When was the first microphone invented?

German inventor Johann Philipp Reis designed an early sound transmitter that used a metallic strip attached to a vibrating membrane that would produce intermittent current. Better results were achieved with the "liquid transmitter" design in Scottish-American Alexander Graham Bell's telephone of 1876 – the diaphragm was attached to a conductive rod in an acid solution. These systems, however, gave a very poor sound quality.
The first microphone that enabled proper voice telephony was the (loose-contact) carbon microphone. This was independently developed by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent (after a long legal dispute) in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention. The carbon microphone is the direct prototype of today's microphones and was critical in the development of telephony, broadcasting and the recording industries. Thomas Edison refined the carbon microphone into his carbon-button transmitter of 1886. This microphone was employed at the first ever radio broadcast, a performance at the New York Metropolitan Opera House in 1910.
In 1916, E.C. Wente of Western Electric developed the next breakthrough with the first condenser microphone. In 1923, the first practical moving coil microphone was built. The Marconi-Sykes magnetophone, developed by Captain H. J. Round, became the standard for BBC studios in London. This was improved in 1930 by Alan Blumlein and Herbert Holman who released the HB1A and was the best standard of the day.

Microphone

A microphone, colloquially nicknamed mic or mike (), is a transducer that converts sound into an electrical signal.

Microphones are used in many applications such as telephones, hearing aids, public address systems for concert halls and public events, motion picture production, live and recorded audio engineering, sound recording, two-way radios, megaphones, radio and television broadcasting, and in computers for recording voice, speech recognition, VoIP, and for non-acoustic purposes such as ultrasonic sensors or knock sensors.

Several different types of microphone are in use, which employ different methods to convert the air pressure variations of a sound wave to an electrical signal. The most common are the dynamic microphone, which uses a coil of wire suspended in a magnetic field; the condenser microphone, which uses the vibrating diaphragm as a capacitor plate, and the piezoelectric microphone, which uses a crystal of piezoelectric material. Microphones typically need to be connected to a preamplifier before the signal can be recorded or reproduced.

In order to speak to larger groups of people, a need arose to increase the volume of the human voice. The earliest devices used to achieve this were acoustic megaphones. Some of the first examples, from fifth century BC Greece, were theater masks with horn-shaped mouth openings that acoustically amplified the voice of actors in amphitheatres. In 1665, the English physicist Robert Hooke was the first to experiment with a medium other than air with the invention of the "lovers' telephone" made of stretched wire with a cup attached at each end.

Also in 1923, the ribbon microphone was introduced, another electromagnetic type, believed to have been developed by Harry F. Olson, who essentially reverse-engineered a ribbon speaker. Over the years these microphones were developed by several companies, most notably RCA that made large advancements in pattern control, to give the microphone directionality. With television and film technology booming there was demand for high fidelity microphones and greater directionality. Electro-Voice responded with their Academy Award-winning shotgun microphone in 1963.
During the second half of 20th century development advanced quickly with the Shure Brothers bringing out the SM58 and SM57. The latest research developments include the use of fibre optics, lasers and interferometers.

The sensitive transducer element of a microphone is called its "element" or "capsule." Sound is first converted to mechanical motion by means of a diaphragm, the motion of which is then converted to an electrical signal. 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. A wireless microphone contains a radio transmitter.

Microphones are categorized 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.

The condenser microphone, invented at Western Electric in 1916 by E. C. Wente, is also called a capacitor microphone or electrostatic microphone—capacitors were historically called condensers. Here, the diaphragm acts as one plate of a capacitor, and the vibrations produce changes in the distance between the plates. There are two types, depending on the method of extracting the audio signal from the transducer: DC-biased microphones, 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 = ), 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. 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 to 100 pF) and the value of the bias resistor (100 MΩ to tens of GΩ) form a filter that is high-pass for the audio signal, and low-pass 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. In most cases, the electronics in the microphone itself contribute no voltage gain as the voltage differential is quite significant, up to several volts for high sound levels. Since this is a very high impedance circuit, only current gain is usually needed, with the voltage remaining constant.
RF condenser microphones use a comparatively low RF voltage, generated by a low-noise oscillator. The signal from the oscillator may either be amplitude 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 frequency of the oscillator signal. Demodulation yields a low-noise audio frequency signal with a very low source impedance. The absence of a high bias voltage 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 by-product of which is that RF condenser microphones can be operated in damp weather conditions that could create problems in DC-biased microphones with contaminated insulating surfaces. The Sennheiser "MKH" series of microphones use the RF biasing technique. A covert, remotely energised application of the same physical principle was devised by Soviet Russian inventor Léon Theremin and used to bug the US Ambassador's Residence in Moscow between 1945 and 1952.

Condenser microphones span the range from telephone transmitters through 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 recording studio 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 that require the sound wave to do more work. They require a power source, provided either via microphone inputs on equipment 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 that can be electrically connected to provide a range of polar patterns (see below), such as cardioid, omnidirectional, and figure-eight. It is also possible to vary the pattern continuously with some microphones, for example, the Røde NT2000 or CAD M179.

A valve microphone is a condenser microphone that uses a vacuum tube (valve) amplifier. They remain popular with enthusiasts of tube sound.

An electret microphone is a type of capacitor microphone invented by Gerhard Sessler and Jim West at Bell laboratories in 1962.
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 "electr"ostatic and magn"et"; 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 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 that does require power (often incorrectly called polarizing power or bias). This preamplifier is frequently phantom powered in sound reinforcement and studio applications. Monophonic microphones designed for personal computer (PC) use, sometimes called multimedia microphones, use a 3.5 mm plug as usually used, without power, for stereo; the ring, instead of carrying the signal for a second channel, carries power via a resistor from (normally) a 5 V supply in the computer. Stereophonic microphones use the same connector; there is no obvious way to determine which standard is used by equipment and microphones.

Only the best electret microphones rival good DC-polarized units in terms of noise level and quality; electret microphones lend themselves to inexpensive mass-production, while inherently expensive non-electret condenser microphones are made to higher quality.

