Prod

Front 1

Proximity Effect

Back 1

Stronger emphasis on Low End Frequencies. The closer the sound source is to mic, low end increases(more boomy). Farther from mic low end decreases

Front 2

Sense of Depth

Back 2

Mic proximity to sound source alters low end content/creates depth

Front 3

Polar Pattern

Back 3

Indicates microphone's sensitivity to sounds originating from front/back/sides/all directions and in between points. Info gauged by spinning mic in circle and seeing what waveforms are picked up

Front 4

Unity Gain

Back 4

Sound that comes into mic is recorded that way (at 0dB) without any alterations or filters

Front 5

Omni Directional

Back 5

Equally sensitive to sounds from ant direction. Captures all sound equally. Most similar to how human ears hear. Proximity Effect does not occur

Front 6

Bi Directional

Back 6

Most sensitive to 0° and 180° least sensitive to 90° and 270°. Both sides diaphragm open to exposed air

Front 7

Cardioid/Uni Directional

What are other types of cardioids?

Back 7

Most sensitive at 0° and least sensitive at 180°

Supercardioid

Hyper Cardioid

Sub Cardioid

Ultra Cardioid

Front 8

Hemispherical

Back 8

Sensitive to all directions "above" mic baffle plate. Boundary mic can place in room/instrument captures everything except surface ita mounted on

Front 9

Multi Pattern

Back 9

Set to move them 1 polar pattern, created electronically

Front 10

Mic Leakage/Bleeding

Best way to reduce leakage?

Back 10

Residual sound of non direct element trying to capture. Each element being recorded be picked up "exclusively" bey own mic. Vocal mic picks up guitar (called guitar leakage/bleeding)

Mic placement along axis helps to reduce leakage

Front 11

Amplitude

Back 11

Measurement of loudness. Distance of diaphragm excursion proportional to amount of acoustic sound pressure level, distance coil travels within magnetic field proportional to mic output voltage value

Front 12

Ribbon Mic Operating Principle

Back 12

Aluminum/hot metal responds to air pressure. Known for being smooth sounding. Ribbon bends back and forth to air pressure and changes positive and negative wavelength. Fragile and can require replacement if exposed to transient response.

Front 13

(Fast) Transient Response

Back 13

Smooth HF response, sharp/abrupt break of sound exposure to very high sound pressure level (SPL) with extremely short attack/decay times/minimal sustain. High impedance output. The sudden change to a steady-state/equilibrium.

Ex: Snapping fingers/bass string in a quiet setting

Front 14

Tube Microphone

Back 14

Originally vacuum tubes used in condenser mics to amplify signals (still used). Come with power supplies with proprietary multi-pin cables. Direct current signal at 48 volts

Front 15

Condenser Mic Capsule

Back 15

Made of 2 plates - 1 fixed and 1 moveable (the diaphragm). Together they make a capacitor.

Front 16

Small Condenser Mic Characteristics

Back 16

Pencil mics

One pick up pattern

surgical sounding/precise

Front address

Front 17

Large Condenser Mic Characteristics

Back 17

Have multi patterns

more presence peak between 8-12 kHz

side address (occasionally front address)

Front 18

Multi-Pattern Condenser Mics

Back 18

Use 2 capsules to create several different polar patterns. Inherently side address. (front address usually fixed pattern condensers)

Capsules placed back to back to form a double capacitor capsule, each capsule produces a cardioid pattern. Forms omni polar pattern, can replicate to any polar pattern.

