Index

INDEX
A-B powering (See T-powering) Azimuthal stereo microphone, Capacitor microphone sensitivity to
AB stereo (spaced microphone 186–188 temperature, 29–30
pickup), 177–179 Capacitor microphone
Absolute polarity, 117 bias requirements, 26–27
Absorption coefficient, 15–16 Baffles (goboes), 222–223 electrical details, 26–33
Accent microphones, 204–206 Barometric pressure, 30 electrical loading, 33
Acoustic bass pickup, 226–228 Barron’s data, 177–178 electronics, 32–33
Acoustical power, 10–11 Bass equalizing tube, dynamic noise spectra, 35–38
Active acoustics microphones, 44 polarizing, 24
Delta Stereophony, 321 Beamwidth, definition, 96 RF operation, 35
LARES (Lexicon acoustical Biasing resistance, capacitor self-noise floor, 37
reverberance enhancement microphone, 28–29 shielding, 27
system), 320–321 Binaural recording, 187, 191 diaphragm materials, 24
Parkin’s Assisted Resonance, 320 Binaural synthesis, 267 Capillary tube, capacitor micro-
Adaptive arrays, 328–329 Blumlein array, 169–171 phones, 24
ADP (ammonium dihydrogen Blumlein, early stereo, 184–185 Carbon microphone, 3–5
phosphate), 48 Boundary layer microphone, Cardioid family
Air dielectric, 26 291–292 Braunmühl-Weber type, 81–84
Air particle velocity, 11 Brass instruments, 232–233 capacitor, 77–78
Altar microphones, 309–310 Braunmühl-Weber dual diaphragm cardioid, 67–69
Altering room acoustics, 210–212 microphones, 81–84 dynamic, 78–79
Altering the piano 225–226 Braunmühl-Weber electronic pattern hypercardioid, 68–70
Ambience in recording, 245–247 control, 82–84 proximity effect, 76
Amplitude, 7 Broadcast studios, 297–298 subcardioid, 67–69
Analysis, cardioid microphones, summary, 70–72
77–84 supercardioid, 67–69
Analysis, gradient microphones, Cable testing, 133–136 Variable-D, 84–87
50–55 Cables, electrical characteristics, Chamber music recording, 202–204
Analysis, pressure microphones, 120 Chamber orchestra recording,
22–24 Calculation of microphone directivity, 204–206
Anti-noise (noise canceling) micro- 103–104 Coincident arrays, 168–173
phones, 291–292 Capacitor biasing resistance, 28–29 Concert sound reinforcement,
Anti-phase signals, 9 Capacitor gradient microphones, 319–320
Armature microphone, 1–2 62–63 Condenser (See Capacitor)
Assisted Resonance (Parkin), 320 Capacitor microphone padding of Console input circuitry, 123–128
Automatic microphone mixing, output, 29–33 Creating a center channel, 257–258
315–316 Capacitor microphone sensitivity to Critical distance (DC), 15–16, 305
Average value of waveform, 11 barometric pressure, 30 Crossed cardioid arrays, 172–173
374 Index
dBu, definition, 136 Estimating system intelligibility, IACC (interaural cross-correlation),

DC (critical distance), 15–16, 305 316–318 245–246
DC-to-DC conversion, 120–121 Extensive quantities, 10 Impedance, 108–110
Decca tree, 182 Impulse response of microphones,
Decibel (dB), 7, 11–13 114–115
Delayed signals in stereo, 168 In-line accessories, 163–164
Faulkner array, 180
Delta Stereophony, 321 Instrumentation microphones, 39–40
Feedback in speech systems, 303
Desk and surface mounting, 152 bandwidth, 41
Fiberoptic transmission, 135
Desk stands, 152 diaphragm displacement, 41–42
Figure-8 response, 20
Dialog pickup, 297–298 operational ranges, 39–40
First-order cardioid microphones,
Diaphragm materials, 24 sensitivity, 41
66–72
Dielectric, air, 26 Intensity, 10–11
First-order cardioid patterns in three
Diffraction, 19–21 Intensive quantities, 10
dimensions, 72, 74
Digital microphones, 140–141 Interconnecting electronic hardware,
Forward acceptance angle 70–71
Direct field, 14–16 133
Free field, 14–15
Directivity and polar response of Interference-type microphones,
Frequency, 7
microphones, 106–108 91–96
Frequency shifting, 314
Directivity factor, 16 Internal delay paths, 77–79
