Microphone practice Wikipedia. There exist a number of well developed microphone techniques used for miking musical, film, or voice sources. Choice of technique depends on a number of factors, including The collection of extraneous noise. Rats Software Econometrics there. This can be a concern, especially in amplified performances, where audio feedback can be a significant problem. Alternatively, it can be a desired outcome, in situations where ambient noise is useful hall reverberation, audience reaction. I/61VH5GWFxDL._SR600%2C315_PIWhiteStrip%2CBottomLeft%2C0%2C35_PIStarRatingTHREEANDHALF%2CBottomLeft%2C360%2C-6_SR600%2C315_SCLZZZZZZZ_.jpg' alt='The Microphone Book Eargle Pdf' title='The Microphone Book Eargle Pdf' />Choice of a signal type Mono, stereo or multi channel. Type of sound source Acoustic instruments produce a sound very different from electric instruments, which are again different from the human voice. The Microphone Book Eargle Pdf' title='The Microphone Book Eargle Pdf' />A microphone, colloquially nicknamed mic or mike m a k, is a transducer that converts sound into an electrical signal. Microphones are used in many. There exist a number of welldeveloped microphone techniques used for miking musical, film, or voice sources. Choice of technique depends on a number of factors. Raccorder un microphone non professionnel tiquet alimentation fantme une entre de micro professionnelle avec alimentation fantme peut le dtruire. Situational circumstances Sometimes a microphone should not be visible, or having a microphone nearby is not appropriate. In scenes for a movie the microphone may be held above the pictureframe, just out of sight. In this way there is always a certain distance between the actor and the microphone. Processing If the signal is destined to be heavily processed, or mixed down, a different type of input may be required. The use of a windshield as well as a pop shield, designed to reduce vocal plosives. Basic techniqueseditThere are several classes of microphone placement for recording and amplification. In close miking, a microphone is placed relatively close to an instrument or sound source, within three to twelve inches, producing a dry or non reverberant sound. This serves to reduce extraneous noise, including room reverberation, and is commonly used when attempting to record a number of separate instruments while keeping the signals separate, or when trying to avoid feedback in an amplified performance. Close miking often affects the frequency response of the microphone, especially for directional mics which exhibit bass boost from the proximity effect. Ubiquitous in the tracking of instruments used in pop and popular music, examples of close mic vocal tracks include many songs on Elliott Smiths Elliott Smith and EitherOr, Lily Allens The Fear, the chorus of Fergies Glamorous, Imogen Heaps lead on Hide and Seek, and Madonnas spoken verses on Erotica. In ambient or distant miking, a microphone typically a sensitive one is placed at some distance from the sound source. The goal of this technique is to get a broader, natural mix of the sound source or sources, along with ambient sound, including reverberation from the room or hall. Example include The Jesus and Mary Chains Psychocandy excepting the vocals, Robert Plants vocals on songs from Physical Graffiti, Tom Waitss lead vocals on his junkyard records, and Mick Jaggers lead vocals on songs from Exile On Main Street. In room miking a distant mic, referred to as the room mic, is used in conjunction with a close mic, typically placed far enough past the critical distance in a room that the rooms ambience and reverberations transduce at an equivalent, if not greater, volume than the sound source itself. Ubiquitous in pop, it is the industry standard for tracking rhythm guitars in rock. A celebrated example is the rhythm guitar on Led Zeppelins Communication Breakdown4 while other examples include John Frusciantes electric guitar parts on Blood. Sugar. Sex. Magik, Noel Gallaghers lead guitar on Champagne Supernova, and Billy Corgans guitar on Cherub Rock, Today, Bullet With Butterfly Wings, Zero, and Fuck You An Ode To No One. Accent or Spot Microphone Placement. City Of Savannah Business License. Often, the tonal and ambient qualities will sound very different between a distant and close miked pickup. Under certain circumstances, its difficult to obtain a naturally recorded balance when mixing the two together. For example, if a solo instrument within an orchestra needs an extra mic for added volume and presence, placing the mic too close would result in a pickup that sounds overly present, unnatural and out of context with the distant, overall orchestral pickup. To avoid this pitfall, a compromise in distance should be struck. A microphone that has been placed within a reasonably close range to an instrument or section within a larger ensemble but not so close as to have an unnatural sound is known as an accent or spot pickup. The Microphone Book Eargle Pdf' title='The Microphone Book Eargle Pdf' />Whenever accent miking is used, care should be exercised in placement and pickup choices. The amount of accent signal thats introduced into the mix should sound natural relative to the overall pickup, and a good accent mic should only add presence to a solo passage and not stick out as separate, identifiable pickup. Instrumental use of microphones has been developed by many experimental composers, musicians and sound artists. They use microphones in unconventional ways, for example by preparing them with objects, moving them around or using contact microphones to colour the sound and be able to amplify otherwise very silent sounds. Karlheinz Stockhausen used microphone movements by musicians in Mikrophonie I to discover the diverse sounds of a big tam tam 9 and Pauline Oliveros amplified apple boxes with contact microphones. Andrea Neumann uses a complex combination of microphones to amplify a uniquely designed piano soundboard. Multi track recordingeditOften each instrument or vocalist is miked separately, with one or more microphones recording to separate channels tracks. At a later stage, the channels are combined mixed down to two channels for stereo or more for surround sound. The artists need not perform in the same place at the same time, and individual tracks or sections of tracks can be re recorded to correct errors. Generally effects such as reverberation are added to each recorded channel, and different levels sent to left and right final channels to position the artist in the stereo sound stage. Microphones may also be used to record the overall effect, or just the effect of the performance room. This permits greater control over the final sound, but recording two channels stereo recording is simpler and cheaper, and can give a sound that is more natural. Stereo recording techniqueseditMain article StereophonicRecording methodsThere are two features of sound that the human brain uses to place objects in the stereo sound field between the loudspeakers. These are the relative level or loudness difference between the two channels  L, and the time delay difference in arrival times for the same sound in each channel  t. The interaural signals binaural ILD and ITD at the ears are not the stereo microphone signals which are coming from the loudspeakers, and are called interchannel signals  L and  t. These signals are normally not mixed. Loudspeaker signals are different from the sound arriving at the ear. See the article Binaural recording for earphones. Various methods of stereo recordingeditX Y technique intensity stereophonyeditHere there are two directional microphones at the same place, and typically placed at 9. A stereo effect is achieved through differences in sound pressure level between two microphones. Due to the lack of differences in time of arrival and phase ambiguities, the sonic characteristic of X Y recordings is generally less spacey and has less depth compared to recordings employing an AB setup. When the microphones are bidirectional and placed facing 4. The Adventures of Mouse Deer Tales of Indonesia and Malaysia or Indonesian and Malaysian Folktales, Aaron Shepard. X Y setup is called a Blumlein Pair.