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There are a number of well-developed microphone techniques used for recording musical, film, or voice sources or picking up sounds as part of sound reinforcement systems. The choice of technique depends on a number of factors, including: The wish to capture or avoid the collection of extraneous noise.
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.
ORTF setup. The ORTF stereo technique, also known as side-other-side, is a microphone technique used to record stereo sound.It was devised around 1960 at the now-defunct Office de Radiodiffusion Télévision Française (ORTF).
With this technique is the angle between the microphone axes α = ± 55° = 110° and the distance between the cardioid microphones (microphone basis) is in this case a = 17 cm and gives a total recording angle of 96°. The choice between one and the other depends on the recording angle of the microphone system and not on the distance to and ...
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 ...
Often in television studios, the boom operator will use a Fisher boom, which is a more intricate and specialized piece of equipment on which the operator stands, allowing precise control of the microphone at a greater distance from the actors. They will also attach wireless microphones to persons whose voice requires recording. Boom poles are ...
All three require placement of two ribbon microphones on a common vertical axis, as close together as possible: [46] MS: central channel microphone (M) points directly to the center of the soundstage (Blumlein used the word screen, emphasizing use in cinema). Side channel microphone S is placed at right angle to M; [46] [46]
Surround microphone techniques largely depend on the setup used, therefore being biased towards the 5.1 surround setup, as this is the standard. [24] Surround recording techniques can be differentiated into those that use single arrays of microphones placed in close proximity, and those treating front and rear channels with separate arrays.
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