The dynamic microphone (also known as the moving-coil microphone) works 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.

Dynamic 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 does not respond linearly to all audio frequencies. For this reason, some microphones utilize multiple membranes for the different parts of the audio spectrum and then combine the resulting signals. Combining the multiple signals correctly is difficult; designs that do this are rare and tend to be expensive. On the other hand, there are 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. In audio engineering several kinds of microphones are often used at the same time to get the best results.

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 bi-directional (also called figure-eight, as in the diagram below) pattern because the ribbon is open on both sides. Also, because the ribbon has much less mass it responds to the air velocity 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 sound only from the cymbals. Crossed figure 8, or Blumlein pair, stereo recording is gaining in popularity, and the figure-eight 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-eight" to "unidirectional". Such older ribbon microphones, some of which still provide high-quality sound reproduction, were once valued for this reason, but a good low-frequency response could be obtained only when the ribbon was suspended very loosely, which made them relatively fragile. Modern ribbon materials, including new nanomaterials, 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.

The carbon microphone was the earliest type of microphone. The carbon button microphone (or sometimes just a button microphone), uses a capsule or button containing carbon granules pressed between two metal plates like the Berliner and Edison microphones. 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 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. The Boudet microphone, which used relatively large carbon balls, was similar to the granule carbon button microphones.

Unlike other microphone types, the carbon microphone can also be used as a type of amplifier, using a small amount of sound energy to control 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, where it modulated a stronger electric current, producing a 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.

A crystal microphone or piezo 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 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.

A fiber optic microphone converts acoustic waves into electrical signals by sensing changes in light intensity, instead of sensing changes in capacitance or magnetic fields as with conventional microphones.
During operation, light from a laser source travels through an optical fiber to illuminate the surface of a reflective diaphragm. Sound vibrations of the diaphragm modulate the intensity of light reflecting off the diaphragm in a specific direction. The modulated light is then transmitted over a second optical fiber to a photo detector, which transforms the intensity-modulated light into analog or digital audio for transmission or recording. Fiber optic microphones possess high dynamic and frequency range, similar to the best high fidelity conventional microphones.

Fiber optic microphones do not react to or influence any electrical, magnetic, electrostatic or radioactive fields (this is called EMI/RFI immunity). The fiber optic microphone design 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.

Fiber optic microphones are robust, resistant to environmental changes in heat and moisture, and can be produced for any directionality or impedance matching. The distance between the microphone's light source and its photodetector may be up to several kilometers without need for any preamplifier or another electrical device, making fiber optic microphones suitable for industrial and surveillance acoustic monitoring.

Fiber optic microphones are used in very specific application areas such as for infrasound monitoring and noise-canceling. They have proven especially useful in medical applications, such as allowing radiologists, staff and patients within the powerful and noisy magnetic field to converse normally, inside the MRI suites as well as in remote control rooms. Other uses include industrial equipment monitoring and audio calibration and measurement, high-fidelity recording and law enforcement.

Laser microphones are often portrayed in movies as spy gadgets, because they can be used to pick up sound at a distance from the microphone equipment. A laser beam is aimed at the surface of a window or other plane surface that is affected by sound. The vibrations of this surface change the angle at which the beam is reflected, and the motion of the laser spot from the returning beam is detected and converted to an audio signal.

In a more robust and expensive implementation, the returned light is split and fed to an interferometer, which detects movement of the surface by changes in the optical path length of the reflected beam. The former implementation is a tabletop experiment; the latter requires an extremely stable laser and precise optics.

A new type of laser microphone is a device that uses a laser beam and smoke or vapor to detect sound vibrations in free air. On 25 August 2009, U.S. patent 7,580,533 issued for a Particulate Flow Detection Microphone based on a laser-photocell pair with a moving stream of smoke or vapor in the laser beam's path. Sound pressure waves cause disturbances in the smoke that in turn cause variations in the amount of laser light reaching the photodetector. A prototype of the device was demonstrated at the 127th Audio Engineering Society convention in New York City from 9 through 12 October 2009.

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.

The MEMS (MicroElectrical-Mechanical System) microphone is also called a microphone chip or silicon microphone. A pressure-sensitive diaphragm is etched directly into a silicon wafer by MEMS processing techniques, and is usually accompanied with integrated preamplifier. Most MEMS microphones are variants of the condenser microphone design. Digital 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) now Cirrus Logic, InvenSense (product line sold by Analog Devices ), Akustica (AKU200x), Infineon (SMM310 product), Knowles Electronics, Memstech (MSMx), NXP Semiconductors (division bought by Knowles ), Sonion MEMS, Vesper, AAC Acoustic Technologies, and Omron.

More recently, since the 2010s, there has been increased interest and research into making piezoelectric MEMS microphones which are a significant architectural and material change from existing condenser style MEMS designs.

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 resulting signal typically offers reduced quality including limited high-end frequency response and poor sensitivity. In practical use, speakers are sometimes used as microphones in applications where high quality and sensitivity are not needed such as intercoms, walkie-talkies or video game voice chat peripherals, or when conventional microphones are in short supply.

However, there is at least one practical application that exploits those weaknesses: the use of a medium-size woofer placed closely in front of a "kick drum" (bass drum) in a drum set to act as a microphone. A commercial product example is the Yamaha Subkick, a woofer shock-mounted into a 10" drum shell used in front of kick drums. Since a relatively massive membrane is unable to transduce high frequencies while being capable of tolerating strong low-frequency transients, the speaker is often ideal for picking up the kick drum while reducing bleed from the nearby cymbals and snare drums.

Less commonly, microphones themselves can be used as speakers, but due to their low power handling and small transducer sizes, a tweeter is the most practical application. 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.

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 that 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.

(Microphone facing top of page in diagram, parallel to page):
A microphone's directionality or polar pattern indicates how sensitive it is to sounds arriving at different angles about its central axis. The polar patterns illustrated above represent the locus of points that produce the same signal level output in the microphone if a given sound pressure level (SPL) is generated from that point. How the physical body of the microphone is oriented relative to the diagrams depends on the microphone design. For large-membrane microphones such as in the Oktava (pictured above), the upward direction in the polar diagram is usually perpendicular to the microphone body, commonly known as "side fire" or "side address". For small diaphragm microphones such as the Shure (also pictured above), it usually extends from the axis of the microphone commonly known as "end fire" or "top/end address".

