Microphone
From Wikipedia, the free encyclopedia
A microphone, sometimes colloquially called a mic or mike (both pronounced /ˈmaɪk/), is an acoustic-to-electric transducer or sensor that converts sound into an electrical signal. Microphones are used in many applications such as telephones, tape recorders, hearing aids, motion picture production, live and recorded audio engineering, in radio and television broadcasting and in computers for recording voice, VoIP, and for non-acoustic purposes such as ultrasonic checking.
The most common design today uses a thin membrane which vibrates in response to sound pressure. This movement is subsequently translated into an electrical signal. Most microphones in use today for audio use electromagnetic induction (dynamic microphone), capacitance change (condenser microphone, pictured right), piezoelectric generation, or light modulation to produce the signal from mechanical vibration.
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[edit] Varieties
The sensitive transducer element of a microphone is called its element or capsule. A complete microphone also includes a housing, some means of bringing the signal from the element to other equipment, and often an electronic circuit to adapt the output of the capsule to the equipment being driven. Microphones are referred to by their transducer principle, such as condenser, dynamic, etc., and by their directional characteristics. Sometimes other characteristics such as diaphragm size, intended use or orientation of the principal sound input to the principal axis (end- or side-address) of the microphone are used to describe the microphone.
[edit] Condenser, capacitor or electrostatic microphone
In a condenser microphone, also known as a capacitor or electrostatic microphone, the diaphragm acts as one plate of a capacitor, and the vibrations produce changes in the distance between the plates. There are two methods of extracting an audio output from the transducer thus formed: DC-biased and radio frequency (RF) or high frequency (HF) condenser microphones. With a DC-biased microphone, the plates are biased with a fixed charge (Q). The voltage maintained across the capacitor plates changes with the vibrations in the air, according to the capacitance equation (C = Q / V), where Q = charge in coulombs, C = capacitance in farads and V = potential difference in volts. The capacitance of the plates is inversely proportional to the distance between them for a parallel-plate capacitor. (See capacitance for details.) The assembly of fixed and movable plates is called an "element" or "capsule."
A nearly constant charge is maintained on the capacitor. As the capacitance changes, the charge across the capacitor does change very slightly, but at audible frequencies it is sensibly constant. The capacitance of the capsule (around 5–100 pF) and the value of the bias resistor (100 megohms to tens of gigohms) form a filter which is highpass for the audio signal, and lowpass for the bias voltage. Note that the time constant of an RC circuit equals the product of the resistance and capacitance.
Within the time-frame of the capacitance change (as much as 50 ms at 20 Hz audio signal), the charge is practically constant and the voltage across the capacitor changes instantaneously to reflect the change in capacitance. The voltage across the capacitor varies above and below the bias voltage. The voltage difference between the bias and the capacitor is seen across the series resistor. The voltage across the resistor is amplified for performance or recording.
RF condenser microphones use a comparatively low RF voltage, generated by a low-noise oscillator. The oscillator may either be frequency modulated by the capacitance changes produced by the sound waves moving the capsule diaphragm, or the capsule may be part of a resonant circuit that modulates the amplitude of the fixed-frequency oscillator signal. Demodulation yields a low-noise audio frequency signal with a very low source impedance. This technique permits the use of a diaphragm with looser tension, which may be used to achieve wider frequency response due to higher compliance. The RF biasing process results in a lower electrical impedance capsule, a useful byproduct of which is that RF condenser microphones can be operated in damp weather conditions which could create problems in DC-biased microphones whose insulating surfaces have become contaminated. The Sennheiser "MKH" series of microphones use the RF biasing technique.
Condenser microphones span the range from telephone transmitters to inexpensive karaoke microphones to high-fidelity recording microphones. They generally produce a high-quality audio signal and are now the popular choice in laboratory and studio recording applications. The inherent suitability of this technology is due to the very small mass that must be moved by the incident sound wave, unlike other microphone types which require the sound wave to do more work. They require a power source, provided either from microphone inputs as phantom power or from a small battery. Power is necessary for establishing the capacitor plate voltage, and is also needed to power the microphone electronics (impedance conversion in the case of electret and DC-polarized microphones, demodulation or detection in the case of RF/HF microphones). Condenser microphones are also available with two diaphragms, the signals from which can be electrically connected such as to provide a range of polar patterns (see below), such as cardioid, omnidirectional and figure-eight. It is also possible to vary the pattern smoothly with some microphones, for example the Røde NT2000 or CAD M179.
