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At a distance of about 50 cm (0.5 m) the time delay for a signal reaching first one and then the other microphone from the side is approximately 1.5 ms (1 to 2 ms). If the distance is increased between the microphones it effectively decreases the pickup angle.
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 ...
Proximity effect can be viewed in two ways. In some settings, sound engineers may view it as undesirable, and so the type of microphone or microphone practice may be chosen in order to reduce the proximity effect. On the other hand, some microphone users seek to intentionally use the proximity effect, such as beat boxing singers in hip hop music.
The condenser microphone, invented at Western Electric in 1916 by E. C. Wente, [22] is also called a capacitor microphone or electrostatic microphone—capacitors were historically called condensers. The diaphragm acts as one plate of a capacitor, and audio vibrations produce changes in the distance between the plates.
If a sound source and two microphones are arranged in a straight line, with the sound source at one end, then the following can be measured: The distance between the microphones (x), called microphone basis. The time of arrival between the signals (delay) reaching the different microphones (t). Then v = x/t.
Spill is also avoided by using a 3:1 distance rule of thumb, [14] which states that for each unit of distance between a sound source and its microphone, other microphones should be placed at least three times as far. [12] Other methods of minimising spill include the use of noise gates. [8]
When used to record a soloist or small musical ensemble along with the room acoustics (e.g. reverberation), a boundary microphone prevents phase interference between direct and reflected sound, resulting in a natural sound with a flatter frequency response than can be obtained with a stand-mounted microphone at the same distance (explanation ...
However, increasing the distance between the source and microphone levels the frequency response, and will decrease the noise of ambient sound by the same level. [2] As a result of this, many lip-ribbon microphones use a fixed mouth guard to ensure a distance of 54 millimetres (2.1 in) between source and microphone.