Académique Documents
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Culture Documents
A-B powering (See T-powering) Azimuthal stereo microphone, Capacitor microphone sensitivity to
AB stereo (spaced microphone 186–188 temperature, 29–30
pickup), 177–179 Capacitor microphone
Absolute polarity, 117 bias requirements, 26–27
Absorption coefficient, 15–16 Baffles (goboes), 222–223 electrical details, 26–33
Accent microphones, 204–206 Barometric pressure, 30 electrical loading, 33
Acoustic bass pickup, 226–228 Barron’s data, 177–178 electronics, 32–33
Acoustical power, 10–11 Bass equalizing tube, dynamic noise spectra, 35–38
Active acoustics microphones, 44 polarizing, 24
Delta Stereophony, 321 Beamwidth, definition, 96 RF operation, 35
LARES (Lexicon acoustical Biasing resistance, capacitor self-noise floor, 37
reverberance enhancement microphone, 28–29 shielding, 27
system), 320–321 Binaural recording, 187, 191 diaphragm materials, 24
Parkin’s Assisted Resonance, 320 Binaural synthesis, 267 Capillary tube, capacitor micro-
Adaptive arrays, 328–329 Blumlein array, 169–171 phones, 24
ADP (ammonium dihydrogen Blumlein, early stereo, 184–185 Carbon microphone, 3–5
phosphate), 48 Boundary layer microphone, Cardioid family
Air dielectric, 26 291–292 Braunmühl-Weber type, 81–84
Air particle velocity, 11 Brass instruments, 232–233 capacitor, 77–78
Altar microphones, 309–310 Braunmühl-Weber dual diaphragm cardioid, 67–69
Altering room acoustics, 210–212 microphones, 81–84 dynamic, 78–79
Altering the piano 225–226 Braunmühl-Weber electronic pattern hypercardioid, 68–70
Ambience in recording, 245–247 control, 82–84 proximity effect, 76
Amplitude, 7 Broadcast studios, 297–298 subcardioid, 67–69
Analysis, cardioid microphones, summary, 70–72
77–84 supercardioid, 67–69
Analysis, gradient microphones, Cable testing, 133–136 Variable-D, 84–87
50–55 Cables, electrical characteristics, Chamber music recording, 202–204
Analysis, pressure microphones, 120 Chamber orchestra recording,
22–24 Calculation of microphone directivity, 204–206
Anti-noise (noise canceling) micro- 103–104 Coincident arrays, 168–173
phones, 291–292 Capacitor biasing resistance, 28–29 Concert sound reinforcement,
Anti-phase signals, 9 Capacitor gradient microphones, 319–320
Armature microphone, 1–2 62–63 Condenser (See Capacitor)
Assisted Resonance (Parkin), 320 Capacitor microphone padding of Console input circuitry, 123–128
Automatic microphone mixing, output, 29–33 Creating a center channel, 257–258
315–316 Capacitor microphone sensitivity to Critical distance (DC), 15–16, 305
Average value of waveform, 11 barometric pressure, 30 Crossed cardioid arrays, 172–173
374 Index
Maximum SPL handling capability of source impedance, 105 Percussion instruments, 223–224
microphones, 106 stands and booms, 154–155 Period, 7
Microphone array for narrow vertical stereo mounts, 154–157 Permanent installations, 157–158
coverage, 326–327 unbalanced inputs, 128–129 Perspectives in recording, 213–214
Microphone array for work stations, variable contact, 2–5 Phantom (Simplex) powering,
325–326 velocity type, 50–51 117–118
Microphone emulator circuit, windscreens, 158–161 Phantom images, 166–168
133–134 Microphones for teleconferencing, Phase differences in stereo, 166
Microphone gating, 292–293 294, 298–299 Phase relationship, 8–9
Microphone HF response extension, Midband damping, dynamic Piano recording, 198–200, 225–226
115–116 microphones, 44 Piezoelectric bimorph crystals, 49
Microphone history, 1–6 Mike mouse, 152–154 Piezoelectric microphones, 48–49
Microphone preamplifier noise Mixed microphone arrays, 181–183 Piezoelectric principle, 5
spectra, 37–38 Modern studio acoustics, 239–241 Pipe organ recording, 201–202
Microphone snakes, 133 Moving coil (dynamic) microphone, Plane wave, 7, 16