Some microphone designs combine several principles in creating the desired polar pattern. This ranges from shielding (meaning diffraction/dissipation/absorption) by the housing itself to electronically combining dual membranes.

An omnidirectional (or nondirectional) microphone's response is generally considered to be a perfect sphere in three dimensions. In the real world, this is not the case. As with directional microphones, the polar pattern for an "omnidirectional" microphone is a function of frequency. The body of the microphone is not infinitely small and, as a consequence, it tends to get in its own way with respect to sounds arriving from the rear, causing a slight flattening of the polar response. This flattening increases as the diameter of the microphone (assuming it's cylindrical) reaches the wavelength of the frequency in question. Therefore, the smallest diameter microphone gives the best omnidirectional characteristics at high frequencies.

The wavelength of sound at 10 kHz is 1.4" (3.5 cm). The smallest measuring microphones are often 1/4" (6 mm) in diameter, which practically eliminates directionality even up to the highest frequencies. Omnidirectional microphones, unlike cardioids, do not employ resonant cavities as delays, and so can be considered the "purest" microphones in terms of low coloration; they add very little to the original sound. Being pressure-sensitive they can also have a very flat low-frequency response down to 20 Hz or below. Pressure-sensitive microphones also respond much less to wind noise and plosives than directional (velocity sensitive) microphones.

An example of a nondirectional microphone is the round black "eight ball".

A unidirectional microphone is primarily sensitive to sounds from only one direction. The diagram above illustrates a number of these patterns. The microphone faces upwards in each diagram. The sound intensity for a particular frequency is plotted for angles radially from 0 to 360°. (Professional diagrams show these scales and include multiple plots at different frequencies. The diagrams given here provide only an overview of typical pattern shapes, and their names.)

The most common unidirectional microphone is a cardioid microphone, so named because the sensitivity pattern is "heart-shaped", i.e. a cardioid. The cardioid family of microphones are commonly used as vocal or speech microphones, since they are good at rejecting sounds from other directions. In three dimensions, the cardioid is shaped like an apple centred around the microphone, which is the "stem" of the apple. The cardioid response reduces pickup from the side and rear, helping to avoid feedback from the monitors. Since these directional transducer microphones achieve their patterns by sensing pressure gradient, putting them very close to the sound source (at distances of a few centimeters) results in a bass boost due to the increased gradient. This is known as the proximity effect. The SM58 has been the most commonly used microphone for live vocals for more than 50 years demonstrating the importance and popularity of cardioid mics.

The cardioid is effectively a superposition of an omnidirectional (pressure) and a figure-8 (pressure gradient) microphone; for sound waves coming from the back, the negative signal from the figure-8 cancels the positive signal from the omnidirectional element, whereas for sound waves coming from the front, the two add to each other.

By combining the two components in different ratios, any pattern between omni and figure-8 can be achieved, which comprise the first-order cardioid family. Common shapes include:"Figure 8" or bi-directional microphones receive sound equally from both the front and back of the element. Most ribbon microphones are of this pattern. In principle they do not respond to sound pressure at all, only to the "change" in pressure between front and back; since sound arriving from the side reaches front and back equally there is no difference in pressure and therefore no sensitivity to sound from that direction. In more mathematical terms, while omnidirectional microphones are scalar transducers responding to pressure from any direction, bi-directional microphones are vector transducers responding to the gradient along an axis normal to the plane of the diaphragm. This also has the effect of inverting the output polarity for sounds arriving from the back side.

Shotgun microphones are the most highly directional of simple first-order unidirectional types. At low frequencies they have the classic polar response of a hypercardioid but at medium and higher frequencies an interference tube gives them an increased forward response. This is achieved by a process of cancellation of off-axis waves entering the longitudinal array of slots. A consequence of this technique is the presence of some rear lobes that vary in level and angle with frequency, and can cause some coloration effects. Due to the narrowness of their forward sensitivity, shotgun microphones are commonly used on television and film sets, in stadiums, and for field recording of wildlife.

Several approaches have been developed for effectively using a microphone in less-than-ideal acoustic spaces, which often suffer from excessive reflections from one or more of the surfaces (boundaries) that make up the space. If the microphone is placed in, or very close to, one of these boundaries, the reflections from that surface have the same timing as the direct sound, thus giving the microphone a hemispherical polar pattern and improved intelligibility. Initially this was done by placing an ordinary microphone adjacent to the surface, sometimes in a block of acoustically transparent foam. Sound engineers Ed Long and Ron Wickersham developed the concept of placing the diaphragm parallel to and facing the boundary. While the patent has expired, "Pressure Zone Microphone" and "PZM" are still active trademarks of Crown International, and the generic term boundary microphone is preferred. While a boundary microphone was initially implemented using an omnidirectional element, it is also possible to mount a directional microphone close enough to the surface to gain some of the benefits of this technique while retaining the directional properties of the element. Crown's trademark on this approach is "Phase Coherent Cardioid" or "PCC," but there are other makers who employ this technique as well.

A lavalier microphone is made for hands-free operation. These small microphones are worn on the body. Originally, they were held in place with a lanyard worn around the neck, but more often they are fastened to clothing with a clip, pin, tape or magnet. The lavalier cord may be hidden by clothes and either run to an RF transmitter in a pocket or clipped to a belt (for mobile use), or run directly to the mixer (for stationary applications).

A wireless microphone transmits the audio as a radio or optical signal rather than via a cable. It usually sends its signal using a small FM radio transmitter to a nearby receiver connected to the sound system, but it can also use infrared waves if the transmitter and receiver are within sight of each other.

