royer R-122V, Инструкция по эксплуатации и Руководство пользователя

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2. Frequency response variation due to treble losses as a result
of absorption and “narrowing” of the pattern at high frequencies,
causing weakening of highs as the microphone is moved away
from the sound source.
3. Variation in ratio of direct to reverberant sound. Tendency of
a microphone to favor the nearest sound source due to a
combination of these items, plus the influence of the inverse
square law. The inverse square law states that for each halving
of source-to-microphone distance, the sound pressure level
quadruples.
Other Types of Microphones
For the same ratio of direct to reverberant sound, omni-directional
microphones must be closer to the sound source than cardioid or
bi-directional microphones. Microphones should generally face
the sound source head-on; if not, treble losses due to phase
cancellation can result. The exception here is for large diaphragm
condenser microphones, which often give the flattest response at
an angle of about 10-20 degrees (off axis), where phase loss and
diffraction effect offset each other somewhat.
Proximity Effect and Working Distance
The Sound That Is “More Real than Real”
Ribbon microphones have long been renowned for rich bass. This
effect is largely due to the fact that ribbon microphones generally
have excellent bass response to begin with, and at the same time
exhibit an effect known as proximity effect.
As illustrated in the following graph, a typical bi-directional
ribbon microphone will have a flat frequency response at a distance
of about six feet from the microphone, but at shorter distances
the bass response becomes boosted; the effect becomes increasingly
pronounced as the distance between the microphone and the
sound source is reduced.
This bass-boosting characteristic can become quite intense and,
if desired, can be corrected by equalization. However, for a
multiple microphone setup, the pronounced bass boosting (due
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