Template:Directional Microphones: Difference between revisions

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~~====~~ Principles ~~====~~

'''<big>Principles</big>'''

Use a directional microphone. [[~~Microphone Directionality~~#Supercardioid_/_Hypercardioid|Hypercardioid]] is better than [[Microphone Directionality#Cardioid|cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone|omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.

Use a directional microphone. [[{{PAGENAME}}#Supercardioid_/_Hypercardioid|Hypercardioid]] is better than [[Microphone Directionality#Cardioid|cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone|omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.

Directional microphones "collect" less sound from directions other than what they're supposed to amplify (the voice, or an instrument) and hence are less likely to feed back.

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In addition, most directional microphones have a strong behavior called [[Proximity Effect|proximity effect]]. This is the strong buildup of bass and low-mid response as the source (say the voice) to microphone distance decreases. For microphones intended to sound natural when the voice is very close -- say one of a number of popular stage vocal microphones -- what this means is that low-to-middle frequencies from sources at a distance, including loudspeakers being used to amplify the voice, are largely rejected by the microphone. This is a real plus in terms of avoiding microphone feedback.

Conversely, an omnidirectional microphone (equal sensitivity to sound coming from any direction) has no proximity effect. This is an advantage often in the studio where the engineer wants consistent tone regardless of distance. But it's a disadvantage on stage in terms of feedback. An omnidirectional mic collects more sound that's not the target, and because it has no proximity effect is more susceptible to feedback at low-to-mid frequencies than a directional mic.

Conversely, an omnidirectional microphone (equal sensitivity to sound coming from any direction) has no proximity effect. This is an advantage, often in the studio where the engineer wants a consistent tone regardless of distance. But it's a disadvantage on stage in terms of feedback. An omnidirectional mic collects more sound that's not the target, and because it has no proximity effect, it is more susceptible to feedback at low-to-mid frequencies than a directional mic.

~~====~~Omnidirectional and Unidirectional Microphones~~====~~

<big>Omnidirectional and Unidirectional Microphones</big>

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-==== Principles ====
+'''<big>Principles</big>'''
-Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid|Hypercardioid]] is better than [[Microphone Directionality#Cardioid|cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone|omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.
+Use a directional microphone. [[{{PAGENAME}}#Supercardioid_/_Hypercardioid|Hypercardioid]] is better than [[Microphone Directionality#Cardioid|cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone|omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.
 Directional microphones "collect" less sound from directions other than what they're supposed to amplify (the voice, or an instrument) and hence are less likely to feed back.
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 In addition, most directional microphones have a strong behavior called [[Proximity Effect|proximity effect]]. This is the strong buildup of bass and low-mid response as the source (say the voice) to microphone distance decreases. For microphones intended to sound natural when the voice is very close -- say one of a number of popular stage vocal microphones -- what this means is that low-to-middle frequencies from sources at a distance, including loudspeakers being used to amplify the voice, are largely rejected by the microphone. This is a real plus in terms of avoiding microphone feedback.
-Conversely, an omnidirectional microphone (equal sensitivity to sound coming from any direction) has no proximity effect. This is an advantage often in the studio where the engineer wants consistent tone regardless of distance. But it's a disadvantage on stage in terms of feedback. An omnidirectional mic collects more sound that's not the target, and because it has no proximity effect is more susceptible to feedback at low-to-mid frequencies than a directional mic.
+Conversely, an omnidirectional microphone (equal sensitivity to sound coming from any direction) has no proximity effect. This is an advantage, often in the studio where the engineer wants a consistent tone regardless of distance. But it's a disadvantage on stage in terms of feedback. An omnidirectional mic collects more sound that's not the target, and because it has no proximity effect, it is more susceptible to feedback at low-to-mid frequencies than a directional mic.
-====Omnidirectional and Unidirectional Microphones====
+<big>Omnidirectional and Unidirectional Microphones</big>
 {{:Microphone Polar Pattern}}