The "thump" or low frequency resonance in guitar cabinets mentioned above is perhaps the
most powerful characteristic in live amplified guitar performance. Most cabinets are like the
4x12 (an array of four 12" speakers as is used in British-style stack-type cabinets) with no
ports (holes as in hi-fi loudspeaker enclosures) and no open backs. The frequency produced
by such a speaker cabinet array is around 200 Hz (abbr. for Hertz or cycles per second). The
frequency is near the human chest cavity resonant frequency. The ADA
MlCROCAB II
is
unique it its ability to reproduce this power and "live" feel in a direct situation—again giving
"more tone to tape!"
GLOSSARY OF AUDIO TERMS
(From
the CAMEO Dictionary of Creative Audio Terms,
Gary Davis & Associates, 1979)
Coloration
Non-uniform frequency response resulting in distortion of the tonal quality of the
source.
Close Miking
A technique for recording or sound reinforcement whereby the microphones are
placed close to vocalists and to instruments or small groups of instruments. Close
miking provides a great deal of presence and detail for the nearby sound source(s),
while avoiding leakage from more distant sound sources. Most of today's popular
music recordings use close microphone techniques.
Comb filter
A comb filter has a series of very narrow, deep notches where signals are attenuated.
When the frequency response of such filters is graphed they resemble a hair comb.
Directivity factor
For a loudspeaker, this is a measurement of how much the speaker focuses the
sound in a given direction. Directivity is measured by taking the ratio of the average
sound level throughout 360 to the maximum sound level in front of the speaker (at a
given distance and frequency).
Distant miking
A microphone placement technique where one or more mics are located at a distance
of at least several feet from the performers. Distant microphone placement allows a
greater area to be covered using fewer microphones than close mic placement, and
is ideal for some types of recording. Distant mic placement usually will not provide the
presence and detail possible with close mic placement, although each technique has
its advantages.
Hass effect
Also known as the "precedence effect," this psychoacoustic phenomenon was first
described by Helmut Hass. The Hass effect describes our ability to perceive the
location of a sound source based on the relative level and arrival time of the sound in
each ear.
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