A contact microphone picks up vibrations directly from a solid surface or object, as opposed to sound vibrations carried through air. One use for this is to detect sounds of a very low level, such as those from small objects or insects. The microphone commonly consists of a magnetic (moving coil) transducer, contact plate and contact pin. The contact plate is placed directly on the vibrating part of a musical instrument or other surface, and the contact pin transfers vibrations to the coil. Contact microphones have been used to pick up the sound of a snail's heartbeat and the footsteps of ants. A portable version of this microphone has recently been developed. A throat microphone is a variant of the contact microphone that picks up speech directly from a person's throat, which it is strapped to. This lets the device be used in areas with ambient sounds that would otherwise make the speaker inaudible.
A parabolic microphone uses a parabolic reflector to collect and focus sound waves onto a microphone receiver, in much the same way that a parabolic antenna (e.g. satellite dish) does with radio waves. Typical uses of this microphone, which has unusually focused front sensitivity and can pick up sounds from many meters away, include nature recording, outdoor sporting events, eavesdropping, law enforcement, and even espionage. Parabolic microphones are not typically used for standard recording applications, because they tend to have poor low-frequency response as a side effect of their design.

A stereo microphone integrates two microphones in one unit to produce a stereophonic signal. A stereo microphone is often used for broadcast applications or field recording where it would be impractical to configure two separate condenser microphones in a classic X-Y configuration (see microphone practice) for stereophonic recording. Some such microphones have an adjustable angle of coverage between the two channels.

A noise-canceling microphone is a highly directional design intended for noisy environments. One such use is in aircraft cockpits where they are normally installed as boom microphones on headsets. Another use is in live event support on loud concert stages for vocalists involved with live performances. Many noise-canceling microphones combine signals received from two diaphragms that are in opposite electrical polarity or are processed electronically. In dual diaphragm designs, the main diaphragm is mounted closest to the intended source and the second is positioned farther away from the source so that it can pick up environmental sounds to be subtracted from the main diaphragm's signal. After the two signals have been combined, sounds other than the intended source are greatly reduced, substantially increasing intelligibility. Other noise-canceling designs use one diaphragm that is affected by ports open to the sides and rear of the microphone, with the sum being a 16 dB rejection of sounds that are farther away. One noise-canceling headset design using a single diaphragm has been used prominently by vocal artists such as Garth Brooks and Janet Jackson. A few noise-canceling microphones are throat microphones.

Various standard techniques are used with microphones used in sound reinforcement at live performances, or for recording in a studio or on a motion picture set. By suitable arrangement of one or more microphones, desirable features of the sound to be collected can be kept, while rejecting unwanted sounds.

Microphones containing active circuitry, such as most condenser microphones, require power to operate the active components. The first of these used vacuum-tube circuits with a separate power supply unit, using a multi-pin cable and connector. With the advent of solid-state amplification, the power requirements were greatly reduced and it became practical to use the same cable conductors and connector for audio and power. During the 1960s several powering methods were developed, mainly in Europe. The two dominant methods were initially defined in German DIN 45595 as or T-power and DIN 45596 for phantom power. Since the 1980s, phantom power has become much more common, because the same input may be used for both powered and unpowered microphones. In consumer electronics such as DSLRs and camcorders, "plug-in power" is more common, for microphones using a 3.5 mm phone plug connector. Phantom, T-power and plug-in power are described in international standard IEC 61938.

The most common connectors used by microphones are:

Some microphones use other connectors, such as a 5-pin XLR, or mini XLR for connection to portable equipment. Some lavalier (or "lapel", from the days of attaching the microphone to the news reporters suit lapel) microphones use a proprietary connector for connection to a wireless transmitter, such as a radio pack. Since 2005, professional-quality microphones with USB connections have begun to appear, designed for direct recording into computer-based software.

Microphones have an electrical characteristic called impedance, measured in ohms (Ω), that depends on the design. In passive microphones, this value describes the electrical resistance of the magnet coil (or similar mechanism). In active microphones, this value describes the output resistance of the amplifier circuitry. Typically, the "rated impedance" is stated. Low impedance is considered under 600 Ω. Medium impedance is considered between 600 Ω and 10 kΩ. High impedance is above 10 kΩ. Owing to their built-in amplifier, condenser microphones typically have an output impedance between 50 and 200 Ω.

The output of a given microphone delivers the same power whether it is low or high impedance. If a microphone is made in high and low impedance versions, the high impedance version has a higher output voltage for a given sound pressure input, and is suitable for use with vacuum-tube guitar amplifiers, for instance, which have a high input impedance and require a relatively high signal input voltage to overcome the tubes' inherent noise. Most professional microphones are low impedance, about 200 Ω or lower. Professional vacuum-tube sound equipment incorporates a transformer that steps up the impedance of the microphone circuit to the high impedance and voltage needed to drive the input tube. External matching transformers are also available that can be used in-line between a low impedance microphone and a high impedance input.

Low-impedance microphones are preferred over high impedance for two reasons: one is that using a high-impedance microphone with a long cable results in high frequency signal loss due to cable capacitance, which forms a low-pass filter with the microphone output impedance. The other is that long high-impedance cables tend to pick up more hum (and possibly radio-frequency interference (RFI) as well). Nothing is damaged if the impedance between microphone and other equipment is mismatched; the worst that happens is a reduction in signal or change in frequency response.

Some microphones are designed "not" to have their impedance matched by the load they are connected to. Doing so can alter their frequency response and cause distortion, especially at high sound pressure levels. Certain ribbon and dynamic microphones are exceptions, due to the designers' assumption of a certain load impedance being part of the internal electro-acoustical damping circuit of the microphone.

The AES42 standard, published by the Audio Engineering Society, defines a digital interface for microphones. Microphones conforming to this standard directly output a digital audio stream through an XLR or XLD male connector, rather than producing an analog output. Digital microphones may be used either with new equipment with appropriate input connections that conform to the AES42 standard, or else via a suitable interface box. Studio-quality microphones that operate in accordance with the AES42 standard are now available from a number of microphone manufacturers.

