Microphone Techniques
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AEA-KU5A-Owners-Manual-Rev1.Pdf
AEA KU5A OWNER’S MANUAL ACTIVE CARDIOID END-ADDRESS RIBBON MIC WELCOME We congratulate you on your purchase of the AEA KU5A ribbon microphone and welcome you to the AEA family. Never before has a ribbon mic delivered such directionality and uncompromised tonality in a package so fit for both studio and live settings. The KU5A is ideal for studio and live applications where both superior rejection and classic ribbon tonality are paramount. Whether recording a vocal, guitar, or even a snare drum, the KU5A delivers brilliant, focused sound where other conventional ribbons can’t. From close range the KU5A retains the hefty low end and pronounced midrange one expects of AEA ribbons and with manageable proximity effect. Vocalists can sing directly into the grille of the KU5A because its interior components are the most protected of any in the AEA lineup. The rugged KU5A is equipped with active electronics, so it’s suited or any preamp in the studio and on the road. Your KU5A microphone is 100% handcrafted in Pasadena, CA. AEA is an independent, family owned company with a small crew of skilled technicians – many of whom are themselves, musicians. We manufacture all our ribbon microphones and preamps with locally sourced parts. We hope your microphone will capture many magical performances that touch the heart. This manual will help ensure that you get the best sound and longevity from your new microphone. Please become part of the AEA community by sharing your experiences via e-mail, phone or social media. Wes Dooley President of AEA 2 CONTENTS 2 WELCOME 4 INTRODUCTION 4 SUPPORT 5 GENERAL GUIDELINES 7 APPLICATION ADVICE 10 SPECIFICATIONS 3 INTRODUCTION The KU5A is an end-address, phantom-powered, supercardioid ribbon microphone. -
Bachelor Thesis
BACHELOR THESIS Relationship Between Distance and Microphone Directivity in a Speaker Booth Björn Samuelsson 2015 Bachelor of Arts Audio Engineering Luleå University of Technology Department of Arts, Communication and Education Relationship between distance and microphone directivity in a speaker booth Abstract A study was made to investigate trained listeners preferences regarding a microphone's directivity and distance from a speaker when listening to a voice recorded in a speaker booth. Two directivities (omnidirectional and cardioid) and three distances (5, 25 and 52 cm) were tested on 19 subjects in a multiple comparison listening test regarding their preference and five other attributes taken from earlier studies. The result showed that an omnidirectional microphone placed close to a source might be preferable over a cardioid at the same distance or a cardioid placed a bit away from the source. The omnidirectional microphone however tends to perform more even at different distances compared to a cardioid, which makes it easier for a engineer to find a good microphone position for it. Table of Content Acknowledgements..........................................................................................................3 1. Introduction.....................................................................................................................4 1.1. Aim............................................................................................................................4 1.2. Research question....................................................................................................4 -
Proximity Effect Detection for Directional Microphones
Audio Engineering Society Convention Paper 8475 Presented at the 131st Convention 2011 October 20–23 New York, USA This Convention paper was selected based on a submitted abstract and 750-word precis that have been peer reviewed by at least two qualified anonymous reviewers. The complete manuscript was not peer reviewed. This convention paper has been reproduced from the author’s advance manuscript without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for the contents. Additional papers may be obtained by sending request and remittance to Audio Engineering Society, 60 East 42nd Street, New York, New York 10165-2520, USA; also see www.aes.org. All rights reserved. Reproduction of this paper, or any portion thereof, is not permitted without direct permission from the Journal of the Audio Engineering Society. Proximity effect detection for directional microphones Alice Clifford1 and Joshua D. Reiss1 1Queen Mary University of London, London, E1 4NS, UK Correspondence should be addressed to Alice Clifford ([email protected]) ABSTRACT The proximity effect in directional microphones is characterised by an undesired boost in low frequency energy as the source to microphone distance decreases. Traditional methods for reducing the proximity effect use a high pass filter to cut low frequencies which alter the tonal characteristics of the sound and are not dependent on the input source. This paper proposes an intelligent approach to detect the proximity effect in a single capsule directional microphone in real time. The low frequency boost is detected by analysing the spectral flux of the signal over a number of bands over time. -
