1. FIGURE 4.1 The studio microphone changes the announcer’s voice into an electrical signal. (Image courtesy of Neumann/USA.) © 2013 Taylor & Francis Group, an Informa Business

2. FIGURE 4.2 With a USB digital output, this microphone is ideal for computer-based recording. (Image courtesy of Audio-Technica U.S. Inc.) © 2013 Taylor & Francis Group, an Informa Business

3. FIGURE 4.3 The internal components of a dynamic microphone include a diaphragm, magnet, and voice coil. (Image courtesy of Shure Incorporated.) © 2013 Taylor & Francis Group, an Informa Business

4. FIGURE 4.4 The internal components of a condenser microphone include two oppositely charged plates—a moveable diaphragm and a fixed backplate. (Image courtesy of Shure Incorporated.) © 2013 Taylor & Francis Group, an Informa Business

5. FIGURE 4.5 On-axis sound, picked up directly from the front of the microphone, fully impacts the microphone’s diaphragm. © 2013 Taylor & Francis Group, an Informa Business

6. FIGURE 4.6 The omnidirectional pickup pattern shows that the microphone picks up sound equally well from all directions. © 2013 Taylor & Francis Group, an Informa Business

7. FIGURE 4.7 A cardioid pickup pattern shows that the microphone picks up sound mainly from the front and side, but not very well from the back. © 2013 Taylor & Francis Group, an Informa Business

8. FIGURE 4.8 The bidirectional pickup pattern shows that the microphone picks up sound from the front and back of the microphone. © 2013 Taylor & Francis Group, an Informa Business

9. FIGURE 4.9 A three-dimensional view of the cardioid microphone pickup pattern alongside its two-dimensional polar pattern representation. (Three-dimensional image courtesy of Sennheiser Electronic Corporation) © 2013 Taylor & Francis Group, an Informa Business

10. FIGURE 4.10 Avoid multiple-microphone interference by keeping the distance between the two microphones three times the microphone-to-source distance (A) or by keeping the microphones head-to-head (B). © 2013 Taylor & Francis Group, an Informa Business

11. FIGURE 4.11 The most common techniques to microphone sound for stereo. © 2013 Taylor & Francis Group, an Informa Business

12. FIGURE 4.12 A microphone designed specifically for surround sound recording. (Image courtesy of Holophone, a Division of Rising Sun Productions Limited.) © 2013 Taylor & Francis Group, an Informa Business

13. FIGURE 4.13 The internal components of the ribbon microphone center around a thin, corrugated metallic ribbon. © 2013 Taylor & Francis Group, an Informa Business

14. FIGURE 4.14 Lavaliere microphones are used more in television than radio because of their unobtrusive design. (Image courtesy of Audio- Technica U.S., Inc.) © 2013 Taylor & Francis Group, an Informa Business

15. FIGURE 4.15 Stereo microphones often employ multiple sound-generating elements as part of a single microphone. (Image courtesy of RODE Microphones.) © 2013 Taylor & Francis Group, an Informa Business

16. FIGURE 4.16 Because of its wireless design, an FM microphone system can be used when a microphone cable would get in the way. (Image courtesy of Shure Incorporated. Used by permission.) © 2013 Taylor & Francis Group, an Informa Business

17. FIGURE 4.17 The PZM is designed to be used on a flat surface, such as a tabletop. (Image courtesy of Crown Audio, Inc.) © 2013 Taylor & Francis Group, an Informa Business

18. FIGURE 4.18 A shotgun microphone has a long tube or barrel that is “aimed” at the sound source. (Image courtesy of Sennheiser Electronic Corporation.) © 2013 Taylor & Francis Group, an Informa Business

19. FIGURE 4.19 This parabolic microphone has a mount that allows the operator to switch out microphones depending on the recording situation. The dish is approximately 24 inches wide and the entire assembly can be mounted onto a tripod. (Image courtesy of Jony Jib Camera Solutions, Inc., http://www.jonyjib.com; copyright 2012) © 2013 Taylor & Francis Group, an Informa Business

20. FIGURE 4.20 Microphone windscreens help reduce plosive sounds. (Image courtesy of Shure Incorporated.) © 2013 Taylor & Francis Group, an Informa Business

21. FIGURE 4.21 A pop filter is a porous, film-like material suspended within a circular frame that is positioned in front of the microphone. (Image courtesy of Shure Incorporated. Used by permission.) © 2013 Taylor & Francis Group, an Informa Business

22. FIGURE 4.22 The microphone shock mount isolates the microphone from the microphone stand. (Image courtesy of Neumann USA.) © 2013 Taylor & Francis Group, an Informa Business

23. FIGURE 4.23 Microphone stands: (A) desk stands; (B) boom stand; (C) boom arm. (Images courtesy of Atlas Sound.) © 2013 Taylor & Francis Group, an Informa Business