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Microphones Theory

Subject : engineering
Instructions:
  • Answer 50 questions in 15 minutes.
  • If you are not ready to take this test, you can study here.
  • Match each statement with the correct term.
  • Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.

This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. The lowest - and usually most intense - frequency of a complex sound; Most often perceived as the sound's basic pitch.






2. A stereo miking technique similar to coincident pair - where the mics are set up with some distance between them; Distance and angle of microphones may differ; Creates a more defined stereo image; Produces very sharp images; Provides more 'air'.






3. Omnidirectional: 0 - Cardioid: 8 - Supercardioid: 12 dB - Hypercardioid: 6 dB - Bidirectional: 0






4. An electrical device characterized by its capacity to store an electric charge;






5. The graphic representation plot of the sensitivity of a microphone from any direction over a 360






6. Angle of maximum signal rejection in a microphone polar pattern.






7. To capture two perspectives on the same sound.






8. 1 Bidirectional & 1 Cardioid placed coincidentally; Bidirectional faces left and right and cardioid faces the sound; Gives control of the focus and size of the stereo image;






9. Using omnidirectional as a reference of 1 - this is a measurement of how much farther you can be from a mic to achieve equal output level in other polar pattern microphones.






10. Used in adverse conditions to protect from elements like sand - or dust.






11. Often look like handheld vocal mics; Talk or sing into the end of the microphone.






12. One of the oldest mics; Diaphragm mounted on & compresses cup of tiny granules of carbon (100 microns big) that increase current flow when compressed by sound waves and vary electrical current; Also called Resistance Mics;






13. Sensitive in a narrower pattern in the front than a cardioid and has a prominent/pronounced lobe at rear; Rejects most signals from 110






14. A flat or roughly flat strip on the neck of a stringed instrument against which the strings are pressed to shorten the vibrating length and produce notes of higher pitches.






15. Mics placed in front of an instrument or ensemble (in a left/right fashion) to obtain an overall stereo image; Sound more open and natural; Weaker center image than X/Y; Great for creating background sounds that will blend in with foreground sounds.






16. The combination of the ribbon and magnet in a ribbon microphone.






17. + & - (Front & rear in opposite equal amounts)






18. Coincident pairing angled between 90






19. Dynamic; Cardioid; End Address; Manufactured by Shure; Popular musicians' choice due to its sturdy construction and ability to work well with instruments that produce high sound pressure levels.






20. Aluminum Ribbon - Bi-Polar (Figure 8); Side Address; Manufactured by Shiny Box; Buttery mid- range improves digital recordings and smooths out modern treble; Best on drums - piano - overheads - and vocals where treble is focused.






21. Moving a conductor (a coil of wire) through a magnetic field will cause a voltage to be induced across the conductor.

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22. Flat plate that controls or directs the flow of sound energy in a crystal/ceramic mic.






23. The attachment that holds a microphone in place on the mic stand; Comes in various shapes - sizes - and applications.






24. Pair of omni mic separated by a circular absorptive baffle.






25. Often look like large diaphragm studio mics; Talk or sing into the side of the microphone.






26. The world's first single element cardioid mics.






27. Shows the max sound pressure level possible with a certain amount of distortion; Measured in dB (decibels).






28. Cable wrapping method that reduces interference and makes it easier to unravel the cable.






29. Close mic placement can help guard again bleed from other instruments and takes advantage of proximity effect; Center of cone = Brighter; Outside of cone = Darker; Reflections can create phase issues (can be reduced by putting the cabinet at an angle






30. Stereo configuration using a spaced pair 3-10 feet apart.






31. Shows the level of self- noise from a microphone's internal electronics; Measured in dB (decibels).






32. Verify that the boom is placed over a microphone leg prior to use to provide added balance and stability.






33. Use coincident or near coincident pairings; Too many microphones will cause phasing issues.






34. Reduces the power of a signal used when the trim itself cannot prevent overload in the mic line level signal.






35. Pure polar pattern with which the microphone is equally sensitive in all directions; Great for capturing ambiance or room reverb.






36. Dynamic; Cardioid; End Address; Manufactured by Sennheiser; Very small and compact; Especially suitable for use with drums and brass instruments; Includes a clip to mount directly on drums.






37. Term coined by Sir Charles Wheatstone derived from the Greek words 'micro' (small) & 'phon' (sound).






38. Works exactly like condenser mic but one of the two plates is manufactured as a capsule with a permanent static charge so there is no external power source necessary; Requires phantom or battery to charge internal mic preamp.






39. More compelling sound - giving both depth and perspective.






40. Pair of omni mic elements mounted on opposite sides of a spherical shaped capsule.






41. Will yield a 6dB increase in output - but will cause a loss of high frequency response.






42. The first phantom powered condenser microphone designed for use by Georg Neumann for Norwegian State Television.






43. Measurement of Sound Pressure; stated as being N/m2 with a Newton being a measurement of force equal to about 9.8 lbs; Equal to 94dB SPL






44. - Omnidirectional: 1 - Cardioid: 1.7 - Supercardioid: 1.9 - Hypercardioid: 2 - Bidirectional: 1.7






45. 4 to 6 ft. from the player; Mic should be placed below the line of sight of the bell - rotated at about 40 degrees off- axis - and tilted upward.






46. Very robust and durable; Used in telephones until 1990's; Currently finds applications for military use.






47. Bioacoustic Research; Documentary Journalism; Radio; Film/TV Production; Audio Post Production.






48. Modern drummer who has created a large kit and innovated several ways of capturing the sound from his massive kit.






49. One of the world's greatest condenser microphones prized for the CK12 capsule.






50. Mounts on a single stand to provide for adjustable spacing and angling between mics.