Room Acoustics and Reverberation
21m.380 · Music and Technology Recording Techniques & Audio Production Room acoustics & reverberation Session 18 · Wednesday, November 9, 2016 1 Pa1 presentations • • Flo: Randy Newman – A Few Words in Defense of Our Country (2006) 2 Announcement: Schlepping reminder • Please remember if you are signed up for pre- or post-class schlepping for either recording session on Mon, 11/14, Wed, 11/16. • Pre-class schlepping: Meet at , 10 minutes before class 3 Review 3.1 Recording session 1 3.2 Ed3 assignment • How to limit to −3 dB with ReaComp plugin – Large ratio – Small rms size – Short attack and release times • Review of setting up a gate 4 Audible effects of reflections & delays 4.1 Flutter echoes & resonances • Unpleasant flutter echoes tend to occur between hard, parallel walls • Real-world examples: Killian Hall – Front right stage area as seen from audience (floor & ceiling) – Center of room with folded-in wall panels (left & right wall) • Demo in Pd: Perceptual effect of delays – ≳ 30 ms: Audible as echoes – ≲ 30 ms: Audible as pitched resonance – why? 1 of 10 21m.380 · Room acoustics & reverberation · Wed, 11/9/2016 4.2 Comb filters +6 Figure 2. Comb filter frequency re- sponse (note linear 푥 axis −20 (dB) −40 gain −60 −80 푛 푛+1 푛+2 Δ푡 Δ푡 Δ푡 … Frequency 푓 (Hz) input • Result of mixing a sound with a copy of itself delayed by Δ푡: – Δ푡 = 푇, 2푇, 3푇, ⋯ = 푛 Constructive interference if 푓 푇 3푇 5푇 – Destructive interference if Δ푡 = 2 , 2 , 2 ,… • Sound example: pink noise, moving mic, reflective surface Delay Δ푡 • Can be enjoyed outdoors across mit campus; just combine: + – Broadband hvac noise – Reflections from nearby building walls – Moving observer output • Other ubiquituous examples: Figure 1. -
The Pennsylvania State University
The Pennsylvania State University The Graduate School EFFECTS OF PERTURBATIONS ON THE REVERBERANT SOUND FIELD OF A ROOM A Thesis in Acoustics by Sumeet Sanjay Gawali © 2020 Sumeet Sanjay Gawali Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science May 2020 ii The thesis of Sumeet Gawali was reviewed and approved by the following: Stephen Thompson Research Professor Thesis Advisor Daniel Russell Teaching Professor of Acoustics and Distance Education Coordinator Robert Smith Assistant Research Professor Victor Sparrow Director of Graduate Program in Acoustics and United Technologies Corporation Professor of Acoustics iii ABSTRACT The reverberant sound field in a room, with all surfaces of the room being stationary, depends on the objects present in the room and their reflective or absorptive features and partly expressed in the reverberation time of the room. However, if perturbations are introduced in the sound field, either by moving objects in a room or by introducing new moving objects in the room with reflective or absorptive characteristics, the reverberant sound field undergoes modifications as the reflections change and in turn change how sound waves in a room interfere with each other at different locations in the room. These changes can be observed by making a comparison measurement between the frequency response of the room when it is stationary and when it is being perturbed. In this research effort, the impact on the time averaged sound field of a person moving through four candidate rooms was examined to assess the impact of this type of practical and easily achieved level of perturbation on a room. -
Reducing Microphone Artefacts in Live Sound Clifford, Alice
Reducing Microphone Artefacts in Live Sound Clifford, Alice The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/8383 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Reducing Microphone Artefacts in Live Sound Alice Clifford Centre for Digital Music School of Electronic Engineering and Computer Science Queen Mary, University of London Thesis submitted in partial fulfilment of the requirements of the University of London for the Degree of Doctor of Philosophy 2013 I certify that this thesis, and the research to which it refers, are the product of my own work, and that any ideas or quotations from the work of other people, published or otherwise, are fully acknowledged in accordance with the standard referencing practices of the discipline. I acknowledge the helpful guidance and support of my supervisor, Dr Joshua Reiss. 2 Abstract This thesis presents research into reducing microphone artefacts in live sound with no prior knowledge of the sources or microphones. Microphone artefacts are defined as additional sounds or distortions that occur on a microphone signal that are often undesired. We focus on the proximity effect, comb filtering and microphone bleed. In each case we present a method that either automatically implements human sound engineering techniques or we present a novel method that makes use of audio signal processing techniques that goes beyond the skills of a sound engi- neer. -
Loudspeakers and Rooms for Sound Reproduction—A Scientific Review*
