Файл: The Microphone Handbook..pdf

INDEX

A-B powering (See  T-powering)
AB stereo (spaced microphone

pickup), 177–179

Absolute polarity, 117
Absorption coefficient, 15–16
Accent microphones, 204–206
Acoustic bass pickup, 226–228
Acoustical power, 10–11
Active acoustics 

Delta Stereophony, 321
LARES (Lexicon acoustical 

reverberance enhancement 
system), 320–321

Parkin’s Assisted Resonance, 320

Adaptive arrays, 328–329
ADP (ammonium dihydrogen 

phosphate), 48

Air dielectric, 26
Air particle velocity, 11
Altar microphones, 309–310
Altering room acoustics, 210–212
Altering the piano 225–226
Ambience in recording, 245–247
Amplitude, 7
Analysis, cardioid microphones,

77–84

Analysis, gradient microphones,

50–55

Analysis, pressure microphones,

22–24

Anti-noise (noise canceling) micro-

phones, 291–292

Anti-phase signals, 9
Armature microphone, 1–2
Assisted Resonance (Parkin), 320
Automatic microphone mixing,

315–316

Average value of waveform, 11

Azimuthal stereo microphone,

186–188

Baffles (goboes), 222–223
Barometric pressure, 30
Barron’s data, 177–178
Bass equalizing tube, dynamic 

microphones, 44

Beamwidth, definition, 96
Biasing resistance, capacitor 

microphone, 28–29

Binaural recording, 187, 191
Binaural synthesis, 267
Blumlein array, 169–171
Blumlein, early stereo, 184–185
Boundary layer microphone,

291–292

Brass instruments, 232–233
Braunmühl-Weber dual diaphragm 

microphones, 81–84

Braunmühl-Weber electronic pattern 

control, 82–84

Broadcast studios, 297–298

Cable testing, 133–136
Cables, electrical characteristics, 

120

Calculation of microphone directivity,

103–104

Capacitor biasing resistance, 28–29
Capacitor gradient microphones,

62–63

Capacitor microphone padding of

output, 29–33

Capacitor microphone sensitivity to 

barometric pressure, 30

Capacitor microphone sensitivity to 

temperature, 29–30

Capacitor microphone

bias requirements, 26–27
electrical details, 26–33
electrical loading, 33
electronics, 32–33
noise spectra, 35–38
polarizing, 24
RF operation, 35
self-noise floor, 37
shielding, 27
diaphragm materials, 24

Capillary tube, capacitor micro-

phones, 24

Carbon microphone, 3–5
Cardioid family

Braunmühl-Weber type, 81–84
capacitor, 77–78
cardioid, 67–69
dynamic, 78–79
hypercardioid, 68–70
proximity effect, 76
subcardioid, 67–69
summary, 70–72
supercardioid, 67–69
Variable-D, 84–87

Chamber music recording, 202–204
Chamber orchestra recording,

204–206

Coincident arrays, 168–173
Concert sound reinforcement,

319–320

Condenser (See  Capacitor)
Console input circuitry, 123–128
Creating a center channel, 257–258
Critical distance (D

C

), 15–16, 305

Crossed cardioid arrays, 172–173

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dBu, definition, 136
D

C

(critical distance), 15–16, 305

DC-to-DC conversion, 120–121
Decca tree, 182
Decibel (dB), 7, 11–13
Delayed signals in stereo, 168
Delta Stereophony, 321
Desk and surface mounting, 152
Desk stands, 152
Dialog pickup, 297–298
Diaphragm materials, 24
Dielectric, air, 26
Diffraction, 19–21
Digital microphones, 140–141
Direct field, 14–16
Directivity and polar response of 

microphones, 106–108

Directivity factor, 16
Directivity of musical instruments,

195–198

Direct-to-reverberant ratio in 

recording, 214–215

Discrete line array theory, 322–324
Distance factor (DF), 70–71
Distortion in microphones, 112
Drum set pickup, 218–222
Dual-element directional 

microphones, 72–75

Dynamic pressure microphones,

42–47

Dynamic range of microphones, 113
Dynamic ranges of musical 

instruments, 198–199

EAD (equivalent acoustic distance),

304

Echo cancellation, 329–331
Effects of humidity, 17–18
Eigenmike, 244, 262–263
Electret microphones, 5–6, 38–39

electret backplate, 38
foil electret, 38
polytetrafluoroethelene electret

material, 38

Electrical loading, capacitor 

microphone, 33

Electrodynamic microphones, 4, 42
Electromagnetic microphones, 42
Electronic control of feedback,

