By H Kestelman
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Five cardioid microphones can be arranged in a circular pattern (with the center microphone facing toward the source) to create a modified, mini-surround Decca tree. A four-microphone (quad) approach to surround miking can be easily made by simply eliminating the center pickup. 43. Radial JDI passive direct box. 44. Example of how a direct recording can be “reamped” in a studio, allowing for complete tonal, mic placement, and acoustical control … after the fact! 45. Typical microphone placement for a single trumpet.
7. Jam sync is used to restore distorted SMPTE when copying code from one machine to another. 8. Example of timecode sync production using a simple MIDI interface synchronizer within a project studio. 9. Many time-based media devices in the studio can be cost effectively connected via MIDI timecode (MTC). 10. SMPTE timecode can often be generated throughout a production system, possibly as either LTC or as MTC via a capable MIDI or audio interface. 11. Example of a system whose overall timing elements are locked to a black burst reference signal.
10. 11. 12. Various boost/cut EQ curves centered around 1 kHz: (a) center frequency, 1-kHz bandwidth 1 octave, ±15-dB boost/cut; (b) center frequency, 1-kHz bandwidth 3 octaves, ±15-dB boost/cut. 13. Peaking equalization curves. 14. The number of hertz between the two points that are 3 dB down from the center frequency determines the bandwidth of a peaking filter. 15. High/low, boost/cut curves of a shelving equalizer. 16. A 700-Hz filter: (a) high-pass filter with a slope of 6 dB per octave; (b) low-pass filter with a slope of 12 dB per octave.