Search results
Results from the WOW.Com Content Network
Fun Trick Noisemaker was produced by Robert Schneider and engineered by the Apples in Stereo, with technical assistance from Kurt Heasley. The album was recorded on an 8-track analog from October 1994 to February 1995 at Brendt Larson's house ( Glendora, CA ) and Kyle Jones' house ( Denver, CO ).
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.
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.
Phase 4 Stereo was a recording process created by the U.K. Decca Records label in 1961. [1] The process was used on U.K. Decca recordings and also those of its American subsidiary London Records during the 1960s. Phase 4 Stereo recordings were created with an innovative 10-channel, and later 20-channel, "recording console". [2]
A sound reinforcement system is the combination of microphones, signal processors, amplifiers, and loudspeakers in enclosures all controlled by a mixing console that makes live or pre-recorded sounds louder and may also distribute those sounds to a larger or more distant audience.
Independent, unique sound library with royalty free & free sound effects - for video, sound design, music productions and more. CC0, CC BY Gfx Sounds: Yes Yes Sound library for professional and free sound effects downloads. CC0, CC BY Free To Use Sounds: Yes Yes Sound effects library with hiqh quality field recordings from all around the world.
Upgrade to a faster, more secure version of a supported browser. It's free and it only takes a few moments:
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 ...