When cartioid microphones are placed very close to the sound source, a boosting of the bass frequencies occurs which is known as the proximity effect.
The phenomena where the sound picked up by a directional microphone has a bass boost that is caused when the source of sound is within a few inches. Vocal mics have a bass "roll off" to compensate for this.
A bass boost that occurs with single-D directional mics at... ( more)
in directional microphones, the boost in the microphone's output for bass frequencies as the mic is moved closer to the sound source
Increase in low-frequency response when a unidirectional or proximity effect microphone is used close to a sound source.
The anomolly of low frequencies being enhanced when a directional microphone is very close to the source (usually under a few inches). Can destroy intelligibility or enhance bass singers.
The exaggeration of low-frequency sounds in a directional microphone when it is very near the sound source.
This is the name given to a condition that exists with most cardioid (pressure gradient) microphones. As a sound source gets closer to the mic (usually around two feet), the lower frequencies become exaggerated. Many mics come with a "low-pass filter" to combat this effect, but sometimes the solution is simply to move the mic farther away.
The increase in bass occurring with most unidirectional microphones when they are placed close to an instrument or vocalist (within 1 foot). Does not occur with omnidirectional microphones.
An increase in the bass response of some mics as the distance between the mic and its sound source is decreased.
The exaggeration of low-frequency response associated with most microphones when they are used at very close distances. Some microphones have built-in adjustments that can compensate for proximity effect.
a boost in the low-frequency response of a directional microphone that occurs when the sound source is relatively close to the microphone. The phenomenon begins when the source is about two feet away from the mic capsule and becomes more noticeable as the subject gets closer to the mic. Used properly, a singer can use the proximity effect as a means of adding fullness to a voice; however, the effect can also emphasize nondesireable low-frequency noises such as breath sounds and popping consonants ("p" and "b" sounds).