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Degree of directionality of pickup: in some settings, such as a home video of a birthday party, the person may wish to pick up all the sounds in the room, making an omnidirectional mic desirable. However, if a TV news crew is filming a reporter at a noisy protest, they may only wish to pick up her voice, making a cardioid mic more desirable.
The pickup patterns of the pair, combined with their positioning, delivers a high degree of stereo separation in the source signal, as well as the room ambiance. The Blumlein pair produces an exceptionally realistic stereo image, but the quality of recordings is highly dependent on the acoustics of the room and the size of the sound source.
A conventional microphone placed on, or a few inches above, a hard boundary surface will pick up the desired direct sound as well as delayed sound reflecting off the boundary surface. The direct and delayed reflected sounds will combine at the microphone to create comb filtering , with constructive and destructive interference causing peaks and ...
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.
Block diagram of the signal-flow for a common feedback loop [1]: 118 . Audio feedback (also known as acoustic feedback, simply as feedback) is a positive feedback situation that may occur when an acoustic path exists between an audio output (for example, a loudspeaker) and its audio input (for example, a microphone or guitar pickup).
Using piezoelectric pickups (e.g., with an upright bass) For vocalists, using closed shell headphones; Cutting frequencies with an equalizer that are not present in the intended microphones's instrument or vocals (e.g., for a bass drum mic, all of the high frequencies could safely be cut; for a piccolo, all of the bass frequencies could be cut)
This technique combines both the volume difference and the timing difference as sound arrives on- and off-axis at two cardioid microphones spread to a 110° angle, and spaced 17 cm apart. [ 1 ] The microphones should be as similar as possible, preferably a frequency-matched pair of an identical type and model.
It is a refinement of the baffled microphone technique for stereo initially described by Alan Blumlein in his 1931 patent on binaural sound. In the beginning Jecklin used omnidirectional microphones on either side of a 30 cm (1 ft.) disk about 2 cm (3/4") thick, which had a muffling layer of soft plastic foam or wool fleece on each side.