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The Grammy Award for Best Engineered Album, Non-Classical has been awarded since 1959. The award had several minor name changes: In 1959, the award was known as Best Engineered Record – Non-Classical; In 1960, it was awarded as Best Engineering Contribution – Other Than Classical or Novelty
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.
Multi Stereo Surround (MSS) [22] – This approach treats the speakers in a surround sound system as a multitude of stereo pairs. For example, a stereo recording of a piano, created using two microphones in an ORTF configuration , might have its left channel sent to the left-rear speaker and its right channel sent to the center speaker.
One way to test a loudspeaker requires an anechoic chamber, with an acoustically transparent floor-grid. The measuring microphone is normally mounted on an unobtrusive boom (to avoid reflections) and positioned 1 metre in front of the drive units on the axis with the high-frequency driver. While this can produce repeatable results, such a 'free ...
A pistonphone is an acoustical calibrator (sound source) that uses a closed coupling volume to generate a precise sound pressure for the calibration of measurement microphones. The principle relies on a piston mechanically driven to move at a specified cyclic rate, pushing on a fixed volume of air to which the microphone under test is coupled.
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.
A sound reinforcement system for a rock concert in a stadium may be very complex, including hundreds of microphones, complex live sound mixing and signal processing systems, tens of thousands of watts of amplifier power, and multiple loudspeaker arrays, all overseen by a team of audio engineers and technicians.
The category was renamed Best Immersive Audio Album for the 2019 Grammy season. [1] According to NARAS, "driven by the technological side of music evolution, the Best Surround Sound Album category [was] renamed Best Immersive Audio Album. The same goes for the Field to which it belongs.