Eargle's the Microphone Book : From Mono to Stereo to Surround - A Guide to Microphone Design and Application , Third Edition

Front matter......Page 1
Copyright......Page 3
Preface to the First Edition......Page 4
Preface to the Second Edition......Page 6
Preface to the Third Edition......Page 7
Symbols Used in This Book......Page 8
The Early Years......Page 10
The Rise of Broadcasting......Page 12
The Rise of Mass Communications......Page 15
Studio Microphone Technology......Page 16
The Future......Page 17
Introduction......Page 18
Performance Checks......Page 20
Microphone Output Power Sensitivity......Page 22
Condenser Microphone Sensitivity to Temperature And Barometric Pressure......Page 26
Sound in a Plane Wave Field......Page 28
Effects of Humidity on Sound Transmission......Page 29
Diffraction Effects At Short Wavelengths; Directivity Index (Di)......Page 30
Analysis of the Condenser Pressure Microphone......Page 35
Diaphragm Motion......Page 37
Electrical Details of the Condenser Pressure Microphone......Page 39
Near-Coincident Arrays......Page 313
Condenser Microphone Sensitivity to Humidity......Page 43
Equivalent Electrical Circuits for the Condenser Pressure Microphone......Page 44
Details of the Preamplifier and Polarizing Circuitry......Page 45
On-Axis Versus Random Incidence Response: Grids, Baffles, And Nose Cones......Page 48
Typical Condenser Pressure Microphone Noise Spectra......Page 52
Instrumentation Microphones......Page 54
Sensitivity, Bandwidth, and Diaphragm Displacement of Condenser Microphones......Page 59
The Dynamic Pressure Microphone......Page 60
Typical Dimensions and Physical Quantities......Page 64
Other Pressure Microphone Transducers......Page 66
Piezoelectric Microphones......Page 67
Definition and Description of the Pressure Gradient......Page 69
Directional and Frequency Response of Gradient Microphones......Page 73
Mechanical Details of the Dynamic Pressure Gradient Microphone......Page 75
Western Electric Model 630......Page 417
Response Curves for Ribbon Gradient Microphones......Page 79
Equivalent Circuit for a Ribbon Gradient Microphone......Page 81
The Condenser Gradient Microphone......Page 82
Rca Mi-10001......Page 423
The First-Order Cardioid Family......Page 89
``March to the Scaffold,´´ From Symphonie Fantastique By Hector Berlioz......Page 338
1812 Overture By Pyotr Tchaikovsky (Choral Arrangement By Igor Buketoff)......Page 342
First-Order Cardioid Patterns in Three Dimensions......Page 95
Power Supplies for Older Tube Microphones......Page 97
Single Diaphragm Cardioid Microphones......Page 99
Variable Pattern Single-Diaphragm Microphones......Page 102
Handheld Ms Microphone......Page 105
The Surround Ambience Microphone (Sam) Array......Page 290
Reciprocity Calibration of Pressure Microphones......Page 146
Recording the Guitar......Page 115
Real-World Directional Patterns......Page 116
Interference-Type Microphones......Page 118
Some Acoustical Properties of Musical Instruments and Ensembles......Page 121
Details of the Playback Setup......Page 123
A Desk-Type Microphone Array With Cardioid Horizontal Response and Narrowed Vertical Response......Page 124
Variations in Second-Order Design......Page 130
A Third-Order Microphone......Page 131
Calculation of Directivity Data From Patterns Given in Polar Coordinates......Page 132
Introduction......Page 135
Frequency Response and Polar Data......Page 136
Microphone Stands and Booms......Page 202
Microphone Source Impedance......Page 142
Equivalence of M-S and X-Y......Page 143
Distortion Specifications......Page 145
Impulse Response of Microphones......Page 147
Standards......Page 148
Introduction......Page 150
Flush-Mounted Microphones......Page 200
Using Phantom Powering......Page 153
Western Electric Model 640Aa......Page 154
The Microphone Output Transformer......Page 160
Concerto for Piano and Strings By Alfred Schnittke......Page 350
Console Input Section......Page 162
Improper Microphone Loading......Page 163
Balanced Microphone Interfacing......Page 164
Telefunken Elam 251......Page 426
Microphone Splitters......Page 166
The Stand-Alone Microphone Preamp......Page 168
Line Losses and Electrical Interference......Page 169
Physical Characteristics of Cables......Page 172
Cable Testing......Page 173
Stage Preamplifiers and Fiber Optic Lines......Page 175
Ground Loops......Page 176
Gain Structure......Page 177
Summing Multiple Inputs Into a Single Output Channel......Page 179
Microphones Using the Rf (Radio Frequency) Transmission Principle......Page 180
Parallel Operation of Microphones......Page 181
Digital Microphones......Page 182
How Stereo Works: a Simplified Analysis of Phantom Images......Page 185
Transmission Principles......Page 187
Diversity Reception......Page 188
Signal Compression and Expansion......Page 190
Digital Wireless......Page 191
Transmitter Units......Page 192
The Transmitter......Page 195
The Receiver......Page 196
Shure Model 55 Unidyne......Page 427
Final Comments......Page 199
Factors That Determine Indoor Speech Intelligibility......Page 376
Cable Mounts......Page 205
Wind and Pop Screens......Page 207
