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Well, we used to have a thing called a Decca Tree which was an arrangement where [at] the front edge of an orchestra about 3.2 metres up in the sky you would have a centre microphone roughly in line with the edge of the orchestra, and then maybe 2.5 feet back and 5 feet apart you would have 2 more forming a triangle, omnidirectional microphones.
One method to create a directional boundary mic is to mount panels (hard surfaces) next to an omnidirectional mic capsule. Another method to create a directional boundary mic is to use a small-diameter (1 cm or less) directional mic capsule mounted on a boundary surface, with the axis of the microphone parallel with the surface.
Robotic navigation (acoustic SLAM) [2] Typically, an array is made up of omnidirectional microphones, directional microphones, or a mix of omnidirectional and directional microphones distributed about the perimeter of a space, linked to a computer that records and interprets the results into a coherent form. Arrays may also be formed using ...
[1] [2] Proximity effect is a change in the frequency response of a directional pattern microphone that results in an emphasis on lower frequencies. It is caused by the use of ports to create directional polar pickup patterns, so omni-directional microphones do not exhibit the effect (this is not necessarily true of the "omni" pattern on ...
The ZYLIA ZM-1 [23] is a commercially available microphone capable of generating third-order ambisonic recordings, using 19 omni-directional capsules. The em64 Eigenmike from mh acoustics [24] is a 64-channel spherical microphone array capable of sixth-order capture. The production of the em64 has superseded their previous em32 microphone.
[2] In ambient or distant miking, a microphone – typically a sensitive one – is placed at some distance from the sound source. The goal of this technique is to get a broader, natural mix of the sound source or sources, along with ambient sound, including reverberation from the room or hall.
The cardioid is effectively a superposition of an omnidirectional (pressure) and a figure-8 (pressure gradient) microphone; [49] for sound waves coming from the back, the negative signal from the figure-8 cancels the positive signal from the omnidirectional element, whereas, for sound waves coming from the front, the two add to each other ...
The American D-22 and American D-33 microphones are dual-impedance, omnidirectional, dynamic microphones made by the American Microphone Company. They were used extensively in the broadcast industry in the 1950s because of their modern sleek looks and tapered waist design.