The above techniques work well for concert recordings in good
halls with small ensembles. This is a thin piece of material (such as paper, plastic or aluminium) which vibrates when it is struck by sound waves. It convert the sound energy into electrical energy. The trick is to record everything that will sit
still and make noise, and study the results: learn to hear when the
mic is placed badly and what to do about it. (I often
laugh when I attend concerts and watch people using this setup fuss
endlessly with the precise placement of the mics. There are
books, and some schools have courses in recording, but they do not
supply the essential quality the professional recording engineer
needs, which is experience.
Dynamic mics. environment noise suppression technology. For the
right channel output, the bidirectional output is subtracted from the
omni signal. Each instrument has its own microphone, and the various
signals are balanced in the console as the producer desires. • These more expensive devices of a higher quality are used in recording studios. Having
chosen one with appropriate sensitivity and pattern, (and the best
distortion, frequency response, and noise characteristics you can
afford), you simply mount it where the sounds are. Others are very specialised and are only really useful for their intended purpose. The main factors that
establish the image are the relative strength of an instrument's
sound in each speaker, and the timing of arrival of the sounds at the
listener's ear. Design of the microphone.
In the magneto-dynamic, commonly called dynamic, microphone, sound
waves cause movement of a thin metallic diaphragm and an attached
coil of wire. One technique for encouraging this attention is to
listen to recordings over a varitey of sound systems, good and bad. You seldom actually lose notes from this interference, but
the result is an uneven, almost shimmery sound. or
middle-side technique. The cable used must be kept short,
less than 10 feet or so, to avoid noise problems. This technique is
so forgiving that none of their efforts will make any practical
difference.) The major exceptions are mics with
deliberate emphasis at certain frequencies that are useful for some
applications. Every engineer
has preferences, usually based on mics with which he is familiar. The practical
range of distance between the instrument and the microphone is
determined by the point where the sound overloads the microphone or
console at the near end, and the point where ambient noise becomes
objectionable at the far end. Top Answer. Any current induced in
the cable from an outside source would tend to flow the same way in
both wires, and such currents cancel each other in the transformers. Between those extremes it is largely a
matter of taste and experimentation.
Recordings require a level of perfection in intonation and rhythm
that is much higher than that acceptable in concert. Microphones convert acoustical energy (sound waves) into electrical energy (the audio signal).
Loud sounds are encountered
more often than you might think, especially if you place the mic very
close to instruments. The simplest mic design will pick up all sound, regardless of its
point of origin, and is thus known as an omnidirectional microphone. Some microphones have tiny built-in amplifiers which boost the signal to a high mic level or line level.
There are a number of different types of microphone in common use. Such a material is called an
electret and is usually a kind of plastic. Being a stronger and more robust signal, line level is the standard signal strength used by audio processing equipment and common domestic equipment such as CD players, tape machines, VCRs, etc. The differences can be divided into two areas: (1) The type of conversion technology they use. To protect these mics (some of which can actually be damaged by
blowing in them) engineers will often mount a nylon screen between
the mic and the artist. The most common technologies are dynamic, condenser, ribbon and crystal. Attenuators can accommodate mics of varying levels and adjust them all to an even line level. A close in microphone will respond to some locations on the
instrument more than others because the difference in distance from
each to the mic is proportionally large. You may place the microphones fairly close to the instruments when
you use this technique. We judge sonic
distance by the ratio of the strength of the direct sound from the
instrument (which is always heard first) to the strength of the
reverberation from the walls of the room.