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When using multiple microphones, respecting a 3-to-1 rule and placing microphones at least three times further from each other than they are from the source they are being used to pick up avoids cancellation and phase issues such as comb filtering when the microphone signals are mixed together. [11]
The placement can be done with three separate microphone stands or using one or more bars. In contrast to the ORTF stereo technique , the Decca Tree size is not fixed and may vary considerably; distances between the two back microphones are seen between 0.6 and 1.2 m; the front microphone is set proportionally and can be mounted slightly lower ...
Two examples of different boundary mics (top) and a diagram of the elements of a boundary microphone. The diagram shows the location of the mic capsule, the plate, the aperture, and the pressure zone. In 1978, audio engineers Ed Long and Ron Wickersham studied the effects of the boundary layer in sound recording.
Audio feedback from microphones occurs when a microphone is too near a monitor or main speaker and the sound reinforcement system amplifies itself. Audio feedback through a microphone is almost universally regarded as a negative phenomenon, many electric guitarists use guitar feedback as part of their performance. This type of feedback is ...
This means that (1) moving the microphone closer to the sound source increases the signal level produced by the microphone, and (2) moving the microphone further away from undesirable noise sources will diminish the amount of noise in the microphone signal. Microphone placement is therefore an important aspect of gain staging [citation needed].
The internal electronic circuitry of an active noise-canceling mic attempts to subtract noise signal from the primary microphone. The circuit may employ passive or active noise canceling techniques to filter out the noise, producing an output signal that has a lower noise floor and a higher signal-to-noise ratio .
Both ribbon and condenser microphones can be used for Blumlein-pair recording. A few types of stereo ribbon microphones (B & O, [1] Royer, [2] AEA [3]) have even been purpose-built for just this type of recording. Several types of stereo condenser microphones (Neumann, AKG, Schoeps, Nevaton BPT) have also offered a Blumlein arrangement as one ...
Here, the still-mic-level signal enters into a microphone preamplifier, which boosts the signal voltage to line level. For this example, the microphone preamplifier is built into a mixing board. It is typical for a mixing board to include a line trim after the preamplifier. This allows the amplitude of the now line-level signal to be adjusted.