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week 8 microphones
Television Sound: The Basics, Microphones: Microphone design, Microphones II
| Question | Answer |
|---|---|
| The type of mic held by on-camera talent or used for on-location interviews | hand held |
| Whether hung from a cord around the neck (lavaliere) or clipped to clothing, these are all referred to as... | personal mic |
| Used for on-location production to pick up sounds a moderate distance from the camera | shotgun |
| Mics that pick up sound by being in direct physical contact with the sound source. These mics are generally mounted on musical instruments. | boundary effect microphone |
| The largest category of microphone. These include a number of application designs | studio microphones |
| Considered the most rugged professional microphone. | dynamic mic |
| This type of mic is a good dynamic mic choice for electronic news gathering (ENG) work, where a wide variety of difficult conditions are regularly encountered | dynamic mic |
| When small size, optimum sensitivity, and the best quality are all prime considerations... | condenser mic |
| Can be made so small that they are almost invisible | condenser mic |
| With this mic, problems can result when they are used in adverse weather conditions. | condenser mic |
| When this type of power supply is used, the mic cord ends up serving two functions: it delivers the signal from the mic to the mixer and it carries power | phantom power supply |
| Can impart a deep, resonant "coloring" to sound, but are fragile and highly sensitive to moving air. | ribbon mics |
| In microphones there are three basic directional categories: | omnidirectional, bi-directional, and unidirectional |
| This mic is less sensitive to breath popping and close mouth-to-mic use, such as the reporter doing an ENG report. | omnidirectional mics |
| when the mic is primarily responsive to sounds from two directions it is called... | bi-directional |
| A general classification of mics that are sensitive to sounds coming primarily from one direction. | unidirectional |
| With their hypercardioid or narrower angles of acceptance __________are one of the most widely used types of mics for on-location video work | shotgun mics |
| They provide good pickup when used at a distance of 2 to 4 meters (7-13 feet) from the talent. | shotgun mics |
| A type of mic that relies primarily on reflected sound from a hard surface such as a table top. | boundary effect mics |
| Another name for non-directional | omnidirectional |
| Necessary for some types of condenser mics | phantom power supply |
| More directional than hypercardioid | shotgun mic |
| Considered the most rugged professional microphone | dynamic mic |
| Also called a figure-eight sensitivity pattern | bi-directional |
| Mic commonly used at a distance in field work | parabolic mic |
| An exaggeration and distortion of high-frequency "S" sounds | sibilance |
| Pops from words with initial "Ps," and "Bs" | plosive sounds |
| An exaggeration of low frequencies | proximity effect |
| Most handheld mics are designed for use at a distance of... | about 8 to 16 inches |
| _________are designed to reduce the pops from plosive sounds and are built into many handheld mics. | Pop filters |
| ____________can eliminate a major on-location sound problem: the effect of wind moving across the grille of typical microphones. | windscreens |
| Personal mics that are either hung from a cord around the neck | lavaliere or lav mic |
| Personal mics that are clipped to clothing | a clip-on or lapel mic |
| Personal mics (lavaliere or clip-on mics)are designed to pick up sounds from how far away? | about 14 inches |
| These three-pin connectors are used in professional audio applications. | Cannon or XLR connectors |
| Connectors common to most home entertainment equipment. | RCA connectors |
| Running mic cables parallel to power cords often creates hum and interference problems. The solution... | moving a mic cable a meter away from any power cord. |
| Phase where various audio embellishments are added to a production | sweetening |
| This is typically indicated by exaggerated low-frequency response | proximity effect |
| Omnidirectional or simple cardioid-patterned microphones used at a distance of_________________or more quickly start picking up extraneous sounds. | 5-6 feet |
| Whenever a room has smooth, unbroken walls or uncarpeted floors,_________________________or slight echos can be a problem. | reverberation |
| Four solutions to reverberation: | 1. Moving mics closer to subjects 2. using highly directional mics 3. adding sound absorbing materials to walls 4. placing objects within a scene that will absorb or break up sound reflections |
| Because of their highly directional characteristics shotgun mics can be used out of camera range at distances of up to... | 25-30 feet |
| A pole with a mic attached to one end | fishpole |
| A rubber cradle suspension device for microphones | shock mount |
| A more sophisticated, studio quality fishpole | boom |
| a fishpole mounted on a tripod | giraffe boom |
| A boom that weighs several hundred pounds, takes two people to operate, and can extend the mic over the set from a distance of 100 meters (more than 30 feet). | perambulator boom |
| Results in low-level and hollow-sounding audio and occurs when two or more mics pick up sound from the same audio source | Phase cancellation |
| Four ways to reduce/eliminate phase cancellation | 1. place mics close to sound sources 2. use directional mics 3. turn down mics when unneeded 4. carefully check and vary distances between the sound sources and multiple mics |
Created by:
twodele
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