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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.
A super-cardioid microphone is similar to a hyper-cardioid, except there is more front pickup and less rear pickup. It is produced with about a 5:3 ratio, with nulls at 126.9°. This ratio maximizes the front-back ratio; the energy ratio between front and rear radiation. [50] [51] The sub-cardioid microphone has no null points. It is produced ...
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.
A didgeridoo miked with a small phantom powered condenser microphone that clips onto the instrument.. There are a number of well-developed microphone techniques used for recording musical, film, or voice sources or picking up sounds as part of sound reinforcement systems.
Cardioid mics are widely used in live sound, because their "apple-shaped" pickup pattern rejects sounds from the sides and rear of the mic, making it more resistant to unwanted feedback "howls". Many types of input transducers can be found in a sound reinforcement system, with microphones being the most commonly used input device.
A similar technique is known as the ORTF stereo technique, devised by the French ORTF. With this technique is the angle between the microphone axes α = ± 55° = 110° and the distance between the cardioid microphones (microphone basis) is in this case a = 17 cm and gives a total recording angle of 96°. The choice between one and the other ...