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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 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 ...
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].
This technique combines both the volume difference and the timing difference as sound arrives on- and off-axis at two cardioid microphones spread to a 110° angle, and spaced 17 cm apart. [1] The microphones should be as similar as possible, preferably a frequency-matched pair of an identical type and model.
The first microphone that enabled proper voice telephony was the ... Various standard techniques are used with microphones used in sound reinforcement at live ...
The Soundfield microphone used to make Ambisonic recordings can be adjusted to mimic two microphones of any pattern at any angle to each other, including a Blumlein pair. In his early experiments at EMI with what he called "binaural" sound, Blumlein did not use this actual technique because he did not have access to figure-eight microphones ...
Other techniques may be used as well, such as using a directional primary mic, to maximize the difference between the two signals and make the cancellation easier to do. The internal electronic circuitry of an active noise-canceling mic attempts to subtract noise signal from the primary microphone.
The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end (called a boom mic), their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom pole to enter the camera's frame. [1]