Because of differences in their construction, microphones have their own characteristic responses to sound. This difference in response produces non-uniform phase and frequency responses. In addition, microphones are not uniformly sensitive to sound pressure, and can accept differing levels without distorting. Although for scientific applications microphones with a more uniform response are desirable, this is often not the case for music recording, as the non-uniform response of a microphone can produce a desirable coloration of the sound. There is an international standard for microphone specifications, but few manufacturers adhere to it. As a result, comparison of published data from different manufacturers is difficult because different measurement techniques are used. The Microphone Data Website has collated the technical specifications complete with pictures, response curves and technical data from the microphone manufacturers for every currently listed microphone, and even a few obsolete models, and shows the data for them all in one common format for ease of comparison.. Caution should be used in drawing any solid conclusions from this or any other published data, however, unless it is known that the manufacturer has supplied specifications in accordance with IEC 60268-4.

A frequency response diagram plots the microphone sensitivity in decibels over a range of frequencies (typically 20 Hz to 20 kHz), generally for perfectly on-axis sound (sound arriving at 0° to the capsule). Frequency response may be less informatively stated textually like so: "30 Hz–16 kHz ±3 dB". This is interpreted as meaning a nearly flat, linear, plot between the stated frequencies, with variations in amplitude of no more than plus or minus 3 dB. However, one cannot determine from this information how "smooth" the variations are, nor in what parts of the spectrum they occur. Note that commonly made statements such as "20 Hz–20 kHz" are meaningless without a decibel measure of tolerance. Directional microphones' frequency response varies greatly with distance from the sound source, and with the geometry of the sound source. IEC 60268-4 specifies that frequency response should be measured in "plane progressive wave" conditions (very far away from the source) but this is seldom practical. "Close talking" microphones may be measured with different sound sources and distances, but there is no standard and therefore no way to compare data from different models unless the measurement technique is described.

The self-noise or equivalent input noise level is the sound level that creates the same output voltage as the microphone does in the absence of sound. This represents the lowest point of the microphone's dynamic range, and is particularly important should you wish to record sounds that are quiet. The measure is often stated in dB(A), which is the equivalent loudness of the noise on a decibel scale frequency-weighted for how the ear hears, for example: "15 dBA SPL" (SPL means sound pressure level relative to 20 micropascals). The lower the number the better. Some microphone manufacturers state the noise level using ITU-R 468 noise weighting, which more accurately represents the way we hear noise, but gives a figure some 11–14 dB higher. A quiet microphone typically measures 20 dBA SPL or 32 dB SPL 468-weighted. Very quiet microphones have existed for years for special applications, such the Brüel & Kjaer 4179, with a noise level around 0 dB SPL. Recently some microphones with low noise specifications have been introduced in the studio/entertainment market, such as models from Neumann and Røde that advertise noise levels between 5–7 dBA. Typically this is achieved by altering the frequency response of the capsule and electronics to result in lower noise within the A-weighting curve while broadband noise may be increased.

The maximum SPL the microphone can accept is measured for particular values of total harmonic distortion (THD), typically 0.5%. This amount of distortion is generally inaudible, so one can safely use the microphone at this SPL without harming the recording. Example: "142 dB SPL peak (at 0.5% THD)". The higher the value, the better, although microphones with a very high maximum SPL also have a higher self-noise.

The clipping level is an important indicator of maximum usable level, as the 1% THD figure usually quoted under max SPL is really a very mild level of distortion, quite inaudible especially on brief high peaks. Clipping is much more audible. For some microphones the clipping level may be much higher than the max SPL.

The dynamic range of a microphone is the difference in SPL between the noise floor and the maximum SPL. If stated on its own, for example "120 dB", it conveys significantly less information than having the self-noise and maximum SPL figures individually.

Sensitivity indicates how well the microphone converts acoustic pressure to output voltage. A high sensitivity microphone creates more voltage and so needs less amplification at the mixer or recording device. This is a practical concern but is not directly an indication of the microphone's quality, and in fact the term sensitivity is something of a misnomer, "transduction gain" being perhaps more meaningful, (or just "output level") because true sensitivity is generally set by the noise floor, and too much "sensitivity" in terms of output level compromises the clipping level. There are two common measures. The (preferred) international standard is made in millivolts per pascal at 1 kHz. A higher value indicates greater sensitivity. The older American method is referred to a 1 V/Pa standard and measured in plain decibels, resulting in a negative value. Again, a higher value indicates greater sensitivity, so −60  dB is more sensitive than −70 dB.

Some microphones are intended for testing speakers, measuring noise levels and otherwise quantifying an acoustic experience. These are calibrated transducers and are usually supplied with a calibration certificate that states absolute sensitivity against frequency. The quality of measurement microphones is often referred to using the designations "Class 1," "Type 2" etc., which are references not to microphone specifications but to sound level meters. A more comprehensive standard for the description of measurement microphone performance was recently adopted.

Measurement microphones are generally scalar sensors of pressure; they exhibit an omnidirectional response, limited only by the scattering profile of their physical dimensions. Sound intensity or sound power measurements require pressure-gradient measurements, which are typically made using arrays of at least two microphones, or with hot-wire anemometers.

To take a scientific measurement with a microphone, its precise sensitivity must be known (in volts per pascal). Since this may change over the lifetime of the device, it is necessary to regularly calibrate measurement microphones. This service is offered by some microphone manufacturers and by independent certified testing labs. All microphone calibration is ultimately traceable to primary standards at a national measurement institute such as NPL in the UK, PTB in Germany and NIST in the United States, which most commonly calibrate using the reciprocity primary standard. Measurement microphones calibrated using this method can then be used to calibrate other microphones using comparison calibration techniques.

Depending on the application, measurement microphones must be tested periodically (every year or several months, typically) and after any potentially damaging event, such as being dropped (most such microphones come in foam-padded cases to reduce this risk) or exposed to sounds beyond the acceptable level.

A microphone array is any number of microphones operating in tandem. There are many applications:Typically, an array is made up of omnidirectional microphones distributed about the perimeter of a space, linked to a computer that records and interprets the results into a coherent form.

