Loudness Compensation by Microphone Frequency Response and Microphone Placement

Bartlett B. Loudness Compensation by Microphone Frequency Response and Microphone Placement. In: AES Convention 103. Audio Engineering Society; 1997. Paper 4517. Available from: https://aes.org/publications/elibrary-page/?id=7262

@inproceedings{Bartlett1997_7262,
  author = {Bartlett, Bruce},
  title = {{Loudness Compensation by Microphone Frequency Response and Microphone Placement}},
  booktitle = {AES Convention 103},
  note = {Paper 4517},
  year = {1997},
  month = sep,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=7262}
}

TY  - CPAPER
TI  - Loudness Compensation by Microphone Frequency Response and Microphone Placement
AU  - Bartlett, Bruce
T2  - AES Convention 103
M1  - Paper 4517
PY  - 1997
DA  - 1997/09/06
UR  - https://aes.org/publications/elibrary-page/?id=7262
PB  - Audio Engineering Society
LA  - en
AB  - Rock bands produce high SPLs when heard live. But recordings of these bands are reproduced at much lower SPLs. Consequently, the reproduction may sound weak in the bass and treble compared to the live band. Some microphones compensate for this loss: they boost the lows with proximity effect (and nearfield placement) and boost the highs with a 'presence peak.' These microphones are often chosen as being the 'best sounding' for recording loud instruments. The author suggests a new specification that quantifies this compensation.
ER  -