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To maximize gain before feedback, the amount of sound energy that is fed back to the microphones must be reduced as much as is practical.As sound pressure falls off with 1/r with respect to the distance r in free space, or up to a distance known as reverberation distance in closed spaces (and the energy density with 1/r²), it is important to keep the microphones at a large enough distance ...
In live sound mixing, gain before feedback (GBF) is a practical measure of how much a microphone can be amplified in a sound reinforcement system before causing audio feedback. In audiology , GBF is a measure of hearing aid performance.
This means that (1) moving the microphone closer to the sound source increases the signal level produced by the microphone, and (2) moving the microphone further away from undesirable noise sources will diminish the amount of noise in the microphone signal. Microphone placement is therefore an important aspect of gain staging [citation needed].
The carbon microphone, by virtue of using a power supply, gives a power gain. This can readily be demonstrated by connecting a battery, microphone and earphone in series. If the microphone and earphone are brought in contact the system will oscillate. This is only possible if the power gain around the loop is greater than unity.
A compressor with a side-chain input controls gain from main input to output based on the level of the signal at the side-chain input. [26] An early innovator of side-chain compression in an effects unit was the Eventide Omnipressor from 1974. [27]
The position of the pop filter is different in different recording situations, with a further position from the microphone causing fewer pop sounds. More distance means increasing the microphone gain and gaining more room noise. Normally, to get good quality, the pop filter should be placed about 2–6 inches (5–15 cm) away from the ...
The Barkhausen stability criterion gives the necessary condition for oscillation; the loop gain around the feedback loop, which is equal to the amplifier gain multiplied by the transfer function of the inadvertent feedback path, must be equal to one, and the phase shift around the loop must be zero or a multiple of 360° (2π radians).
Another type of normalization is based on a measure of loudness, wherein the gain is changed to bring the average loudness to a target level. This average may be approximate, such as a simple measurement of average power (e.g. RMS), or more accurate, such as a measure that addresses human perception e.g. that defined by EBU R128 and offered by ReplayGain, Sound Check and GoldWave.