Ad
related to: condenser vs dynamic for singing music game
Search results
Results From The WOW.Com Content Network
Microphones are categorized by their transducer principle (condenser, dynamic, etc.) and by their directional characteristics (omni, cardioid, etc.). Sometimes other characteristics such as diaphragm size, intended use or orientation of the principal sound input to the principal axis (end- or side-address) of the microphone are used to describe ...
Adaptive music is music which changes in response to real-time events or user interactions, found most commonly in video games. [1] It may change in volume, arrangement , tempo , and more. Adaptive music is a staple within the role-playing game genre, often being used to change the tone and intensity of music when the player enters and leaves ...
In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
Video game soundtracks considered the best Year Game Lead composer(s) Notes Ref. 1985 Super Mario Bros. Koji Kondo: The Super Mario Bros. theme was the first musical piece from a video game to be inducted into the Library of Congress's National Recording Registry. [1] [A] 1988 Mega Man 2: Takashi Tateishi [B] 1989 Tetris: Hirokazu Tanaka: Game ...
In a condenser microphone, the diaphragm is placed in front of a plate and is charged. [2] In a dynamic microphone, the diaphragm is glued to a magnetic coil, similar to the one in a dynamic loudspeaker. (In fact, a dynamic speaker can be used as a rudimentary microphone, and vice versa.) [3]
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.
Academic research on video game music began in the late 1990s, [3] and developed through the mid 2000s. Early research on the topic often involved historical studies of game music, or comparative studies of video game music and film music (see, for instance, Zach Whalen's article "Play Along – An Approach to Videogame Music" which includes both). [4]
A ready (and common) example of proximity effect can be observed with cardioid dynamic vocal microphones (though it is not limited to this class of microphone) when the vocalist is very close to or even touching the mic with their lips. The effect is heard as a 'fattening up' of the voice.