Windscreens (or windshields – the terms are interchangeable) provide a method of reducing the effect of wind on microphones. While pop-screens give protection from unidirectional blasts, foam “hats” shield wind into the grille from all directions, and blimps / zeppelins / baskets entirely enclose the microphone and protect its body as well. The latter is important because, given the extreme low frequency content of wind noise, vibration induced in the housing of the microphone can contribute substantially to the noise output.

The shielding material used – wire gauze, fabric or foam – is designed to have a significant acoustic impedance. The relatively low particle-velocity air pressure changes that constitute sound waves can pass through with minimal attenuation, but higher particle-velocity wind is impeded to a far greater extent. Increasing the thickness of the material improves wind attenuation but also begins to compromise high frequency audio content. This limits the practical size of simple foam screens. While foams and wire meshes can be partly or wholly self-supporting, soft fabrics and gauzes require stretching on frames, or laminating with coarser structural elements.

Since all wind noise is generated at the first surface the air hits, the greater the spacing between shield periphery and microphone capsule, the greater the noise attenuation. For an approximately spherical shield, attenuation increases by (approximately) the cube of that distance. Thus larger shields are always much more efficient than smaller ones. With full basket windshields there is an additional pressure chamber effect, first explained by Joerg Wuttke, which, for two-port (pressure gradient) microphones, allows the shield/microphone combination to act as a high-pass acoustic filter.

Since turbulence at a surface is the source of wind noise, reducing gross turbulence can add to noise reduction. Both aerodynamically smooth surfaces, and ones that prevent powerful vortices being generated, have been used successfully. Historically, artificial fur has proved very useful for this purpose since the fibres produce micro-turbulence and absorb energy silently. If not matted by wind and rain, the fur fibres are very transparent acoustically, but the woven or knitted backing can give significant attenuation. As a material it suffers from being difficult to manufacture with consistency, and to keep in pristine condition on location. Thus there is an interest (DPA 5100, Rycote Cyclone) to move away from its use.

In the studio and on stage, pop-screens and foam shields can be useful for reasons of hygiene, and protecting microphones from spittle and sweat. They can also be useful coloured idents. On location the basket shield can contain a suspension system to isolate the microphone from shock and handling noise.

Stating the efficiency of wind noise reduction is an inexact science, since the effect varies enormously with frequency, and hence with the bandwidth of the microphone and audio channel. At very low frequencies (10–100 Hz) where massive wind energy exists, reductions are important to avoid overloading of the audio chain – particularly the early stages. This can produce the typical “wumping” sound associated with wind, which is often syllabic muting of the audio due to LF peak limiting. At higher frequencies – 200 Hz to ~3 kHz – the aural sensitivity curve allows us to hear the effect of wind as an addition to the normal noise floor, even though it has a far lower energy content. Simple shields may allow the wind noise to be 10 dB less apparent; better ones can achieve nearer to a 50 dB reduction. However the acoustic transparency, particularly at HF, should also be indicated, since a very high level of wind attenuation could be associated with very muffled audio.

The first microphone that enabled proper voice telephony was the (loose-contact) carbon microphone (then called transmitter). This was independently developed around 1878 by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention.

Carbon microphone

The carbon microphone, also known as carbon button microphone, button microphone, or carbon transmitter, is a type of microphone, a transducer that converts sound to an electrical audio signal. It consists of two metal plates separated by granules of carbon. One plate is very thin and faces toward the speaking person, acting as a diaphragm. Sound waves striking the diaphragm cause it to vibrate, exerting a varying pressure on the granules, which in turn changes the electrical resistance between the plates. Higher pressure lowers the resistance as the granules are pushed closer together. A steady direct current is passed between the plates through the granules. The varying resistance results in a modulation of the current, creating a varying electric current that reproduces the varying pressure of the sound wave. In telephony, this undulating current is directly passed through the telephone wires to the central office. In public address systems it is amplified by an audio amplifier. The frequency response of the carbon microphone, however, is limited to a narrow range, and the device produces significant electrical noise.

Before the proliferation of vacuum tube amplifiers in the 1920s, carbon microphones were the only practical means of obtaining high-level audio signals. They were widely used in telephone systems until the 1980s, while other applications used different microphone designs much earlier. Their low cost, inherently high output and frequency response characteristic were well suited for telephony. For plain old telephone service (POTS), carbon-microphone based telephones can still be used without modification. Carbon microphones, usually modified telephone transmitters, were widely used in early AM radio broadcasting systems, but their limited frequency response, as well as a fairly high noise level, led to their abandonment in those applications by the late 1920s. They continued to be widely used for low-end public address, and military and amateur radio applications for some decades afterward.

Hughes' device used loosely packed carbon granules - the varying pressure exerted on the granules by the diaphragm from the acoustic waves caused the resistance of the carbon to vary proportionally, allowing a relatively accurate electrical reproduction of the sound signal. Hughes also coined the word microphone. He demonstrated his apparatus to the Royal Society by magnifying the sound of insects scratching through a sound box. Contrary to Edison, Hughes decided not to take out a patent; instead, he made his invention a gift to the world.

In America, Edison and Berliner fought a long legal battle over the patent rights. Ultimately a federal court awarded Edison full rights to the invention, stating "Edison preceded Berliner in the transmission of speech...The use of carbon in a transmitter is, beyond controversy, the invention of Edison" and the Berliner patent was ruled invalid.

The carbon microphone is the direct prototype of today's microphones and was critical in the development of telephony, broadcasting and the recording industries. Later, carbon granules were used between carbon buttons. Carbon microphones were widely used in telephones from 1890 until the 1980s.

Carbon microphones can be used as amplifiers. This capability was used in early telephone repeaters, making long distance phone calls possible in the era before vacuum tube amplifiers. In these repeaters, a magnetic telephone receiver (an electrical-to-mechanical transducer) was mechanically coupled to a carbon microphone. Because a carbon microphone works by varying a current passed through it, instead of generating a signal voltage as with most other microphone types, this arrangement could be used to boost weak signals and send them down the line. These amplifiers were mostly abandoned with the development of vacuum tubes, which offered higher gain and better sound quality. Even after vacuum tubes were in common use, carbon amplifiers continued to be used during the 1930s in portable audio equipment such as hearing aids. The Western Electric 65A carbon amplifier was 1.2" in diameter and 0.4" high and weighed less than 1.4 ounces. Such carbon amplifiers did not require the heavy bulky batteries and power supplies used by vacuum tube amplifiers. By the 1950s, carbon amplifiers for hearing aids had been replaced by miniature vacuum tubes (only to be shortly replaced by transistors). However, carbon amplifiers are still being produced and sold.

