Wissensdatenbank ├╝ber Mikrofone und deren Anwendungen


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10 POINTS ON CLOSE MIKING FOR LIVE PERFORMANCES

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HOW TO MOUNT THE d:vote™ INSTRUMENT MICROPHONE ON VARIOUS INSTRUMENTS

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TEN POINTS ON MICROPHONES IN INSTALLED SYSTEMS

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HOW TO MIC A BASS DRUM

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HOW TO MIC TOM-TOMS

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HOW TO MIC HI-HAT AND CYMBALS

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HOW TO MIC A SNARE DRUM

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BAFFLED STEREO

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TESTING MICS AGAINST WIND NOISE

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HOW TO MIC THE VOICE - TECHNOLOGY AND CHARACTERISTICS

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HOW TO MIC SPEECH ON STAGE WITH HEADWORN AND MINIATURE MICS

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HOW TO MIC VOCALS WITH HANDHELD MICS ON STAGE

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HOW TO MIC VOCALS IN THE RECORDING STUDIO

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HOW TO MIC THE STEEL PANS

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HOW TO MIC SPEAKER CABINETS (FOR ELECTRIC BASS & GUITAR)

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HOW TO MIC AN OBOE

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MICROPHONES FOR VIDEO

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HOW TO MIC A HARP

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HOW TO MIC THE GU ZHENG (CHINESE LAP HARP)

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HOW TO MIC A GRAND PIANO

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HOW TO MIC A FLUTE OR RECORDER

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HOW TO MIC JAZZ DRUMS

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HOW TO MIC A DRUM KIT

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MULTIMIKING A CLASSICAL ORCHESTRA

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CLASSICAL ORCHESTRA, A-B STEREO

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HOW TO MIC A CLARINET

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HOW TO MIC A CHOIR

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HOW TO MIC A BASSOON

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HOW TO MIC A DOUBLE BASS

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CLOSE-MIKING A BALALAIKA

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MICROPHONE TECHNOLOGY FAQ – YOUR QUESTIONS ANSWERED

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WCSA by Mikkel Nymand, DPA Microphones

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OCT BY GÜNTHER THEILE & HELMUT WITTEK

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PRINCIPLES OF THE IRT CROSS TECHNIQUE

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HAMASAKI SQUARE

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FUKADA TREE

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PRINCIPLES OF THE DOUBLE MS TECHNIQUE

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d:mension™ 5100 MOBILE SURROUND MICROPHONE GUIDE

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COINCIDENT ARRAYS VS. SPACED ARRAYS

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BINAURAL STEREO

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MS STEREO

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BLUMLEIN STEREO

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PRINCIPLES OF THE XY STEREO TECHNIQUE

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PRINCIPLES OF THE NOS STEREO TECHNIQUE

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DIN STEREO

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PRINCIPLES OF THE ORTF STEREO TECHNIQUE

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DECCA TREE

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A-B STEREO

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MICROPHONE SPACING AND ANGLING

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10 THINGS DIGITAL GIZMOS CANNOT CORRECT FOR YOU

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DIGITAL WIRELESS AND MICS – IT’S DIGITAL SO WHY BOTHER?

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LOUDNESS AND MICROPHONES

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MICROPHONE SPECIFICATIONS AND MEASUREMENT TECHNIQUES

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HOW TO READ MICROPHONE SPECIFICATIONS

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CALCULATING THE DYNAMIC RANGE OF A MICROPHONE

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FACTS ABOUT SPEECH INTELLIGIBILITY

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WHY USE DPA MICS LIVE – CONDENSER MICS AND HIGH SPL

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HOW TO TEST THE PERFORMANCE OF A MICROPHONE

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ACOUSTIC MODIFICATION ACCESSORIES

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NOTE REGARDING ACOUSTIC CENTER OF MMC2011 CAPSULE

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MICROPHONE STABILITY

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MATCHING MICROPHONES

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LARGE VS SMALL DIAPHRAGMS IN OMNIDIRECTIONAL MICROPHONES

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DIRECTIONAL VS. OMNIDIRECTIONAL MICROPHONES

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10 STATEMENTS ON CONDENSER MICROPHONES VERSUS DYNAMIC MICS

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IMPEDANCE BALANCING WITH ACTIVE DRIVE VS. TRANSFORMER COUPLED OUTPUT

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ELECTROMAGNETIC INTERFERENCE: EMC, RFI IMMUNITY AND CMRR

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ABOUT BALANCED AND UNBALANCED LINES

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ACOUSTICAL CHARACTERISTICS OF MUSICAL INSTRUMENTS

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10 IMPORTANT FACTS ABOUT ACOUSTICS FOR MICROPHONE USERS

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HOW TO MIC WOODWINDS AND BRASS

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HOW TO MIC A SAXOPHONE

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HOW TO MIC A TRUMPET AND TROMBONE

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HOW TO MIC A VIOLA

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HOW TO MIC A BANJO

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HOW TO MIC A VIOLIN

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HOW TO MIC A CELLO

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HOW TO MIC AN ACOUSTIC GUITAR

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HOW TO MIC THE MANDOLIN/MANDOLA

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HOW TO MIC THE UKULELE

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