The Use of Microphones

INTRODUCTION: ON QUALITY = 7 MICROPHONESAND AUDIO ENGINEERING = 8 The judgment of sound Microphone balance SOUND WAVELENGTH : THE SIZE OF SOUND = 10 Wavelength and the ideal diaphragm FREQUENCY: THE TIMING OF SOUND = 12 Frequency and wavelength WAVESAND PHASE = 14 Adding sounds together ENERGY, INTENSITY AND RESONANCE = 16 How a sound source works OVERTONESAND HARMONICS = 18 How we hear sounds as music MUSICAL ACOUSTICS: STRINGS = 20 Attack and envelope MUSICAL ACOUSTICS: WIND = 22 Behaviour of standing waves THE HUMAN VOICE = 24 Microphones for speech SOUND VOLUME AND THE EAR = 26 Intensity and volume Human hearing at different frequencies STUDIOS: REVERBERATION AND COLOURATION = 28 ACOUSTICTREATMENT = 30 Types of absorber MICROPHONES MICROPHONE CHARACTERISTICS = 32 Distortion and frequency responses DIRECTIONAL RESPONSE = 34 Cardioid and switchable types FREQUENCY RESPONSE IN PRACTICE = 36 BI-DIRECTIONAL MICROPHONES = 38 Control of acoustics Avoiding phase problems BASS TIP-UP IN DIRECTIONAL MICROPHONES = 40 Working distance CARDIOID MICROPHONES = 42 Boom operation CONDENSER MICROPHONES = 44 Double-diaphragm condensers COTTAGE-LOAF RESPONSE = 46 Bass tip-up turned to advantage HIGHLY DIRECTIONAL RESPONSE = 48 Focused sound GUN MICROPHONES = 50 Effect of reverberation Pinpointing voices in an audience NOISE CANCELLING MICROPHONES = 52 The lip-ribbon MICROPHONES FOR USE IN VISION = 54 Floor stands Microphone on table stand HAND MICROPHONES = 56 Rehearsing microphone use LANYARD AND LAPEL MICROPHONES = 58 Methods of use RADIO MICROPHONES = 60 CONTACT AND UNDERWATER MICROPHONES = 62 Sound in solids and liquids OTHER MICROPHONES AND EQUIPMENT = 64 Windshields Microphone mountings SPEECH BALANCE MICROPHONE BALANCE = 66 The objectives of balance SPEECH BALANCE = 68 Directional microphone TWO OR MORE VOICES = 70 Using separate microphones Using a bi-directional microphone BACKGROUND NOISE = 72 Studio and location noise problems DRAMA STUDIO ACOUSTICS = 74 Action and narrative DEAD ACOUSTICS FOR SPEECH = 76 Using Screens SOUND & PICTURE MICROPHONEAND PICTURE = 78 When a microphone may be seen BOOM OPERATION = 80 Microphone position SOUND IN THETELEVISION STUDIO = 82 Cables Additional microphones BOOMS AND LIGHTING = 84 Avoiding boom shadow Shadows from static microphones MUSIC BALANCE MUSIC BALANCE = 86 Acoustic and electronic methods THE "LIVE" MUSIC STUDIO = 88 Ambiophony THESTRING FAMILY: THE VIOLIN = 90 Microphone position and response VIOLIN, VIOLA,'CELLO, BASS = 92 The double bass in popular music THE CONCERT GRAND PIANO = 94 Action noise THE PIANO AS RHYTHM = 96 Close balance Upright pianos MORE PIANO BALANCES = 98 Two microphones A MISCELLANY OF STRINGS = 100 WOODWIND = 102 Transients Saxophone characteristics BRASS = 104 Allowing for increases in volume Brass band PERCUSSION, DRUMS = 106 Balance for pop percussion SINGERS: SOLO & CHORUS = 108 Balancing a chorus ORCHESTRA-AND ORGAN = 110 The acoustics ORCHESTRA WITH SOLOISTS OR CHORUS = 112 The piano concerto SERIOUS MUSIC IN VISION = 114 Picture and sound perspectives Ballet OPERA = 116 Problems of stage opera Sound and the stage play TELEVISED OPERA = 118 Post-synching an orchestra POP MUSIC WITH 'ELECTRIC' INSTRUMENTS = 120 Equalisation for vocalist Loudspeaker characteristics RHYTHM GROUP, SMALL BAND = 122 Factors affecting layout MANY MICROPHONES FOR THE BIG BAND = 124 The balance cannot be heard in the studio POPULAR MUSIC IN VISION = 126 Filmed music CONTROL THE CONTROL DESK = 128 Features of the desk MODIFYING THE AUDIO SIGNAL = 130 Building sound stage by stage Noise reduction system USING FILTERS = 132 Simulating telephone quality RESPONSESHAPING = 134 Midlift COMPRESSORSAND LIMITERS = 136 ECHO : ARTIFICIAL REVERBERATION = 138 Drawbacks of echo chamber THE REVERBERATION PLATE = 140 Reverberation time USING ECHO = 142 Simulating concert hall conditions VOLUMECONTROL: METERS = 144 Metering devices PROGRAMME VOLUME = 146 Junctions between speech and music Preferred listening levels MANUAL CONTROL OF MUSIC AND SPEECH = 148 Compressing classical music MONITORING SOUND = 150 Checking recordings The line up procedure LISTENING TO SOUND QUALITY = 152 Types of sound degradation Keeping the problems in proportion USEFUL FORMULAE = 154 FURTHER READING = 155 GLOSSARY = 156

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