U 87 was inducted into the TECnology Hall of Fame in 2006. [3]
The microphone kit (two SM57 microphones, windscreens, microphone stands, and black right-angle XLR cables) is referred to as the VIP/high-profile microphone kit. The SM57 is a popular choice of musicians due to its sturdy construction and ability to work well with instruments that produce high sound pressure levels , such as percussion ...
Shure SM7B microphone used in an interview with Marius Bear The Shure SM7 is a professional cardioid dynamic microphone , commonly used in broadcasting applications since 1973. Designed by Shure , it has been described as an "iconic" industry standard microphone for its focused, directional sound and its widespread adoption in radio, television ...
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The microphones should be as similar as possible, preferably a frequency-matched pair of an identical type and model. The result is a realistic stereo field that has reasonable compatibility with mono playback. Since the cardioid polar pattern rejects off-axis sound, less of the ambient room characteristics are picked up.