(ex: end of Requiem for a Dream)

Built in amplifier (solid state or tube)

Built-in pad

Front 19

Built-In Pad

Back 19

Protects internal amp and helps avoid distortion

Passive attenuation device

opposite of amplification

Front 20

Electret Microphone

Back 20

Condenser Mic

Permanently polarized capsule (no phantom power)

Unique material capable of retaining static change

Still require power for INTERNAL amp

Less expensive than normal condensers (lavs & boundary mics)

Front 21

Boundary Mic

Back 21

PZM (Pressure Zone Mic) diaphragm positioned close (credit card width) and faces baffle to minimize reflection cancellations. (reflections and direct sound happening at the same time)

Smooth frequency response Mids/Highs

LF response relative to baffle size

Battery power in handle (some use phantom power)

High amplitude, minimal reflection cancellations, smooth frequency response in mids-highs

Uses: Drums, tap dancing

Front 22

Lavalier Mics

Back 22

Generally omni (no proximity effect to closer sources) wired/wireless

doesn't over emphasize chest cavity resonance

allows mic placement to vary without affecting sonic quality

SUPES SMOL

powered via belt pack

Front 23

Phantom Power

Back 23

DC Power carried via cable from a recorder, mixer, or interface to microphone. Typically 48Volts

Front 24

Capacitor

Back 24

Device that stores electric charge, consisting of one or more pairs of conductors separated by insulator.

Front 25

Pros/Cons of Condenser Mic

Back 25

Pro: Fast transient response because of low mass, sensitive and accurate, excellent HF response

Con: High impedance output, relatively fragile

Front 26

Coincident/XY Pair

Back 26

2 cardioid capsules (2 matching mics) nearly touching at 90 degree angled towards each other.

Front 27

Blumlein XY Pair

Back 27

2 Figure 8 mics placed one on top of the other as close together without touching. Capsules are perpendicular to each other. Negative lobes of mics pick up ambiance resulting in realistic sound

Front 28

Imagining and Spatial Results of Coincident Pair

Back 28

Created with non-omni mics with one mic output panned hard right as the other is panned hard left on the console. Close proximity of capsules results in no timing disparity. Process of locating source in the stereo image dependent solely on level. Somewhat narrow, creates impression that sound sources on left/right don't quite reach speakers

Front 29

Near Coincident Pair

Back 29

Closer to how we hear. Creates depth by using amplitude and arrival time differences

Front 30

4 Types of Near Coincident Pairs

Back 30

ORTF: organization De Radio et Television Francais

Uses amplitude differences each mic/arrival time

17cm apart and 110° angle capsules away from each other

NOS: Nedersandsche Omroep Stitching 30 cm apart at 90° angle

Faulkner: 2 Figure 8 mics 20cm apart

Binaural Head:

Front 31

Advantage of Coincident Pair vs Near Coincident Pair

Back 31

Wider stereo image

More accurate arrival time

Stronger relationship with phase

Less chance of phase shift

More low end

Front 32

Spaced Pair

Back 32

Any stereo pair placed over a foot apart, usually between 3' to 10'. Usually done with omni-directional micsSense of direction more vague. Relies on arrival time

Phase issues

Front 33

Stereo Miking provides what?

Back 33

Sense of sound field from left to right

Sense of sound field from left to rightSense of depth/distance between instruments and ensemble from the listener.

Sense of acoustic environments ambience

3 to 1 rule

Uses:

Classical music ensembles, choir, piano, drum kits, orchestras, samples/sound effects, audience reaction, BG ambience, theater/plays

Front 34

Decca Tree Config

Back 34

3 microphones, two 2m apart vertically, and one in the middle of those two 1.5m forward.

Front 35

Why Does Phase Shift Occur?

Back 35

Boundary related: surface reflects sound back into ears and mic picks up direct signal from instrument, later picks up signal after bouncing back

Leakage: mic on one instrument picks up another instruments signal

Front 36

Phase

Back 36

The time relationship of one audio signal to a known time reference. Need 2 versions of SAME audio signal to measure correctly

Front 37

Time Arrival Disparity

Back 37

When a copy of audio signal added later to original direct audio signal both signals perceived as one and results in constructive/destructive interference. Complex waves have some frequencies boosted(superposition) others cut. Similar to Comb filtering(when speaking into fan)