Microphone

Instead of writing a fully comprehensive work (and a very, very long discussion and debate), this article aims to address some basic guitar micing technique using a dynamic cardioid microphone (such as the venerable SM57) and a condenser (such as a Neumann u87). 1 mic technique If the situation calls for using one microphone, you can position your dynamic mic either as close to the speaker grille cloth as possible (less ambiance) or 3-6 inches away, either pointing to the center of the cone or off-axis

1 – What are the attributes of a Condenser Microphone? According to the book Cinematography by Kris Malkiewicz and M. David Mullen, ASC, a condenser microphone has both positive and negative sides; “they have a consistent and extended frequency response with a clarity lacking in most dynamic microphones” (Malkiewicz, Mullen, 161). First, a condenser microphone can be built a lot smaller than a dynamic microphone, it can be easily clipped on to the clothing of an actor. Secondly, the sound quality

A vital part in the making of any professionally made album is the production and post-production process. These processes are the responsibility of audio engineers employed by record labels. The engineers are responsible for the recording, mixing, and mastering of audio tracks. To do this, engineers are trained with various technologies in the fields of multi track recording, outboard gear and digital/analog workstations. With their knowledge and tools, engineers help the artists convey their art

Place a large diaphragm cardioid mic (like the Sterling Audio ST66) at the “hip” of the piano. It should be peering inside the lid, which will be open only a few inches. Next, place a small diaphragm cardioid condenser mic (such as the Applied Microphone Technology M40) on the back of the music desk pointed over top of the bass strings and to the far end of the piano. The M40 will pick up the bass sounds while the ST66 will contribute a brighter element to the sound. Note that the slightly opened

Audio 402 Proposal for a Sound System Darcy Day 209528 Introduction: This report is a detailed analysis of a proposal for a sound system for the pre-set venue of the Crown Casino Palladium room where the Corporate Gala Dinner will be held and the theoretical live set up will take place. This report and proposal will detail the stage plot, equipment required and used, input list for the engineers, signal flow, budget, power requirements and accessibility and OH&S requirements. Input List:

Live streaming video game footage is becoming an increasingly bigger phenomenon in the gaming world. Already some forty-five million gamers go on Twitch every month to stream, watch, and chat about games. And that’s just one streaming platform, there are others platforms, like YouTube gaming, just to name one. But streaming is traditionally something that was done from a PC and pc games like DOTA, Counterstrike, and StarCraft dominate the streaming scene. But with the newest generation of consoles

pressure-intensity index, which should be as large as possible. With high-quality instrumentation and a separation distance of 12 mm this quantity is at least 18 dB above 250 Hz. One can increase the residual pressure-intensity index by using a larger microphone separation distance, but this conflicts with the high-frequency optimisation This is normalized error depends upon single property of sound field In sound power measurement the error depends upon the ratio between corresponding surfaces integrated

within the tube to take readings. Most tubes contain additional equipment and have strictly controlled dimensions and materials to maximise their efficacy and the accuracy of the readings.   Dynamic microphone variation The variation constructed in this report is a standing wave with a dynamic microphone with design specifications established in ASTM C384.5970. This consist of a straight tube with a loudspeaker mounted at one end, the tube can be rectangular or cylindrical but must be uniform along

6. What controls and features (volume control, remote control, telecoil, etc..) would this person need or enjoy? (There are likely no scientific studies available on this topic but there may be some info on the internet and in audiology textbooks- also remember to look at the case study to match your recommendations with the patient) Based on the information provided about Mr. Johnson, I believe he would both enjoy and need a variety of controls and features for his hearing aids. Two controls and

accordingly. For instance if there are excessive tempo changes in songs or the band wants to go extreme with layering guitars and vocals. Some pieces of gear that I will need for this application are an awesome analog compressor, stellar reverbs and good microphones. Since in owning a home studio I wouldn’t likely have a studio drum kit or every mic that a