[edit] Electret condenser microphone
An electret microphone is a relatively new type of capacitor microphone invented at Bell laboratories in 1962 by Gerhard Sessler and Jim West.[1] The externally-applied charge described above under condenser microphones is replaced by a permanent charge in an electret material. An electret is a ferroelectric material that has been permanently electrically charged or polarized. The name comes from electrostatic and magnet; a static charge is embedded in an electret by alignment of the static charges in the material, much the way a magnet is made by aligning the magnetic domains in a piece of iron.
Due to their good performance and ease of manufacture, hence low cost, the vast majority of microphones made today are electret microphones; a semiconductor manufacturer[2] estimates annual production at over one billion units. Nearly all cell-phone, computer, PDA and headset microphones are electret types. They are used in many applications, from high-quality recording and lavalier use to built-in microphones in small sound recording devices and telephones. Though electret microphones were once considered low quality, the best ones can now rival traditional condenser microphones in every respect and can even offer the long-term stability and ultra-flat response needed for a measurement microphone. Unlike other capacitor microphones, they require no polarizing voltage, but often contain an integrated preamplifier which does require power (often incorrectly called polarizing power or bias). This preamp is frequently phantom powered in sound reinforcement and studio applications. Microphones designed for Personal Computer (PC) use, sometimes called multimedia microphones, use a stereo 3.5 mm plug (though a mono source) with the ring receiving power via a resistor from (normally) a 5 V supply in the computer; unfortunately, a number of incompatible dynamic microphones are fitted with 3.5 mm plugs too. While few electret microphones rival the best DC-polarized units in terms of noise level, this is not due to any inherent limitation of the electret. Rather, mass production techniques needed to produce microphones cheaply don't lend themselves to the precision needed to produce the highest quality microphones, due to the tight tolerances required in internal dimensions. These tolerances are the same for all condenser microphones, whether the DC, RF or electret technology is used.
[edit] Dynamic microphone
Dynamic microphones work via electromagnetic induction. They are robust, relatively inexpensive and resistant to moisture. This, coupled with their potentially high gain before feedback makes them ideal for on-stage use.
Moving-coil microphones use the same dynamic principle as in a loudspeaker, only reversed. A small movable induction coil, positioned in the magnetic field of a permanent magnet, is attached to the diaphragm. When sound enters through the windscreen of the microphone, the sound wave moves the diaphragm. When the diaphragm vibrates, the coil moves in the magnetic field, producing a varying current in the coil through electromagnetic induction. A single dynamic membrane will not respond linearly to all audio frequencies. Some microphones for this reason utilize multiple membranes for the different parts of the audio spectrum and then combine the resulting signals. Combining the multiple signals correctly is difficult and designs that do this are rare and tend to be expensive. There are on the other hand several designs that are more specifically aimed towards isolated parts of the audio spectrum. The AKG D 112, for example, is designed for bass response rather than treble[3]. In audio engineering several kinds of microphones are often used at the same time to get the best result.
Ribbon microphones use a thin, usually corrugated metal ribbon suspended in a magnetic field. The ribbon is electrically connected to the microphone's output, and its vibration within the magnetic field generates the electrical signal. Ribbon microphones are similar to moving coil microphones in the sense that both produce sound by means of magnetic induction. Basic ribbon microphones detect sound in a bidirectional (also called figure-eight) pattern because the ribbon, which is open to sound both front and back, responds to the pressure gradient rather than the sound pressure. Though the symmetrical front and rear pickup can be a nuisance in normal stereo recording, the high side rejection can be used to advantage by positioning a ribbon microphone horizontally, for example above cymbals, so that the rear lobe picks up only sound from the cymbals. Crossed figure 8, or Blumlein pair, stereo recording is gaining in popularity, and the figure 8 response of a ribbon microphone is ideal for that application.
Other directional patterns are produced by enclosing one side of the ribbon in an acoustic trap or baffle, allowing sound to reach only one side. The classic RCA Type 77-DX microphone has several externally-adjustable positions of the internal baffle, allowing the selection of several response patterns ranging from "Figure-8" to "Unidirectional". Such older ribbon microphones, some of which still give very high quality sound reproduction, were once valued for this reason, but a good low-frequency response could only be obtained if the ribbon was suspended very loosely, and this made them fragile. Modern ribbon materials, including new nanomaterials[4] have now been introduced that eliminate those concerns, and even improve the effective dynamic range of ribbon microphones at low frequencies. Protective wind screens can reduce the danger of damaging a vintage ribbon, and also reduce plosive artifacts in the recording. Properly designed wind screens produce negligible treble attenuation. In common with other classes of dynamic microphone, ribbon microphones don't require phantom power; in fact, this voltage can damage some older ribbon microphones. Some new modern ribbon microphone designs incorporate a preamplifier and, therefore, do require phantom power, and circuits of modern passive ribbon microphones, i.e., those without the aforementioned preamplifier, are specifically designed to resist damage to the ribbon and transformer by phantom power. Also there are new ribbon materials available that are immune to wind blasts and phantom power.