Microphone specifications, 105–166 4, 42 Polarflex system (Schoeps), 89–90
Microphone splitters, 129–130 MS (mid-side) technique, 173–175 Polarizing, capacitor
Microphone Multiple tube microphones, 92 microphones, 24
armature, 1–2 Pop screens, 161
Braunmühl-Weber type, 81–84 Power output sensitivity nomograph,
capacitor, 4–6 Narrow-band equalization, 314–315 109
carbon type, 3–5 Near-coincident techniques, 179–180 Power output sensitivity of
cardioid, 5 Neodymium magnets, 45–46 microphones, 108–110
diaphragm materials, 24 Noise canceling microphone, Power supplies, 164–165
diffraction, 19–21 291–292 Power, acoustical, 10–11
directivity and polar response, Noise floor, capacitor microphone, 37 Powering of capacitor microphones,
106–108 Noise spectra, capacitor microphone, 117–120
distortion, 112 35–38 Pressure gradient, 16
dynamic range, 113 NOM (number of open micro- Pressure gradient microphones,
electret type, 5–6, 38–39 phones), 316 50–65
electrodynamic, 4 NOS array, 180 Pressure microphones, 22–49
figure-8 pattern, 20 Proximity effect, 17, 64–65
gradient type, 50–51 Proximity effect in cardioid
handheld booms, 154–155 Olson Stereo-180 array, 180 microphones, 75–77
hum pickup, 113 Optical microphones, 48 PZM microphones, 291–292
in-line accessories, 163–164 ORTF array, 179–181
instrumentation type, 39–40 Output levels of musical instruments,
loading, 126–128 195, 198–199 Quadraphonic microphones, 257
maximum SPL capability, 106 Output sensitivity of microphones,
moving coil, 4 105
output padding, 123–125 Output source impedance of Random efficiency (RE), 70–71
output sensitivity, 105 microphones, 110 Ranges of microphone sensitivity,
output source impedance, 110 110–111
output transformers, 125–126 Rayl (SI), 11
permanent installations, 157–158 Padding of preamplifier inputs, 127 Reciprocity calibration of
piezoelectric type, 5 Padding of microphone outputs, microphones, 113–114
pop screens, 161 29–33, 125 Recording
power output sensitivity, 108–110 PAG (potential acoustical gain), 303 accent microphones, 204–206
power supplies, 164–165 Paging in high noise areas, 300 chamber music, 202–204
powering of capacitors, 117–120 Paging systems, 299–300 chamber orchestra, 204–206
pressure type, 22–49 Panpots, 172 guitar, 200–201
proximity effect, 17 Parabolic reflectors and lenses, 96–98 harpsichord, 199
ribbon type, 4 Parallel operation of microphones, piano, 198–200
self-noise, 106 139 pipe organ, 201–202
self-noise weighting curves, 111 Pascal (Pa), 12 solo instruments and voice,
shock mounts, 162–163 Peak value of waveform, 11 202–204
376 Index
TMH 10.2 playback array, 250 Tie-tack microphone, 295–296 Vocals and vocal groups, 228–230
transaural technology, 264–267 T-powering, 118
video formats, 5.1 243 Transaural technology, 264–267
wavefront reconstruction, Two-way microphones, 87–89 Watts, 10–11
267–270 Wavefront reconstruction, 267–270
Symphony orchestra recording, Wind screens, 158–161
206–210 Unbalanced microphone inputs, Wireless microphones, 142–151
Synthesizer recording, 231 128–129 frequency allocations, 142–143
Synthesizing first-order patterns, power management, 149–150
89–90 pre and post-equalization,
Systems with parallax, 244 Variable contact principle, 2–5 145–146
Variable pattern cardioid signal companding, 145–146
microphones, 79–81 usage protocols, 150–151
Telephone handset, 290–291 Variable-D dynamic microphones, Woodwind instruments, 232
Temperature, effects of, 9 84–87
THD (total harmonic distortion), 112 Vector representation, line
Theater systems, stereo microphone, 93–94 XY technique, 172–173
reinforcement, 318–319 Velocity microphone, 50–51
Thermal microphones, 48 Virtual microphones, 331–333
Three-to-one rule, 241–242 Vocal microphones, 78 Zoom microphone, 100–102