314–315

Electronic microphones, 47
Equivalence of MS and XY 

techniques, 175

Estimating line microphone 

performance, 94–96

Estimating system intelligibility,

316–318

Extensive quantities, 10

Faulkner array, 180
Feedback in speech systems, 303
Fiberoptic transmission, 135
Figure-8 response, 20
First-order cardioid microphones,

66–72

First-order cardioid patterns in three

dimensions, 72, 74

Forward acceptance angle 70–71
Free field, 14–15
Frequency, 7
Frequency shifting, 314

Gain analysis of speech systems,

302–307

Gain structure, 136–138
Geometrical mean, 43
Gradient microphone, 50–51
Gradient microphone response,

54–55

Gradient, pressure, 16
Grounding and ground loops,

135–136

Guitar recording, 200–201, 

230–231

Handheld booms, 154–155
Hand-held MS microphone, 

294–295

Harpsichord recording, 199
Head tracking, 266
Headset-microphone combination,

293–294

HF nulls, gradient response, 54–55
High-directivity microphones,

91–104

Higher-order microphone patterns,

97–103

History of microphones, 1–6
Hole-in-the-middle, 176–177
Holophone, 252
HRTFs (head-related transfer 

functions), 265–266

Hum pickup in microphones, 

2113

Hum-bucking coil, 47, 113
Humidity, effects of, 17–18
Hypercardioid pattern, 68–70

IACC (interaural cross-correlation),

245–246

Impedance, 108–110
Impulse response of microphones,

114–115

In-line accessories, 163–164
Instrumentation microphones, 39–40

bandwidth, 41
diaphragm displacement, 41–42
operational ranges, 39–40
sensitivity, 41

Intensity, 10–11
Intensive quantities, 10
Interconnecting electronic hardware,

133

Interference-type microphones, 

91–96

Internal delay paths, 77–79
ITU (International

Telecommunications Union),
248–249

Jecklin disc, 193
Johnston-Lam seven channel array,

261–262

Klepko frontal array, 255

LARES, 320–321
Large studio orchestra, 238–239
Lectern and pulpit microphones, 308
Level, power, 12
Levels of typical sound sources, 13
Line losses and electrical interference,

131–134

Line microphones, 93–97
Loading of microphones, 126–128
Localization (Franssen), 169
Loss in dB over distance, 14

Madsen baffle array, 193
Magnetic flux density, 42–43
Magnetic induction, 11–43
Magnetostriction, 48
Maintenance of microphones 

noise level, 337
checking frequency response,

335–336

checking sensitivity, 336–337

Mallet instruments, 224
Mass-controlled diaphragms and 

ribbons, 53

Index

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Maximum SPL handling capability of

microphones, 106 

Microphone array for narrow vertical

coverage, 326–327

Microphone array for work stations,

325–326

Microphone emulator circuit,

133–134

Microphone gating, 292–293
Microphone HF response extension,

115–116

Microphone history, 1–6
Microphone preamplifier noise 

spectra, 37–38

Microphone snakes, 133
Microphone specifications, 105–166
Microphone splitters, 129–130
Microphone

armature, 1–2
Braunmühl-Weber type, 81–84
capacitor, 4–6
carbon type, 3–5
cardioid, 5
diaphragm materials, 24
diffraction, 19–21
directivity and polar response,

106–108

distortion, 112
dynamic range, 113
electret type, 5–6, 38–39
electrodynamic, 4
figure-8 pattern, 20
gradient type, 50–51
handheld booms, 154–155
hum pickup, 113
in-line accessories, 163–164
instrumentation type, 39–40
loading, 126–128
maximum SPL capability, 106
moving coil, 4
output padding, 123–125
output sensitivity, 105
output source impedance, 110
output transformers, 125–126
permanent installations, 157–158
piezoelectric type, 5
pop screens, 161
power output sensitivity, 108–110
power supplies, 164–165
powering of capacitors, 117–120
pressure type, 22–49
proximity effect, 17
ribbon type, 4
self-noise, 106
self-noise weighting curves, 111
shock mounts, 162–163

source impedance, 105
stands and booms, 154–155
stereo mounts, 154–157
unbalanced inputs, 128–129
variable contact, 2–5
velocity type, 50–51
windscreens, 158–161

