HughesвЂ™ initial design was refined in subsequent microphones, which instead utilized carbon granules compressed between two metal plates.

The fluctuations would cause an altered electrical current analogous to the vibrations that triggered the system.

The resulting resistance between the two carbon cups would fluctuate.A sound wave would make the carbon rod vibrate.HughesвЂ™ microphone consisted of a carbon rod held between two carbon cups, connected to a circuit and battery. Hughes named his invention the microphone because he thought it was the audio equivalent to the microscope: a device that takes small sounds and makes them larger. Interestingly, Hughes never sought a patent-he wanted the microphone to be a gift to humankind. However, most historians agree that David Edward Hughes invented the first modern microphone in 1875.

When it comes to the invention of the microphone, many names are often considered: Philip Rhys, Emile Berliner, and Thomas Edison are all identified as early innovators. In other words, to get to the first sound system, we needed three inventions: a microphone, an amplifier, and a loudspeaker.Дavid Edward HughesвЂ™ first modern microphone consisted of a carbon rod held between two carbon cups, connected to a circuit and battery.

A device that converts the electrical signal back into sound vibrations.

A device that increases the amplitude, or volume, of the electrical signal.

A device that captures sound vibrations and converts them into an electrical signal.

All sound systems consist of three fundamental components: Although they didnвЂ™t have mixing consoles quite yet, composers still practiced the concept of mixing by writing for specified numbers of each instrument to achieve the desired balance of each piece of music.ДЇor live music performances to evolve to their current state, several innovations needed to be invented. Symphonic music was typically grand and stately since it was intended to be experienced in large concert halls.Д«y contrast, chamber music was composed to be played in private residences, and the less-reverberant acoustics of these smaller performance spaces allowed composers to write quicker melodies and jaunty bass lines to entertain and accompany dancing. For example, choral music was usually slow and majestic because it was meant to be heard in huge, reverberant churches. During this period, music was written to be performed in specific types of settings. This tradition of emphasizing the acoustic properties of architectural design continued into the era of classical music. Not only did this approach provide excellent sightlines to the stage, but it also caused less attenuation of the sound, enabling it to be carried further. Constructed with principles established by the architect and engineer Vitruvius, Roman amphitheaters were famous for their semi-circular design and tiered seating area, which focused the audienceвЂ™s attention on the performance area. One of the earliest known examples of someone attempting to create an improved acoustic environment conducive to live performances can be found during the reign of the Roman Empire. Roman amphitheaters were famous for their semi-circular design and tiered seating area, which focused the audienceвЂ™s attention on the performance area.

Martin jensen sound engineer