Directivity of musical instruments, ITU (International
195–198 Telecommunications Union),
Direct-to-reverberant ratio in Gain analysis of speech systems, 248–249
recording, 214–215 302–307
Discrete line array theory, 322–324 Gain structure, 136–138
Distance factor (DF), 70–71 Geometrical mean, 43 Jecklin disc, 193
Distortion in microphones, 112 Gradient microphone, 50–51 Johnston-Lam seven channel array,
Drum set pickup, 218–222 Gradient microphone response, 261–262
Dual-element directional 54–55
microphones, 72–75 Gradient, pressure, 16
Dynamic pressure microphones, Grounding and ground loops, Klepko frontal array, 255
42–47 135–136
Dynamic range of microphones, 113 Guitar recording, 200–201,
Dynamic ranges of musical 230–231 LARES, 320–321
instruments, 198–199 Large studio orchestra, 238–239
Lectern and pulpit microphones, 308
Handheld booms, 154–155 Level, power, 12
EAD (equivalent acoustic distance), Hand-held MS microphone, Levels of typical sound sources, 13
304 294–295 Line losses and electrical interference,
Echo cancellation, 329–331 Harpsichord recording, 199 131–134
Effects of humidity, 17–18 Head tracking, 266 Line microphones, 93–97
Eigenmike, 244, 262–263 Headset-microphone combination, Loading of microphones, 126–128
Electret microphones, 5–6, 38–39 293–294 Localization (Franssen), 169
electret backplate, 38 HF nulls, gradient response, 54–55 Loss in dB over distance, 14
foil electret, 38 High-directivity microphones,
polytetrafluoroethelene electret 91–104
material, 38 Higher-order microphone patterns, Madsen baffle array, 193
Electrical loading, capacitor 97–103 Magnetic flux density, 42–43
microphone, 33 History of microphones, 1–6 Magnetic induction, 11–43
Electrodynamic microphones, 4, 42 Hole-in-the-middle, 176–177 Magnetostriction, 48
Electromagnetic microphones, 42 Holophone, 252 Maintenance of microphones
Electronic control of feedback, HRTFs (head-related transfer noise level, 337
314–315 functions), 265–266 checking frequency response,
Electronic microphones, 47 Hum pickup in microphones, 335–336
Equivalence of MS and XY 2113 checking sensitivity, 336–337
techniques, 175 Hum-bucking coil, 47, 113 Mallet instruments, 224
Estimating line microphone Humidity, effects of, 17–18 Mass-controlled diaphragms and
performance, 94–96 Hypercardioid pattern, 68–70 ribbons, 53
Index 375
Maximum SPL handling capability of source impedance, 105 Percussion instruments, 223–224
microphones, 106 stands and booms, 154–155 Period, 7
Microphone array for narrow vertical stereo mounts, 154–157 Permanent installations, 157–158
coverage, 326–327 unbalanced inputs, 128–129 Perspectives in recording, 213–214
Microphone array for work stations, variable contact, 2–5 Phantom (Simplex) powering,
325–326 velocity type, 50–51 117–118
Microphone emulator circuit, windscreens, 158–161 Phantom images, 166–168
133–134 Microphones for teleconferencing, Phase differences in stereo, 166
Microphone gating, 292–293 294, 298–299 Phase relationship, 8–9
Microphone HF response extension, Midband damping, dynamic Piano recording, 198–200, 225–226
115–116 microphones, 44 Piezoelectric bimorph crystals, 49
Microphone history, 1–6 Mike mouse, 152–154 Piezoelectric microphones, 48–49
Microphone preamplifier noise Mixed microphone arrays, 181–183 Piezoelectric principle, 5
spectra, 37–38 Modern studio acoustics, 239–241 Pipe organ recording, 201–202
Microphone snakes, 133 Moving coil (dynamic) microphone, Plane wave, 7, 16
Microphone specifications, 105–166 4, 42 Polarflex system (Schoeps), 89–90
Microphone splitters, 129–130 MS (mid-side) technique, 173–175 Polarizing, capacitor
Microphone Multiple tube microphones, 92 microphones, 24
armature, 1–2 Pop screens, 161
Braunmühl-Weber type, 81–84 Power output sensitivity nomograph,
capacitor, 4–6 Narrow-band equalization, 314–315 109
