Feedback / Microphone: Difference between revisions
| Line 113: | Line 113: | ||
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 feebdack. 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 consistent tone regardless of distance. But it's a disadvantage on stage in terms of feebdack. 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. | ||
<html> | |||
<details> | |||
<summary>Microphone Polar Patterns</summary> | |||
</html> | |||
{{:Microphone Polar Pattern}} | |||
<html> | |||
</details> | |||
</html> | |||
=== Effects === | === Effects === | ||