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Example of microphone positioning in a Decca Tree setup. A Decca Tree setup uses three omnidirectional microphones arranged in a "T" pattern outlining a triangle, often equilateral; the center microphone is mixed with the two spaced microphones to fill the "hole in the middle" in their imaging; it points the sound source.
The AKG C214 condenser microphone AKG S8X cartridge. AKG Acoustics (originally Akustische und Kino-Geräte Gesellschaft m.b.H., English: Acoustic and Cinema Equipment L.L.C.) is an acoustics engineering and manufacturing company. It was founded in 1947 by Rudolf Görike and Ernest Plass in Vienna, Austria.
The amount of accent signal that's introduced into the mix should sound natural relative to the overall pickup, and a good accent mic should only add presence to a solo passage and not stick out as separate, identifiable pickup. [6] [7] [8] Instrumental use of microphones has been developed by many experimental composers, musicians and sound ...
Typically, an array is made up of omnidirectional microphones, directional microphones, or a mix of omnidirectional and directional microphones distributed about the perimeter of a space, linked to a computer that records and interprets the results into a coherent form. Arrays may also be formed using numbers of very closely spaced microphones.
Two bi-directional AKG C414 microphones set up in a Blumlein pair. Blumlein pair is a stereo recording technique invented by Alan Blumlein for the creation of recordings that, upon replaying through headphones or loudspeakers, recreate the spatial characteristics of the recorded signal.
One method to create a directional boundary mic is to mount panels (hard surfaces) next to an omnidirectional mic capsule. Another method to create a directional boundary mic is to use a small-diameter (1 cm or less) directional mic capsule mounted on a boundary surface, with the axis of the microphone parallel with the surface.
An omnidirectional (or nondirectional) microphone's response is generally considered to be a perfect sphere in three dimensions. In the real world, this is not the case. As with directional microphones, the polar pattern for an "omnidirectional" microphone is a function of frequency.
Proximity effect can be viewed in two ways. In some settings, sound engineers may view it as undesirable, and so the type of microphone or microphone practice may be chosen in order to reduce the proximity effect. On the other hand, some microphone users seek to intentionally use the proximity effect, such as beat boxing singers in hip hop music.