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The arrangement provides a directional half-space pickup pattern while delivering a relatively phase-coherent output signal. The boundary microphone can be used as a piano mic by placing it inside the piano lid, an approach which can obtain better pickup of the piano's mix of sharp percussive transients and gentle undertones than other ...
The polar patterns illustrated above represent the locus of points in polar coordinates that produce the same signal level output in the microphone if a given sound pressure level (SPL) is generated from that point. How the physical body of the microphone is oriented relative to the diagrams depends on the microphone design.
The resolution can be increased and the sweet spot enlarged by adding groups of more selective directional components to the B-format. These no longer correspond to conventional microphone polar patterns, but rather look like clover leaves. The resulting signal set is then called Second-, Third-, or collectively, Higher-order Ambisonics.
[1] [2] Proximity effect is a change in the frequency response of a directional pattern microphone that results in an emphasis on lower frequencies. It is caused by the use of ports to create directional polar pickup patterns, so omni-directional microphones do not exhibit the effect (this is not necessarily true of the "omni" pattern on ...
Mid/side coincident technique employs a bidirectional microphone (with a figure of 8 polar pattern) facing sideways and a cardioid (generally a variety of cardioid, although Alan Blumlein described the usage of an omnidirectional transducer in his original patent) facing the sound source.
Once the radius is fixed, the three coordinates (r, θ, φ), known as a 3-tuple, provide a coordinate system on a sphere, typically called the spherical polar coordinates. The plane passing through the origin and perpendicular to the polar axis (where the polar angle is a right angle) is called the reference plane (sometimes fundamental plane).
The pickup patterns of the pair, combined with their positioning, delivers a high degree of stereo separation in the source signal, as well as the room ambiance. The Blumlein pair produces an exceptionally realistic stereo image, but the quality of recordings is highly dependent on the acoustics of the room and the size of the sound source.
The front array is designed for minimum crosstalk, with the front left and right microphones having supercardioid polar patterns and angled at 90 degrees relative to the center microphone. [24] [25] It is important that high-quality small diaphragm microphones are used for the L and R channels to reduce off-axis coloration. [26]