Microphones for teleconferencing,

294, 298–299 

Midband damping, dynamic 

microphones, 44

Mike mouse, 152–154
Mixed microphone arrays, 181–183
Modern studio acoustics, 239–241
Moving coil (dynamic) microphone,

4, 42

MS (mid-side) technique, 173–175
Multiple tube microphones, 92

Narrow-band equalization, 314–315
Near-coincident techniques, 179–180
Neodymium magnets, 45–46
Noise canceling microphone,

291–292

Noise floor, capacitor microphone, 37
Noise spectra, capacitor microphone,

35–38

NOM (number of open micro-

phones), 316

NOS array, 180

Olson Stereo-180 array, 180
Optical microphones, 48
ORTF array, 179–181
Output levels of musical instruments,

195, 198–199

Output sensitivity of microphones,

105

Output source impedance of 

microphones, 110

Padding of preamplifier inputs, 127
Padding of microphone outputs,

29–33, 125

PAG (potential acoustical gain), 303
Paging in high noise areas, 300
Paging systems, 299–300
Panpots, 172
Parabolic reflectors and lenses, 96–98
Parallel operation of microphones,

139

Pascal (Pa), 12
Peak value of waveform, 11

Percussion instruments, 223–224
Period, 7
Permanent installations, 157–158
Perspectives in recording, 213–214
Phantom (Simplex) powering,

117–118

Phantom images, 166–168
Phase differences in stereo, 166
Phase relationship, 8–9
Piano recording, 198–200, 225–226
Piezoelectric bimorph crystals, 49
Piezoelectric microphones, 48–49
Piezoelectric principle, 5
Pipe organ recording, 201–202
Plane wave, 7, 16
Polarflex system (Schoeps), 89–90
Polarizing, capacitor 

microphones, 24

Pop screens, 161
Power output sensitivity nomograph,

109

Power output sensitivity of 

microphones, 108–110

Power supplies, 164–165
Power, acoustical, 10–11
Powering of capacitor microphones,

117–120

Pressure gradient, 16
Pressure gradient microphones,

50–65

Pressure microphones, 22–49
Proximity effect, 17, 64–65
Proximity effect in cardioid 

microphones, 75–77

PZM microphones, 291–292

Quadraphonic microphones, 257

Random efficiency (RE), 70–71
Ranges of microphone sensitivity,

110–111

Rayl (SI), 11
Reciprocity calibration of 

microphones, 113–114

Recording

accent microphones, 204–206
chamber music, 202–204
chamber orchestra, 204–206
guitar, 200–201
harpsichord, 199
piano, 198–200
pipe organ, 201–202
solo instruments and voice,

202–204

Index

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Recording (continued)

soloists with orchestra, 210
symphony orchestra, 206–210

Reflections from lecterns, 310–311
Rejection of off-axis sound, 70–71
Resistance controlled diaphragm,

43–44

Reverberant field, 14–16, 305
Reverberation time (R

60

), definition,

15–16

RF (radio frequency) microphone

technology, 138–139

RF operation, capacitor microphones,

35

Ribbon microphone

damping, 55–57
design details, 55–56
dimensions, 55–56
ribbon sag and deformation, 56
response, 58–60
sensitivity, 57–58
transformer, 56, 58

Ribbon stereo microphone, 186–187
Rifle (shotgun) microphones, 91–96
RMS (root-mean-square) value of

waveform, 11–12, 23

Rochelle salts (potassium sodium 

tartrate), 48

SAM array, 253–254
Schoeps KFM 360 array, 251–255
Schoeps OCT array, 255–256
Schroeder-Atal crosstalk cancellation,

265

Second-order frontal array, 

256–257

Self-noise of microphones, 106
Self-noise weighting curves for 

microphones, 111

Sensitivity to temperature, capacitor

microphones, 29–30

Shielding, capacitor 

microphones, 27

Shock mounts, 162–163
Simplex powering (See Phantom

powering)