An illustration of the amplification provided by carbon microphones was the oscillation caused by feedback, which resulted in an audible squeal from the old "candlestick telephone" if its earphone was placed near the carbon microphone.

Early AM radio transmitters relied on carbon microphones for voice modulation of the radio signal. In the first long-distance audio transmissions by Reginald Fessenden in 1906, a continuous wave from an Alexanderson alternator was fed directly to the transmitting antenna through a water-cooled carbon microphone. Later systems using vacuum tube oscillators often used the output from a carbon microphone to modulate the grid bias of the oscillator or output tube to achieve modulation.

Apart from legacy telephone installations in Third World countries, carbon microphones are still used today in certain niche applications in the developed world. An example is the Shure 104c, which is still in demand because of its wide compatibility with existing equipment.

The principal advantage of carbon microphones over other microphone designs is that they can produce high-level audio signals from very low DC voltages, without needing any form of additional amplification or batteries. This is particularly useful in remote locations served by very long telephone lines, where the electrical resistance of the wires can lead to severe DC voltage drop. Most all-electronic telephones need at least three volts DC to work, and so will often become useless in such situations, whereas carbon transmitter telephones will continue to work down to a fraction of a volt. Even where they do work, electronic telephones also suffer from the so-called "cliff effect", whereby they abruptly stop working when the line voltage falls below the critical level. In particular, this means that one telephone on a "party line" may tend to "hog" all the line current, cutting the others off. With carbon microphones, all receivers on the same line will still operate, albeit with reduced output.

Carbon microphones are also widely used in safety-critical applications such as mining and chemical manufacturing, where higher line voltages cannot be used, due to the risk of sparking and consequent explosions. Carbon-based telephone systems are also resistant to damage from high-voltage transients, such as those produced by lightning strikes, and electromagnetic pulses of the type generated by nuclear explosions, and so are still maintained as backup communication systems in critical military installations.

The carbon microphone was independently developed around 1878 by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention.

Invention of the telephone

The invention of the telephone was the culmination of work done by many individuals, and led to an array of lawsuits relating to the patent claims of several individuals and numerous companies. The first telephone was invented by Antonio Meucci, but Alexander Graham Bell is credited with the development of the first practical telephone.

The concept of the telephone dates back to the string telephone or lover's telephone that has been known for centuries, comprising two diaphragms connected by a taut string or wire. Sound waves are carried as mechanical vibrations along the string or wire from one diaphragm to the other. The classic example is the tin can telephone, a children's toy made by connecting the two ends of a string to the bottoms of two metal cans, paper cups or similar items. The essential idea of this toy was that a diaphragm can collect voice sounds from the air, as in the ear, and a string or wire can transmit such collected voice sounds for reproduction at a distance. One precursor to the development of the electromagnetic telephone originated in 1833 when Carl Friedrich Gauss and Wilhelm Eduard Weber invented an electromagnetic device for the transmission of telegraphic signals at the University of Göttingen, in Lower Saxony, helping to create the fundamental basis for the technology that was later used in similar telecommunication devices. Gauss's and Weber's invention is purported to be the world's first electromagnetic telegraph.

In 1840, American Charles Grafton Page passed an electric current through a coil of wire placed between the poles of a horseshoe magnet. He observed that connecting and disconnecting the current caused a ringing sound in the magnet. He called this effect "galvanic music".

Innocenzo Manzetti considered the idea of a telephone as early as 1844, and may have made one in 1864, as an enhancement to an automaton built by him in 1849.

Charles Bourseul was a French telegraph engineer who proposed (but did not build) the first design of a "make-and-break" telephone in 1854. That is about the same time that Meucci later claimed to have created his first attempt at the telephone in Italy.

Bourseul explained: "Suppose that a man speaks near a movable disc sufficiently flexible to lose none of the vibrations of the voice; that this disc alternately makes and breaks the currents from a battery: you may have at a distance another disc which will simultaneously execute the same vibrations... It is certain that, in a more or less distant future, a speech will be transmitted by electricity. I have made experiments in this direction; they are delicate and demand time and patience, but the approximations obtained promise a favorable r

The Reis telephone was developed from 1857 on. Allegedly, the transmitter was difficult to operate, since the relative position of the needle and the contact were critical to the device's operation. Thus, it can be called a "telephone", since it did transmit voice sounds electrically over distance, but was hardly a commercially practical telephone in the modern sense.

Thomas Edison tested the Reis equipment and found that "single words, uttered as in reading, speaking and the like, were perceptible indistinctly, notwithstanding here also the inflections of the voice, the modulations of interrogation, wonder, command, etc., attained distinct expression."

In 1947, the Reis device was tested by the British company Standard Telephones and Cables (STC). The results also confirmed it could transmit and receive speech with good quality (fidelity), but relatively low intensity. At the time STC was bidding for a contract with Alexander Graham Bell's American Telephone and Telegraph Company, and the results were covered up by STC's chairman Sir Frank Gill to maintain Bell's reputation.

An early voice communicating device was invented around 1854 by Antonio Meucci, who called it a "telettrofono". In 1871 Meucci filed a caveat at the US Patent Office. His caveat describes his invention, but does not mention a diaphragm, electromagnet, conversion of sound into electrical waves, conversion of electrical waves into sound, or other essential features of an electromagnetic telephone.

The first American demonstration of Meucci's invention took place in Staten Island, New York in 1854. In 1861, a description of it was reportedly published in an Italian-language New York newspaper, although no known copy of that newspaper issue or article has survived to the present day. Meucci claimed to have invented a paired electromagnetic transmitter and receiver, where the motion of a diaphragm modulated a signal in a coil by moving an electromagnet, although this was not mentioned in his 1871 U.S. patent caveat. A further discrepancy observed was that the device described in the 1871 caveat employed only a single conduction wire, with the telephone's transmitter-receivers being insulated from a 'ground return' path.

