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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. The choice of technique depends on a number of factors, including:
A stereo microphone integrates two microphones in one unit to produce a stereophonic signal. A stereo microphone is often used for broadcast applications or field recording where it would be impractical to configure two separate condenser microphones in a classic X-Y configuration (see microphone practice) for stereophonic recording. Some such ...
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 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 ...
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 Rolling Stones' Mick Jagger's vocals were recorded in the mid-1970s with two microphones—an SM7 and a condenser microphone—with one or the other chosen during mixdown, or a combination of the two. [1] Engineer-producer Bruce Swedien used several microphones including the SM7 to record Michael Jackson's vocals for Thriller in 1982.