[edit] Carbon microphone
A carbon microphone, formerly used in telephone handsets, is a capsule containing carbon granules pressed between two metal plates. A voltage is applied across the metal plates, causing a small current to flow through the carbon. One of the plates, the diaphragm, vibrates in sympathy with incident sound waves, applying a varying pressure to the carbon. The changing pressure deforms the granules, causing the contact area between each pair of adjacent granules to change, and this causes the electrical resistance of the mass of granules to change. The changes in resistance cause a corresponding change in the voltage across the two plates, and hence in the current flowing through the microphone, producing the electrical signal. Carbon microphones were once commonly used in telephones; they have extremely low-quality sound reproduction and a very limited frequency response range, but are very robust devices.
Unlike other microphone types, the carbon microphone can also be used as a type of amplifier, using a small amount of sound energy to produce a larger amount of electrical energy. Carbon microphones found use as early telephone repeaters, making long distance phone calls possible in the era before vacuum tubes. These repeaters worked by mechanically coupling a magnetic telephone receiver to a carbon microphone: the faint signal from the receiver was transferred to the microphone, with a resulting stronger electrical signal to send down the line. (One illustration of this amplifier effect was the oscillation caused by feedback, resulting in an audible squeal from the old "candlestick" telephone if its earphone was placed near the carbon microphone.
[edit] Piezoelectric microphone
A crystal microphone uses the phenomenon of piezoelectricity — the ability of some materials to produce a voltage when subjected to pressure — to convert vibrations into an electrical signal. An example of this is Rochelle salt (potassium sodium tartrate), which is a piezoelectric crystal that works as a transducer, both as a microphone and as a slimline loudspeaker component. Crystal microphones were once commonly supplied with vacuum tube (valve) equipment, such as domestic tape recorders. Their high output impedance matched the high input impedance (typically about 10 megohms) of the vacuum tube input stage well. They were difficult to match to early transistor equipment, and were quickly supplanted by dynamic microphones for a time, and later small electret condenser devices. The high impedance of the crystal microphone made it very susceptible to handling noise, both from the microphone itself and from the connecting cable.
Piezoelectric transducers are often used as contact microphones to amplify sound from acoustic musical instruments, to sense drum hits, for triggering electronic samples, and to record sound in challenging environments, such as underwater under high pressure. Saddle-mounted pickups on acoustic guitars are generally piezoelectric devices that contact the strings passing over the saddle. This type of microphone is different from magnetic coil pickups commonly visible on typical electric guitars, which use magnetic induction, rather than mechanical coupling, to pick up vibration.
[edit] Fiber optical microphone
The fiber optical microphone is an entirely new microphone concept, first invented in Israel in 1984 by Drs. Alexander Paritsky and Alexander Kots.[5] Conversion of acoustical waves into electrical signals is achieved not by sensing changes in capacitance or magnetic fields (as with conventional microphones), but instead by sensing changes in light intensity. During operation, light from a laser source travels through an optical fiber to illuminate the surface of a tiny, sound-sensitive reflective diaphragm. Sound causes the diaphragm to vibrate, thereby minutely changing the intensity of the light it reflects. The modulated light is then transmitted over a second optical fiber to a photo detector, which transforms the intensity-modulated light into electrical signals for audio transmission or recording.
The fiber optical microphone has very specific advantages over conventional microphones. First, no electronic or metal components are used in the microphone head or the connecting fibers, so the microphone does not react to or influence any electrical, magnetic, electrostatic or radioactive fields (this is called EMI/RFI immunity). The fiber optical microphone is therefore ideal for use in areas where conventional microphones are ineffective or dangerous, such as inside industrial turbines or in magnetic resonance imaging (MRI) equipment environments. Another advantage is the physical nature of optical fiber light propagation. The distance between the microphone's light source and its photo detector may be up to several kilometers without need for any preamplifier and/or other electrical device. Finally, fiber optical microphones possess high dynamic and frequency range, similar to the best high fidelity conventional microphones. They are robust, resistant to environmental changes in heat and moisture, and are excellent for noise-canceling applications.
