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Spill occurs when sound is detected by a microphone not intended to pick it up (for example, the vocals being detected by the microphone for the guitar). [3] Spill is often undesirable in popular music recording, [4] as the combined signals during the mix process can cause phase cancellation and may cause difficulty in processing individual tracks. [2]
The Decca Tree setup evolved from the idea of a minimal recording technique using a pair of microphones. The first system was developed by Roy Wallace. The microphone triangle was placed about 3 to 3.6 m high above the stage level, near the conductor. The microphone system is not properly in front of the orchestra, but more "into" the orchestra.
Contact microphones based on piezoelectric materials are passive and high-impedance, and they sound tinny without a matching preamp. Instead of being used as a microphone, they alternatively may be used to produce sound (typical used as the buzzer in computer motherboards) by sending voltages to them.
A stereo effect is achieved through differences in sound pressure level between two microphones. Due to the lack of differences in time-of-arrival and phase ambiguities, the sonic characteristic of X-Y recordings is generally less spacey and has less depth compared to recordings employing an AB setup. Blumlein pair stereo
Photo: 2.5 mm mono (TS), 3.5 mm mono and stereo (TRS), and 1 ⁄ 4 inch (6.4 mm) stereo (TRS) phone connectors The most common microphone connector in consumer use is the venerable phone connector, in 1 ⁄ 4 inch (6.4 mm), 3.5 mm, and 2.5 mm sizes, and in both mono and stereo configurations. Not all microphone plugs with 3-segment TRS (Tip ...
Each system consists of a mixing board, sound processing equipment, amplifiers, and speakers. The microphones that are used to pick up vocals and amplifier sounds are routed through both the main and monitor systems. Audio engineers can set different sound levels for each microphone on the main and monitor systems.
The microphone's output is usually low-pass filtered. [25] [28] A simple surround microphone configuration involves the use of a front array in combination with two backward-facing omnidirectional room microphones placed about 10–15 meters away from the front array. If echoes are notable, the front array can be delayed appropriately.
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.