PAPERS Loudspeakers and Rooms for Sound Reproduction—A Scientific Review* FLOYD E. TOOLE ([email protected]) Harman International Industries, Inc., Northridge, CA 91329, USA The physical measures by which acousticians evaluate the performance of rooms have evolved in large performance spaces—concert halls. They rely on assumptions that become progressively less valid as spaces get smaller and more acoustically absorptive. In listening rooms the loudspeakers and the rooms interact differently below and above a transition region around 300 Hz, similar to the Schroeder frequency in large rooms. Above this transition we need to understand our reactions to reflected sounds; below it the modal behavior of the space is the dominant factor. A review of the scientific literature reveals that natural reflections in small rooms are at levels where they are perceptible, and their subjectively judged effects range from neutral to positive. At low frequencies the long-standing problem of room reso- nances can be alleviated substantially through the use of multiple subwoofers, thereby pro- viding similarly good bass to several listeners in a room. A provocative observation has to do with human adaptation to the complexities of reflective rooms, and the extent to which it allows us to localize sounds correctly in direction and distance, and to hear much of the true timbral nature of sound sources. In the case of loudspeakers, an analysis of comprehensive anechoic data is found to be sufficient to provide a good prediction of sound quality, above the low-bass frequencies, as subjectively judged in a normal room. Although the interactions of loudspeakers and listeners in small rooms are becoming clearer, there are still gaps in our understanding. -
Product Information U 87 Ai
Product Information U87Ai Large Diaphragm Microphone Georg Neumann GmbH, Berlin • Ollenhauerstr. 98 • 13403 Berlin • Germany • Tel.: +49 (30) 417724-0 • Fax: +49 (30) 417724-50 E-Mail: [email protected], [email protected], [email protected] • Website: www.neumann.com he U 87 is probably the best known and most widely used Neumann studio micro- phone. It is equipped with a large dual-diaphragm capsu- le with three directional pat- terns: omnidirectional, car- dioid and figure-8. These are selectable with a switch below the headgrille. A 10 dB attenuation switch is located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. Furthermore, the low fre- quency response can be reduced to compen- sate for proximity effect. Applications The U 87 Ai condenser microphone is a large diaphragm microphone with three polar pat- terns and a unique frequency and transient re- sponse characteristic. Users recognize the microphone immediately by its distinctive design. It is a good choice for most general purpose applications in studios, for broadcasting, film and television. The U 87 Ai is used as a main microphone for orchestra recordings, as a spot mic for single instruments, and extensively as a vocal micro- phone for all types of music and speech. Acoustic features The U 87 Ai is addressed from the front, mar- ked with the Neumann logo. The frequency response of the cardioid and figure-8 directio- nal characteristics are very flat for frontal sound incidence, even in the upper frequency Features range. • Variable large diaphragm • Switchable low frequency The microphone can be used microphone roll-off very close to a sound source • Pressure-gradient transducer • Switchable 10 dB pre- without the sound becoming with double membrane capsule attenuation unnaturally harsh. -
Measurements for Loudspeaker Modeling Files
Excelsior Audio Design & Services 2130 Shadwell Court 704.675.5435 4471 Posterity Court Gastonia, NC 28056 www.excelsior-audio.com Gastonia, NC 28056 Audio & Acoustical Consulting, Design, and Measurement 22 March 2017 Charlie Hughes Measurements for Loudspeaker Modeling Files Loudspeaker modeling files are most often used with acoustical modeling programs such as EASE, Focus, CATT-Acoustic, and others to help determine how well the loudspeakers cover the audience areas and how much “spill” there is on the room’s surfaces. Some of these programs also allow for the investigation of additional metrics like reverberation time, clarity, speech transmission index (STI), and more. For many of these items it is important to have accurate data about the characteristics of the loudspeakers that are used in the models. Errors in the data used for these modeling programs will often lead to errors in the results the programs generate. In this article we will details some of the requirements to help assure good measurement data for use with loudspeaker modeling. It is also possible to use some of these loudspeaker modeling files to help optimize the design of crossover filters for the loudspeaker system. Since these modeling files have both on-axis and off-axis data the effects of the crossover and equalization filters used for each pass band can be seen in the overall directivity response of the loudspeaker system. We will also show an example of this in a follow-up article. While it is sometimes possible to measure a multi-transducer loudspeaker system as a single radiating, full-range device, these measurements may be limited in their use. -