carbon type, 3–5 Near-coincident techniques, 179–180 Power output sensitivity of
cardioid, 5 Neodymium magnets, 45–46 microphones, 108–110
diaphragm materials, 24 Noise canceling microphone, Power supplies, 164–165
diffraction, 19–21 291–292 Power, acoustical, 10–11
directivity and polar response, Noise floor, capacitor microphone, 37 Powering of capacitor microphones,
106–108 Noise spectra, capacitor microphone, 117–120
distortion, 112 35–38 Pressure gradient, 16
dynamic range, 113 NOM (number of open micro- Pressure gradient microphones,
electret type, 5–6, 38–39 phones), 316 50–65
electrodynamic, 4 NOS array, 180 Pressure microphones, 22–49
figure-8 pattern, 20 Proximity effect, 17, 64–65
gradient type, 50–51 Proximity effect in cardioid
handheld booms, 154–155 Olson Stereo-180 array, 180 microphones, 75–77
hum pickup, 113 Optical microphones, 48 PZM microphones, 291–292
in-line accessories, 163–164 ORTF array, 179–181
instrumentation type, 39–40 Output levels of musical instruments,
loading, 126–128 195, 198–199 Quadraphonic microphones, 257
maximum SPL capability, 106 Output sensitivity of microphones,
moving coil, 4 105
output padding, 123–125 Output source impedance of Random efficiency (RE), 70–71
output sensitivity, 105 microphones, 110 Ranges of microphone sensitivity,
output source impedance, 110 110–111
output transformers, 125–126 Rayl (SI), 11
permanent installations, 157–158 Padding of preamplifier inputs, 127 Reciprocity calibration of
piezoelectric type, 5 Padding of microphone outputs, microphones, 113–114
pop screens, 161 29–33, 125 Recording
power output sensitivity, 108–110 PAG (potential acoustical gain), 303 accent microphones, 204–206
power supplies, 164–165 Paging in high noise areas, 300 chamber music, 202–204
powering of capacitors, 117–120 Paging systems, 299–300 chamber orchestra, 204–206
pressure type, 22–49 Panpots, 172 guitar, 200–201
proximity effect, 17 Parabolic reflectors and lenses, 96–98 harpsichord, 199
ribbon type, 4 Parallel operation of microphones, piano, 198–200
self-noise, 106 139 pipe organ, 201–202
self-noise weighting curves, 111 Pascal (Pa), 12 solo instruments and voice,
shock mounts, 162–163 Peak value of waveform, 11 202–204
376 Index
Recording (continued) Sound pressure versus level, 14 phase differences, 166

soloists with orchestra, 210 Sound reinforcement, spaced pickup, 174–179
symphony orchestra, 206–210 automatic microphone mixing, XY technique, 172–173
Reflections from lecterns, 310–311 315–316 Stereosonic technique, 170
Rejection of off-axis sound, 70–71 electronic control of feedback, Stiffness controlled diaphragm,
Resistance controlled diaphragm, 314–315 27–28
43–44 estimating system speech String instruments, 232–233
Reverberant field, 14–16, 305 intelligibility, 316–318 Studio acoustics, 238–241
Reverberation time (R60), definition, loudspeaker types, 311–314 Studio recording
15–16 Soundfield microphone, 244, acoustic bass, 226–228
RF (radio frequency) microphone 258–261 brass instruments, 232–233
technology, 138–139 Source impedance of microphones, drum set, 218–222
RF operation, capacitor microphones, 105 guitar, 230–231
35 Spaced pickup techniques, 174–179 large orchestra, 238–239
Ribbon microphone Specific acoustical impedance, 11 mallet instruments, 224
damping, 55–57 Speech reinforcement percussion instruments, 223–224
design details, 55–56 altar microphones, 309–310 piano, 225–226
dimensions, 55–56 feedback, 303 string instruments, 232–233
ribbon sag and deformation, 56 gain analysis, 302–307 synthesizer, 231
response, 58–60 head-worn microphone, 307 vocals and vocal groups, 228–230
sensitivity, 57–58 intelligibility, 316–318 woodwind instruments, 232
transformer, 56, 58 lectern microphones, 308 Subcardioid pattern, 66–67, 70
