Typically, the omnidirectional microphone mode is used in quiet listening situations ( e . g . living room ) whereas the directional microphone is used in noisy listening situations ( e . g . restaurant ).
12.
Omnidirectional microphones, unlike cardioids, do not employ resonant cavities as delays, and so can be considered the " purest " microphones in terms of low coloration; they add very little to the original sound.
13.
Inside the airtight enclosure are proprietary neodymium drivers and two opposing passive bass radiators along with a newly designed omnidirectional microphone, which is capable of 360-degree sound input with improved echo-cancellation and full duplex communication.
14.
Initially, RCA used RT-21 quarter-inch tape recorders ( which ran at 30 inches per second ), wired to mono mixers, with Neumann U-47 cardioid and M-49 / 50 omnidirectional microphones.
15.
Typically, an array is made up of omnidirectional microphones, directional microphones, or a mix of omnidirectional and directional microphones distributed about the perimeter of a space, linked to a computer that records and interprets the results into a coherent form.
16.
In the beginning Jecklin used omnidirectional microphones on either side of a 30 cm ( 1 ft . ) disk about 2 cm ( 3 / 4 " ) thick, which had a muffling layer of soft plastic foam or wool fleece on each side.
17.
Jecklin's German from his script : " Zwei Kugelmikrofone sind mit einem gegenseitigen Abstand von 36 cm angeordnet und durch eine mit Schaumstoff belegte Scheibe von 35 cm Durchmesser akustisch getrennt . " Translated : Two omnidirectional microphones are placed with a distance between them of 36 cm ( 14 3 / 16 " ), and acoustically separated by a foam-covered disk having a diameter of 35 cm ( 13?" ).
18.
Then we would have the [ rear ] two, the left and right [ mics on the ] tree, which would again be looking right into the first violins and the celli, if that was the way the orchestra was set out, and then we would have a couple of outriggers which were maybe twenty feet apart 3.2 metres high again, 10 foot 6, and they again would be omnidirectional . . . 5 feet away from the edge of the orchestra 10 6 high looking down into the strings . . . . it was a very controversial method of recording, because when you have that many spaced omnidirectional microphones you lose a lot of the directional cues, which is absolutely right, the way that we would deal with that was we would pan the left and right tree half left and half right, and the outrigger mics we would pan hard left and right and we would paint an artificial stereo image . . . the reason we did this and consistently did it and got away with it and got wonderful reviews and many many awards was simply that the localisation cues were missing, but the sound was fantastic.