Sine wave, 8
Single-diaphragm cardioid micro-

phones, 77–79

SLM (Sound Level Meter), 39–49
Solo instruments and vocal recording,

202–204

Soloists with large orchestra, 210
Sound level meter, 39–40
Sound pressure, 11

Sound pressure versus level, 14
Sound reinforcement, 

automatic microphone mixing,

315–316

electronic control of feedback,

314–315

estimating system speech 

intelligibility, 316–318

loudspeaker types, 311–314

Soundfield microphone, 244,

258–261

Source impedance of microphones,

105

Spaced pickup techniques, 174–179
Specific acoustical impedance, 11
Speech reinforcement

altar microphones, 309–310
feedback, 303
gain analysis, 302–307
head-worn microphone, 307
intelligibility, 316–318
lectern microphones, 308
reflections from lecterns, 310–311
requirements, 301–302
reverberant field, 305

Speed of sound, 9
Spherical wave, 7, 16–176
SPL array, 253–254
Spot microphones, (See Accent 

microphones)

Stage preamplifiers, 135
Stand-alone microphone 

preamplifiers, 130–131

Stands and booms, 154–155
Starquad cable, 132
Stereo listening conditions, 183
Stereo microphones

baffled pairs, 192–193
Crown SASS (Stereo Ambient

Sampling System), 198, 192

dummy heads, 187, 191
Jecklin disc, 193
Madsen microphone baffle, 193
remote control, 187, 189
spheres, 187, 192
stereo mounts, 154–157

Stereo

Blumlein array, 169–171
coincident arrays, 168–173
crossed cardioids, 172–173
Decca tree, 182
delayed signals, 168
Franssen localization, 169
MS technique, 173–175
panpots, 172
phantom images, 166–168

phase differences, 166
spaced pickup, 174–179
XY technique, 172–173

Stereosonic technique, 170
Stiffness controlled diaphragm,

27–28

String instruments, 232–233
Studio acoustics, 238–241
Studio recording

acoustic bass, 226–228
brass instruments, 232–233
drum set, 218–222
guitar, 230–231
large orchestra, 238–239
mallet instruments, 224
percussion instruments, 223–224
piano, 225–226
string instruments, 232–233
synthesizer, 231
vocals and vocal groups, 228–230
woodwind instruments, 232

Subcardioid pattern, 66–67, 70
Subtractive mixing, 271, 274–277
Summing multiple outputs, 

137–138

Super Phantom Powering, 121–122
Supercardioid pattern, 66–67, 70
Surround sound playback 

configurations, 247–249

Surround sound 

ambience, 245–247
creating a center channel, 

257–258

dipole loudspeakers, 248
Eigenmike, 244, 262–263
frontal second-order array,

256–257

general requirements, 272–273
Holophone, 252
ITU recommendations, 248–249
Johnston-Lam seven channel array,

261–262

Klepko frontal array, 255
microphone technology, 243–270
parallax, 244
quadraphonic microphones, 257
SAM (surround ambience 

microphone) array, 253–254

Schoeps KFM 360 array, 251–255
Schoeps OCT (optimum cardioid

triangle) array, 255–256

Soundfield microphone, 244,

258–261

SPL (Sound Performance Lab)

array, 253–254

subtractive mixing, 271, 274–277

Index

376

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TMH 10.2 playback array, 250
transaural technology, 264–267
video formats, 5.1 243
wavefront reconstruction, 

267–270

Symphony orchestra recording,

206–210

Synthesizer recording, 231
Synthesizing first-order patterns,

89–90

Systems with parallax, 244

Telephone handset, 290–291
Temperature, effects of, 9
THD (total harmonic distortion), 112
Theater systems, stereo 

reinforcement, 318–319

Thermal microphones, 48
Three-to-one rule, 241–242

Tie-tack microphone, 295–296
T-powering, 118
Transaural technology, 264–267
Two-way microphones, 87–89

Unbalanced microphone inputs,

128–129

Variable contact principle, 2–5
Variable pattern cardioid 

microphones, 79–81

Variable-D dynamic microphones,

84–87

Vector representation, line 

microphone, 93–94

Velocity microphone, 50–51
Virtual microphones, 331–333
Vocal microphones, 78

Vocals and vocal groups, 228–230

Watts, 10–11
Wavefront reconstruction, 267–270
Wind screens, 158–161
Wireless microphones, 142–151

frequency allocations, 142–143
power management, 149–150
pre and post-equalization, 

145–146

signal companding, 145–146
usage protocols, 150–151

Woodwind instruments, 232

XY technique, 172–173

Zoom microphone, 100–102

Index

377

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