Shock Mounts......Page 211
In-Line Electrical Accessories......Page 214
Auxiliary Microphone Power Supplies......Page 216
Introduction......Page 217
Coincident Stereo Microphone Arrays......Page 219
Microphones and Arrays for Stereo-Derived Surround Sound......Page 312
Crossed Cardioid Arrays......Page 223
Variation on X-Y Techniques: Mid-Side (M-S) Pickup......Page 224
Spaced Microphone Recording Techniques......Page 226
Near-Coincident Recording Techniques......Page 231
Williams´ Summary of Stereo Spaced and Splayed Cardioids......Page 233
Mixed Stereo Microphone Arrays......Page 234
Comment on Front-Back Coverage of the Orchestra......Page 235
Introduction......Page 237
Anatomy of a Stereo Microphone......Page 238
Heads, Spheres, and Baffles......Page 242
Classical Recording: Art Form Or Science?......Page 249
The Noise-Canceling Microphone......Page 355
Keyboard Instruments......Page 251
The Guitar and Lute......Page 256
Two Common Problems......Page 257
Recording Chamber Music......Page 259
The Chamber Orchestra; Introduction to Accent Microphones......Page 262
Microphone Pickup Analysis......Page 264
Some Variations on the Large Orchestra Setup......Page 266
Soloists With Orchestra......Page 267
Livening Or Deadening the Performance Space......Page 268
How Much Reverberation is Needed in the Recording?......Page 270
Dynamic Range Issues......Page 271
Compact Disc References......Page 273
Introduction......Page 275
Principles of Speech Reinforcement......Page 276
A Simple Recording Approach......Page 277
A More Complex Recording Approach......Page 278
Some Acoustical Considerations......Page 280
Microphones for Speech Reinforcement......Page 282
Rca Model 44......Page 283
The Schoeps Kfm 360 Spherical Array......Page 285
Vocals and Vocal Groups......Page 288
Woodwind and Brass Instruments......Page 292
The Soundfield Microphone......Page 294
Basic Layout and Panning......Page 295
The Target Stereo Sound Stage......Page 296
Basic Layout and Panning......Page 297
Basic Layout and Panning......Page 298
The Large Studio Orchestra......Page 300
Modern Studio Acoustics and Control of Leakage......Page 301
The Three-to-One Rule......Page 302
Introduction......Page 305
What is Ambience?......Page 306
The Holophone Global Sound Microphone System......Page 315
Narrowband Equalization......Page 385
The Sound Performance Lab (Spl) Array......Page 316
In-Studio Acoustics and Practice......Page 363
Creating a Center Channel From a Left-Right Stereo Pair of Channels......Page 320
Microphone Arrays for Single-Point Pickup......Page 321
Paging in High-Noise Areas......Page 369
Overview of the Eigenmike......Page 325
Transaural (Head-Related) Techniques......Page 326
Systems With Parallax......Page 331
General Comments......Page 335
A Surround Mixing Rationale: Defining the Sound Stage......Page 336
Rhapsody in Blue By George Gershwin......Page 343
Opening Hymn From Te Deum By Hector Berlioz......Page 346
Selections From Carmen Ballet By Bizet-Shchedrin......Page 349
Automatic Microphone Mixing......Page 357
Headset-Microphone Combinations......Page 358
The Lapel Microphone......Page 361
Conference Systems......Page 366
Paging Systems......Page 367
Introduction......Page 370
Western Electric Model 618......Page 372
Analysis of an Indoor Speech Reinforcement System......Page 374
Loudspeaker Array Options in Large Spaces......Page 382
Electronic Control of Feedback......Page 384
Automatic Microphone Mixing......Page 386
Estimating the Intelligibility of a Speech Reinforcement System......Page 388
Speech and Music Reinforcement in the Legitimate Theater......Page 390
The Modern Musical Theater......Page 391
Active Acoustics and Electronic Halls......Page 392
Discrete Line Array Theory......Page 395
Microphone Array for Multimedia Workstations......Page 398
A Desk-Type Microphone Array With Wide Vertical Response And Narrowed Horizontal Response......Page 400
An Adaptive High-Directionality Microphone......Page 401
The Large Acoustic Data Array......Page 403
Echo Cancellation......Page 404
``Virtual´´ Microphones......Page 406
Akg Acoustics Model C-12......Page 425
General Recommendations......Page 409
Classic Microphones:The Authors\' Views......Page 414
Neumann Model Cmv3A......Page 415
Western Electric Model 639......Page 419
Rca Model 77......Page 421
Neumann Models M49/50......Page 424
Electro-Voice Model 666 Variable-D......Page 428
Electro-Voice Model 643 Rifle Microphone......Page 429
Sony Model C-37A Condenser Microphone......Page 430
The First Stereo Microphones......Page 431
Notable American Condenser Omnis......Page 432
Bang & Olufsen Model Bm-3......Page 438
The Rise of Small-Format Condenser Microphones......Page 441
Sennheiser Model Mkh 404 Rf Microphone......Page 442
Crown International Model Pzm-30 Boundary Layer Microphone......Page 443
General and Historical......Page 445
Stereo and Multichannel Recording......Page 447
Communications and Sound Reinforcement......Page 449
B......Page 450
C......Page 451
E......Page 452
F......Page 453
M......Page 454
N......Page 455
P......Page 456
S......Page 457
W......Page 460