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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.
Note how the first two rows correspond to omnidirectional and figure-of-eight microphone polar patterns. The spatial resolution of first-order Ambisonics as described above is quite low. In practice, that translates to slightly blurry sources, but also to a comparably small usable listening area or sweet spot. The resolution can be increased ...
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A second mic receives ambient noise. In a noisy environment, both microphones receive noise at a similar level, but the primary mic receives the desired sounds more strongly. Thus if one signal is subtracted from the other (in the simplest sense, by connecting the microphones out of phase) much of the noise is canceled while the desired sound ...
Since the cardioid polar pattern rejects off-axis sound, less of the ambient room characteristics are picked up. This means the mics can be placed further away from the sound sources, resulting in a blend that may be more appealing. Furthermore, the availability of purpose-built microphone mounts makes ORTF easy to achieve.
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Dimensions between the front three microphone as well as the polar patterns of the microphones can be changed for different pickup angles and ambient response. [24] This technique therefore allows for great flexibility. A well established microphone array is the Fukada Tree, which is a modified variant of the Decca Tree stereo technique.
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