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When concealing the mic is important, such as with film production, a smaller housing may be desirable. Sanken's CUB-01 boundary microphone has a 32 mm diameter and 12 mm height, which makes it easier to hide in TV and film field shooting and easier to reposition or temporarily mount in locations (e.g. taping it onto the inside ceiling of a car).
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.
Degree of directionality of pickup: in some settings, such as a home video of a birthday party, the person may wish to pick up all the sounds in the room, making an omnidirectional mic desirable. However, if a TV news crew is filming a reporter at a noisy protest, they may only wish to pick up her voice, making a cardioid mic more desirable.
The RE20 is held in the 309A shock mount. The broadcasting field used a variety of microphones including the German Sennheiser MD 421 (1960) and the American SM5 (1966) by Shure. [9] When the RE20 was released in 1968, it was adopted by radio and television announcers for its natural sound and consistent level throughout the pickup pattern.
In-car entertainment (ICE), or in-vehicle infotainment (IVI), is a collection of hardware and software in automobiles that provides audio or video entertainment. In car entertainment originated with car audio systems that consisted of radios and cassette or CD players, and now includes automotive navigation systems , video players, USB and ...
Directional Sound refers to the notion of using various devices to create fields of sound which spread less than most (small) traditional loudspeakers. Several techniques are available to accomplish this, and each has its benefits and drawbacks.
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.
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 numbers of very closely spaced microphones.
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