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A stereo microphone integrates two microphones in one unit to produce a stereophonic signal. A stereo microphone is often used for broadcast applications or field recording where it would be impractical to configure two separate condenser microphones in a classic X-Y configuration (see microphone practice) for stereophonic recording. Some such ...
Block diagram of the signal-flow for a common feedback loop. [1]: 118 Audio feedback (also known as acoustic feedback, simply as feedback) is a positive feedback situation that may occur when an acoustic path exists between an audio output (for example, a loudspeaker) and its audio input (for example, a microphone or guitar pickup).
The charged elements in the vacuum tubes can mechanically vibrate, changing the distance between the elements, producing charge flows in and out of the tube in a manner identical to a capacitor microphone. A system sufficiently susceptible to microphonics could experience audio feedback, and make noises if jarred or bumped.
Microphone diaphragms, unlike speaker diaphragms, tend to be thin and flexible, since they need to absorb as much sound as possible. In a condenser microphone, the diaphragm is placed in front of a plate and is charged. [2] In a dynamic microphone, the diaphragm is glued to a magnetic coil, similar to the one in a dynamic loudspeaker.
The player piano, first demonstrated in 1876, used a punched paper scroll that could store a long piece of music. The most sophisticated of the piano rolls were "hand-played," meaning that they were duplicates from a master roll which had been created on a special piano, which punched holes in the master as a live performer played the song.
The equipment for the techniques also varies from the bulky to the small and convenient. A-B techniques generally use two separate microphone units, often mounted on a bar to define the separation. X-Y microphone capsules can be mounted in one unit, or even on the top of a handheld digital recorder.
Pendulum Music (For Microphones, Amplifiers Speakers and Performers) [1] is the name of a work by Steve Reich, involving suspended microphones and speakers, creating phasing feedback tones. The piece was composed in August 1968 and revised in May 1973, and is an example of process music .
The position of the pop filter is different in different recording situations, with a further position from the microphone causing fewer pop sounds. More distance means increasing the microphone gain and gaining more room noise. Normally, to get good quality, the pop filter should be placed about 2–6 inches (5–15 cm) away from the ...