Television Sound: The Basics, Microphones: Microphone design, Microphones II
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| The type of mic held by on-camera talent or used for on-location interviews | hand held
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| Whether hung from a cord around the neck (lavaliere) or clipped to clothing, these are all referred to as... | personal mic
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| Used for on-location production to pick up sounds a moderate distance from the camera | shotgun
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| 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
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| The largest category of microphone. These include a number of application designs | studio microphones
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| Considered the most rugged professional microphone. | dynamic mic
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| 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
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| When small size, optimum sensitivity, and the best quality are all prime considerations... | condenser mic
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| Can be made so small that they are almost invisible | condenser mic
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| With this mic, problems can result when they are used in adverse weather conditions. | condenser mic
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| 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
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| Can impart a deep, resonant "coloring" to sound, but are fragile and highly sensitive to moving air. | ribbon mics
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| In microphones there are three basic directional categories: | omnidirectional, bi-directional, and unidirectional
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| This mic is less sensitive to breath popping and close mouth-to-mic use, such as the reporter doing an ENG report. | omnidirectional mics
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| when the mic is primarily responsive to sounds from two directions it is called... | bi-directional
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| A general classification of mics that are sensitive to sounds coming primarily from one direction. | unidirectional
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| 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
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| They provide good pickup when used at a distance of 2 to 4 meters (7-13 feet) from the talent. | shotgun mics
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| A type of mic that relies primarily on reflected sound from a hard surface such as a table top. | boundary effect mics
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| Another name for non-directional | omnidirectional
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| Necessary for some types of condenser mics | phantom power supply
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| More directional than hypercardioid | shotgun mic
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| Considered the most rugged professional microphone | dynamic mic
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| Also called a figure-eight sensitivity pattern | bi-directional
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| Mic commonly used at a distance in field work | parabolic mic
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| An exaggeration and distortion of high-frequency "S" sounds | sibilance
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| Pops from words with initial "Ps," and "Bs" | plosive sounds
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| An exaggeration of low frequencies | proximity effect
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| Most handheld mics are designed for use at a distance of... | about 8 to 16 inches
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| _________are designed to reduce the pops from plosive sounds and are built into many handheld mics. | Pop filters
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| ____________can eliminate a major on-location sound problem: the effect of wind moving across the grille of typical microphones. | windscreens
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| Personal mics that are either hung from a cord around the neck | lavaliere or lav mic
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| Personal mics that are clipped to clothing | a clip-on or lapel mic
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| Personal mics (lavaliere or clip-on mics)are designed to pick up sounds from how far away? | about 14 inches
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| These three-pin connectors are used in professional audio applications. | Cannon or XLR connectors
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| Connectors common to most home entertainment equipment. | RCA connectors
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| 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.
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| Phase where various audio embellishments are added to a production | sweetening
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| This is typically indicated by exaggerated low-frequency response | proximity effect
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| Omnidirectional or simple cardioid-patterned microphones used at a distance of_________________or more quickly start picking up extraneous sounds. | 5-6 feet
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| Whenever a room has smooth, unbroken walls or uncarpeted floors,_________________________or slight echos can be a problem. | reverberation
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| 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
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| Because of their highly directional characteristics shotgun mics can be used out of camera range at distances of up to... | 25-30 feet
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| A pole with a mic attached to one end | fishpole
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| A rubber cradle suspension device for microphones | shock mount
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| A more sophisticated, studio quality fishpole | boom
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| a fishpole mounted on a tripod | giraffe boom
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| 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
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| 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
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| 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
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