Microphone for auto surround sound setup

Comment Name Email Url. Menu Skip to content. How to Calibrate Surround Sound Levels I notice many things when listening to various surround sound systems. To do this, set the appropriate crossover for your speakers and then follow these basic steps: Set your receiver to 0dB volume Go into the System Setup menu of your AV receiver Navigate to the speaker setup submenu Select channel level or speaker level in some receivers you need to enable the test tone Select the Left speaker Using an SPL meter , set it to Slow response and C-weighting.

Work your way around each channel of your 5. Here are some easy steps on how to setup up your SPL meter for setting and calibrating speaker levels in a surround sound system. About The Author. November 17, 0. In-ceiling Surround Sound Speakers June 29, 1. Home Theater Room Ideas June 8, 0. April 22, at pm. February 1, at pm. February 11, at am. March 10, at pm. November 17, at pm. January 12, at am. March 1, at pm. March 9, at pm. May 3, at am. July 2, at am.

July 30, at pm. February 27, at pm. December 28, at pm. December 29, at am. While you can get stereo and surround sound microphones, these are both expensive and most likely completely unsuited to your purpose. The easiest way forward is to continue using a mono microphone and just make sure you know which speaker the audio will come from.

The easiest way to combat feedback is to either move further away from the speakers, or turn the volume down. This generally makes things much easier, and means you can play DVDs and use the microphone at the same time.

Although setup will vary depending on the karaoke machine you buy, namely whether it has built-in speakers or not, the connection method is largely the same. Luckily, many karaoke machines will come with some kind of mixer, allowing you to control the audio directly from it. Doing it the other way round can lead to some strange audio balances, which is the last thing you want when preparing for karaoke. Again, every system will be different, so see what works best for you.

There are several different kinds of generic microphone that all have their own benefits and drawbacks. Here are some facts that should help you make the decision. After all, this is the best way to get the clearest possible vocals, even though it does mean spending a bit more money. These are specialized arrays designed to capture the ambience in a space.

They are normally used in conjunction with one of the front arrays described above. It consists of four cardioid microphones placed in a rectangular formation, with front and rear arrays angled at degrees from one another and 17 cm 7 in apart. The rear array is 25 cm 10 in behind the front array. It is essentially two ORTF configurations placed back-to-back.

It uses four bidirectional figure-eight microphones arranged in a square, spaced about 1. Ideally this array should be placed toward the back and high in the space. The back two microphones are mixed to the surround channels, while the front two channels are combined with the front left and front right signals.

This technique is less sensitive to the distance between the main array and the ambience array than other ambience techniques. It consists of four cardioid microphones placed in a square formation, angled at 90 degrees from one another, 45 degrees off axis from the sound source, and 20 to 25 cm 8 to 10 in apart. The outputs from these mics are routed to left, right, left surround, and right surround at an appropriate level compared to the front mic array.

The main disadvantage of this approach is that it has a significant amount of direct sound. This technique resembles back-to-back near-coincident stereo pairs. These techniques are complete surround sound techniques that consist of both the front array and the rear ambient array. It uses five cardioid microphones with the center microphone placed The left and right microphones are spaced 35 cm 14 in apart.

The front array consists of three cardioid microphones arranged similar to a Decca tree, with two cardioids spaced 1. Two additional omnidirectional microphones can be added on the left and right to enlarge the perceived image size or to better consolidate the front and surround channels. The rear array consists of two cardioids spaced about 1. The surround microphones are positioned at the critical distance, the point at which the direct sound and reverberant field is equal.

The front array should be placed several meters above and behind the conductor. The distance between the left and right front mics is cm 48 in with the center mic halfway between them. The rear surround cardioids are 30 cm 12 in apart and about 60 cm 24 in behind the front pair. The center microphone can be moved forward up to 15 cm 6 in , if needed. These distances can be adjusted depending on the size of the ensemble being recorded.

A front spacing of cm 48 in is used for smaller ensembles, increasing to cm 6 ft for larger groups. However, with wider spacing the three front channels become more incoherent. No account yet? Create an account. Edit this Article. We use cookies to make wikiHow great. By using our site, you agree to our cookie policy. Cookie Settings. Learn why people trust wikiHow. Download Article Explore this Article Steps. Tips and Warnings. Things You'll Need. Related Articles. Author Info Last Updated: February 6, Install the two speakers, one on each side of the front of your audience.

Aim the speakers so that the left speaker covers the left side of the audience and the right side speaker covers the right side of the audience. This is for mono use. If you choose stereo, you'll need two sound sources such as a left and right channel of music. One microphone should always be hooked up mono. Place your single cardioid microphone on its stand where you plan to place the person speaking but never in front of the speakers.

When you place the microphone in front of the speakers, your chances of producing feedback that squealing sound are greatly enhanced. A microphone placed behind the sound system has a much better chance of rejecting feedback. The cardioid microphone is another name for a directional microphone.