Fiber optical microphones can be produced for any directionality or impedance matching. They have proven especially useful in medical applications (with particular success in MRI patient-to-staff communications), audio calibration and measurement, industrial equipment sensing, high-fidelity recording and law enforcement. A comprehensive range of commercial fiber optical microphones is manufactured by Optoacoustics, Ltd.[6]
[edit] Laser microphone
Laser microphones are often portrayed in movies as spy gadgets. A laser beam is aimed at the surface of a window or other plane surface that is affected by sound. The slight vibrations of this surface displace the returned beam, causing it to trace the sound wave. The vibrating laser spot is then converted back to sound. In a more robust and expensive implementation, the returned light is split and fed to an interferometer, which detects frequency changes due to the Doppler effect. The former implementation is a tabletop experiment; the latter requires an extremely stable laser and precise optics.
[edit] Liquid microphone
Early microphones did not produce intelligible speech, until Alexander Graham Bell made improvements including a variable resistance microphone/transmitter. Bell's liquid transmitter consisted of a metal cup filled with water with a small amount of sulfuric acid added. A sound wave caused the diaphragm to move, forcing a needle to move up and down in the water. The electrical resistance between the wire and the cup was then inversely proportional to the size of the water meniscus around the submerged needle. Elisha Gray filed a caveat for a version using a brass rod instead of the needle. Other minor variations and improvements were made to the liquid microphone by Majoranna, Chambers, Vanni, Sykes, and Elisha Gray, and one version was patented by Reginald Fessenden in 1903. These were the first working microphones, but they were not practical for commercial application. The famous first phone conversation between Bell and Watson took place using a liquid microphone.
[edit] MEMS microphone
The MEMS (MicroElectrical-Mechanical System) microphone is also called a microphone chip or silicon microphone. The pressure-sensitive diaphragm is etched directly into a silicon chip by MEMS techniques, and is usually accompanied with integrated preamplifier. Most MEMS microphones are variants of the condenser microphone design. Often MEMS microphones have built in analog-to-digital converter (ADC) circuits on the same CMOS chip making the chip a digital microphone and so more readily integrated with modern digital products. Major manufacturers producing MEMS silicon microphones are Wolfson Microelectronics (WM7xxx), Analog Devices, Akustica (AKU200x), Infineon (SMM310 product), Knowles Electronics, Memstech (MSMx) and Sonion MEMS.
[edit] Speakers as microphones
A loudspeaker, a transducer that turns an electrical signal into sound waves, is the functional opposite of a microphone. Since a conventional speaker is constructed much like a dynamic microphone (with a diaphragm, coil and magnet), speakers can actually work "in reverse" as microphones. The result, though, is a microphone with poor quality, limited frequency response (particularly at the high end), and poor sensitivity. In practical use, speakers are sometimes used as microphones in such applications as intercoms or walkie-talkies, where high quality and sensitivity are not needed.
However, there is at least one other practical application of this principle: Using a medium-size woofer placed closely in front of a "kick" (bass drum) in a drum set to act as a microphone. The use of relatively large speakers to transduce low frequency sound sources, especially in music production, is becoming fairly common. Since a relatively massive membrane is unable to transduce high frequencies, placing a speaker in front of a kick drum is often ideal for reducing cymbal and snare bleed into the kick drum sound. Less commonly, microphones themselves can be used as speakers, almost always as tweeters. This is less common, since microphones are not designed to handle the power that speaker components are routinely required to cope with. One instance of such an application was the STC microphone-derived 4001 super-tweeter, which was successfully used in a number of high quality loudspeaker systems from the late 1960s to the mid-70s. A well-known example of this use was the Bowers & Wilkins DM2a model.
[edit] Capsule design and directivity
The inner elements of a microphone are the primary source of differences in directivity. A pressure microphone uses a diaphragm between a fixed internal volume of air and the environment, and responds uniformly to pressure from all directions, so it is said to be omnidirectional. A pressure-gradient microphone uses a diaphragm which is at least partially open on both sides; the pressure difference between the two sides produces its directional characteristics. Other elements such as the external shape of the microphone and external devices such as interference tubes can also alter a microphone's directional response. A pure pressure-gradient microphone is equally sensitive to sounds arriving from front or back, but insensitive to sounds arriving from the side because sound arriving at the front and back at the same time creates no gradient between the two. The characteristic directional pattern of a pure pressure-gradient microphone is like a figure-8. Other polar patterns are derived by creating a capsule that combines these two effects in different ways. The cardioid, for instance, features a partially closed backside, so its response is a combination of pressure and pressure-gradient characteristics.[7]
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