Ribbon stereo microphone, 186–187 reflections from lecterns, 310–311 Subtractive mixing, 271, 274–277
Rifle (shotgun) microphones, 91–96 requirements, 301–302 Summing multiple outputs,
RMS (root-mean-square) value of reverberant field, 305 137–138
waveform, 11–12, 23 Speed of sound, 9 Super Phantom Powering, 121–122
Rochelle salts (potassium sodium Spherical wave, 7, 16–176 Supercardioid pattern, 66–67, 70
tartrate), 48 SPL array, 253–254 Surround sound playback
Spot microphones, (See Accent configurations, 247–249
microphones) Surround sound
SAM array, 253–254 Stage preamplifiers, 135 ambience, 245–247
Schoeps KFM 360 array, 251–255 Stand-alone microphone creating a center channel,
Schoeps OCT array, 255–256 preamplifiers, 130–131 257–258
Schroeder-Atal crosstalk cancellation, Stands and booms, 154–155 dipole loudspeakers, 248
265 Starquad cable, 132 Eigenmike, 244, 262–263
Second-order frontal array, Stereo listening conditions, 183 frontal second-order array,
256–257 Stereo microphones 256–257
Self-noise of microphones, 106 baffled pairs, 192–193 general requirements, 272–273
Self-noise weighting curves for Crown SASS (Stereo Ambient Holophone, 252
microphones, 111 Sampling System), 198, 192 ITU recommendations, 248–249
Sensitivity to temperature, capacitor dummy heads, 187, 191 Johnston-Lam seven channel array,
microphones, 29–30 Jecklin disc, 193 261–262
Shielding, capacitor Madsen microphone baffle, 193 Klepko frontal array, 255
microphones, 27 remote control, 187, 189 microphone technology, 243–270
Shock mounts, 162–163 spheres, 187, 192 parallax, 244
Simplex powering (See Phantom stereo mounts, 154–157 quadraphonic microphones, 257
powering) Stereo SAM (surround ambience
Sine wave, 8 Blumlein array, 169–171 microphone) array, 253–254
Single-diaphragm cardioid micro- coincident arrays, 168–173 Schoeps KFM 360 array, 251–255
phones, 77–79 crossed cardioids, 172–173 Schoeps OCT (optimum cardioid
SLM (Sound Level Meter), 39–49 Decca tree, 182 triangle) array, 255–256
Solo instruments and vocal recording, delayed signals, 168 Soundfield microphone, 244,
202–204 Franssen localization, 169 258–261
Soloists with large orchestra, 210 MS technique, 173–175 SPL (Sound Performance Lab)
Sound level meter, 39–40 panpots, 172 array, 253–254
Sound pressure, 11 phantom images, 166–168 subtractive mixing, 271, 274–277
Index 377
TMH 10.2 playback array, 250 Tie-tack microphone, 295–296 Vocals and vocal groups, 228–230
transaural technology, 264–267 T-powering, 118
video formats, 5.1 243 Transaural technology, 264–267
wavefront reconstruction, Two-way microphones, 87–89 Watts, 10–11
267–270 Wavefront reconstruction, 267–270
Symphony orchestra recording, Wind screens, 158–161
206–210 Unbalanced microphone inputs, Wireless microphones, 142–151
Synthesizer recording, 231 128–129 frequency allocations, 142–143
Synthesizing first-order patterns, power management, 149–150
89–90 pre and post-equalization,
Systems with parallax, 244 Variable contact principle, 2–5 145–146
Variable pattern cardioid signal companding, 145–146
microphones, 79–81 usage protocols, 150–151
Telephone handset, 290–291 Variable-D dynamic microphones, Woodwind instruments, 232
Temperature, effects of, 9 84–87
THD (total harmonic distortion), 112 Vector representation, line
Theater systems, stereo microphone, 93–94 XY technique, 172–173
reinforcement, 318–319 Velocity microphone, 50–51
Thermal microphones, 48 Virtual microphones, 331–333
Three-to-one rule, 241–242 Vocal microphones, 78 Zoom microphone, 100–102

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dBu, deﬁnition, 136 Estimating system intelligibility, IACC (interaural cross-correlation),

Recording (continued) Sound pressure versus level, 14 phase differences, 166

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