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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.
In scenes for a movie the microphone may be held above, out of the picture frame. Processing: If the signal is destined to be heavily processed, or mixed down, a different type of input may be required. The use of a windscreen for outdoor recording or a pop shield to reduce vocal plosives.
With this technique is the angle between the microphone axes α = ± 55° = 110° and the distance between the cardioid microphones (microphone basis) is in this case a = 17 cm and gives a total recording angle of 96°. The choice between one and the other depends on the recording angle of the microphone system and not on the distance to and ...
Example of microphone positioning in a Decca Tree setup. A Decca Tree setup uses three omnidirectional microphones arranged in a "T" pattern outlining a triangle, often equilateral; the center microphone is mixed with the two spaced microphones to fill the "hole in the middle" in their imaging; it points the sound source.
A monitor engineer and console at an outdoor event. Live sound mixing is the blending of multiple sound sources by an audio engineer using a mixing console or software. Sounds that are mixed include those from instruments and voices which are picked up by microphones (for drum kit, lead vocals and acoustic instruments like piano or saxophone and pickups for instruments such as electric bass ...
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.
The Soundfield microphone used to make Ambisonic recordings can be adjusted to mimic two microphones of any pattern at any angle to each other, including a Blumlein pair. In his early experiments at EMI with what he called "binaural" sound, Blumlein did not use this actual technique because he did not have access to figure-eight microphones ...
Jose Feliciano with two MD 421 microphones (for vocals and guitar) in 1970. With a diaphragm diameter of 27 millimeters (1.1 in), the MD 421 is classified as a large-diaphragm microphone. Its wide frequency response (30–17,000 Hz ± 3 dB) exceeded the former Hi-Fi standard and came close to the performance of condenser microphones .
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