R-121 CD-R Manual 2019
Royer Labs Model R-121 Mono Ribbon Velocity Microphone Operation Instructions Manual & User Guide Made in U.S.A. TABLE OF CONTENTS Model R-121 Ribbon Microphone Revised A Introduction 3 Description 3 Applications 3 Ribbons in the Digital World 4 User Guide 4 Using the R-121 Ribbon Microphone 4 Amplification Considerations 5 Equalization & Ribbon Microphones 6 Hum, Noise & Mic Orientation 7 The Sweet Spot 7 Finding and Working with the Sweet Spot 7 Other Types of Microphones 8 Proximity Effect and Working Distance 8 The Sound That Is “More Real than Real” 8 Microphone Techniques 9 General Tips for Using the Royer R-121 9 Recording Loud or Plosive Sounds 11 Stereophonic Microphone Techniques 12 Classic Blumlein Technique 13 Mid-Side (M-S) Technique 13 Specialized Recording Techniques 14 Recording on the back side of the R-121 14 Care & Maintenance 15 Features 16 Electrical Specifications 17 Mechanical Specifications 17 Polar Pattern 18 Frequency Response 18 Warranty 18 2 Introduction Congratulations on your purchase of a Royer Labs model R-121 ribbon microphone. The R-121 is a handcrafted precision instrument capable of delivering superior sound quality and exceptional performance. This operator’s manual describes the R-121, its function and method of use. It also describes the care and maintenance required to ensure proper operation and long service life. The user guide section of this manual offers practical information that is designed to maximize the performance capabilities of this microphone. Royer Labs products are manufactured to the highest industrial standards using only the finest materials obtainable. Your model R-121 went though extensive quality control checks before leaving the factory. -
Microphone Techniques for RECORDING
A Shure Educational Publication MICROPHONE TECHNIQUES RECORDING Microphone Techniques for Table of Contents RECORDING Introduction: Selection and Placement of Microphones ............. 4 Section One .................................................................................. 5 Microphone Techniques ........................................................ 5 Vocal Microphone Techniques ............................................... 5 Spoken Word/“Podcasting” ................................................... 7 Acoustic String and Fretted Instruments ................................ 8 Woodwinds .......................................................................... 13 Brass ................................................................................... 14 Amplified Instruments .......................................................... 15 Drums and Percussion ........................................................ 18 Stereo .................................................................................. 21 Introduction: Fundamentals of Microphones, Instruments, and Acoustics ....................................................... 23 Section Two ................................................................................ 24 Microphone Characteristics ................................................. 24 Instrument Characteristics ................................................... 27 Acoustic Characteristics ....................................................... 28 Shure Microphone Selection Guide .................................... -
Remix Theory
~ SpringerWienNewYork Eduardo Navas .000• 00.00 .000. 00000 .000.••••• •••••• 0000 ••0 •• 00.00 0.0.0 00000 .0.0 • 00.00 00.00 00.00 .00.0••••• •••••• 0000 .000• 00.00 0.0.0 00000 • 000. ••••• .000• 00.00 .000. 00000 • 000• .000• •••••00.00 .000. •••••• 0000 •••••• 000• .000•••••• 0.0.0 00.00 • 000• 00.00 00.00 .000.••••• •••••• 0000 .000• .00.0••••• 00.00 00.00 • 000. ••••• ••••• .000• 00.00 THE AESTHETICS OF SAMPLING SpringerWienNewYork Eduardo Navas, Ph.D. Post-Doctoral Research Fellow Information Science and Media Studies University of Bergen, Norway With financial support of The Department of Information Science and Me- dia Studies at The University of Bergen, Norway. This work is subject to copyright. All rights are reserved, whether the whole or part of the material is con- cerned, specifically those of translation, reprinting, re-use of illustrations, broadcasting, reproduction by photocopying machines or similar means, and storage in data banks. Product Liability: The publisher can give no guarantee for all the informa- tion contained in this book. The use of registered names, trademarks, etc. in this publication does not imply, even in the absence of a specific state- ment, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. © 2012 Springer-Verlag/Wien SpringerWienNewYork is part of Springer Science+Business Media springer.at Cover Image: Eduardo Navas Cover Design: Ludmil Trenkov Printing: Strauss GmbH, D-69509 Mörlenbach Printed on acid-free and chlorine-free bleached