In the 1880s Meucci was credited with the early invention of inductive loading of telephone wires to increase long-distance signals. Unfortunately, serious burns from an accident, a lack of English, and poor business abilities resulted in Meucci's failing to develop his inventions commercially in America. Meucci demonstrated some sort of instrument in 1849 in Havana, Cuba, however, this may have been a variant of a string telephone that used wire. Meucci has been further credited with the invention of an anti-sidetone circuit. However, examination showed that his solution to sidetone was to maintain two separate telephone circuits and thus use twice as many transmission wires. The anti-sidetone circuit later introduced by Bell Telephone instead canceled sidetone through a feedback process.

An American District Telegraph (ADT) laboratory reportedly lost some of Meucci's working models, his wife reportedly disposed of others and Meucci, who sometimes lived on public assistance, chose not to renew his 1871 "teletrofono" patent caveat after 1874.

A resolution was passed by the United States House of Representatives in 2002 that said Meucci did pioneering work on the development of the telephone. The resolution said that "if Meucci had been able to pay the $10 fee to maintain the caveat after 1874, no patent could have been issued to Bell."

The Meucci resolution by the US Congress was promptly followed by a Canada legislative motion by Canada's 37th Parliament, declaring Alexander Graham Bell as the inventor of the telephone. Others in Canada disagreed with the Congressional resolution, some of whom provided criticisms of both its accuracy and intent.

A retired director general of the Telecom Italia central telecommunications research institute (CSELT), Basilio Catania, and the Italian Society of Electrotechnics, "Federazione Italiana di Elettrotecnica", have devoted a Museum to Antonio Meucci, constructing a chronology of his invention of the telephone and tracing the history of the two legal trials involving Meucci and Alexander Graham Bell.

They claim that Meucci was the actual inventor of the telephone, and base their argument on reconstructed evidence. What follows, if not otherwise stated, is a résumé of their historic reconstruction.

The above information was published in the "Scientific American" Supplement No. 520 of December 19, 1876, based on reconstructions produced in 1885, for which there was no contemporary pre-1875 evidence. Meucci's 1871 caveat did not mention any of the telephone features later credited to him by his lawyer, and which were published in that Scientific American Supplement, a major reason for the loss of the 'Bell v. Globe and Meucci' patent infringement court case, which was decided against Globe and Meucci. See Antonio Meucci – Patent caveat, for the full printed text of his 1871 teletrofono patent caveat.

Cyrille Duquet invents the handset.

Elisha Gray, of Highland Park, Illinois (near Chicago) also devised a tone telegraph of this kind about the same time as La Cour. In Gray's tone telegraph, several vibrating steel reeds tuned to different frequencies interrupted the current, which at the other end of the line passed through electromagnets and vibrated matching tuned steel reeds near the electromagnet poles. Gray's 'harmonic telegraph,' with vibrating reeds, was used by the Western Union Telegraph Company. Since more than one set of vibration frequencies – that is to say, more than one musical tone – can be sent over the same wire simultaneously, the harmonic telegraph can be utilized as a'multiplex' or many-ply telegraph, conveying several messages through the same wire at the same time. Each message can either be read by an operator by the sound, or from different tones read by different operators, or a permanent record can be made by the marks drawn on a ribbon of traveling paper by a Morse recorder. On July 27, 1875, Gray was granted U.S. patent 166,096 for "Electric Telegraph for Transmitting Musical Tones" (the harmonic)

On February 14, 1876, at the US Patent Office, Gray's lawyer filed a patent caveat for a telephone on the very same day that Bell's lawyer filed Bell's patent application for a telephone. The water transmitter described in Gray's caveat was strikingly similar to the experimental telephone transmitter tested by Bell on March 10, 1876, a fact which raised questions about whether Bell (who knew of Gray) was inspired by Gray's design or vice versa. Although Bell did not use Gray's water transmitter in later telephones, evidence suggests that Bell's lawyers may have obtained an unfair advantage over Gray.

Alexander Graham Bell had pioneered a system called visible speech, developed by his father, to teach deaf children. In 1872 Bell founded a school in Boston to train teachers of the deaf. The school subsequently became part of Boston University, where Bell was appointed professor of vocal physiology in 1873. He became a naturalised U.S. citizen in 1882.
Bell had long been fascinated by the idea of transmitting speech, and by 1875 had come up with a simple receiver that could turn electricity into sound. Others were working along the same lines, including an Italian-American Antonio Meucci, and debate continues as to who should be credited with inventing the telephone. However, Bell was granted a patent for the telephone on 7 March 1876 and it developed quickly. Within a year the first telephone exchange was built in Connecticut and the Bell Telephone Company was created in 1877, with Bell the owner of a third of the shares, quickly making him a wealthy man.
In 1880, Bell was awarded the French Volta Prize for his invention and with the money, founded the Volta Laboratory in Washington, where he continued experiments in communication, in medical research, and in techniques for teaching speech to the deaf, working with Helen Keller among others. In 1885 he acquired land in Nova Scotia and established a summer home there where he continued experiments, particularly in the field of aviation.
In 1888, Bell was one of the founding members of the National Geographic Society, and served as its president from 1896 to 1904, also helping to establish its journal.
Bell died on 2 August 1922 at his home in Nova Scotia.

Alexander Graham Bell is the inventor of the first practical telephone. The classic story of him saying "Watson, come here! I want to see you!" is a well-known part of the history of the telephone. This showed that the telephone worked, but it was a short-range phone. Bell was the first to obtain a patent, in 1876, for an "apparatus for transmitting vocal or other sounds telegraphically", after experimenting with many primitive sound transmitters and receivers. Bell was also an astute and articulate businessman with influential and wealthy friends.

As Professor of Vocal Physiology at Boston University, Bell was engaged in training teachers in the art of instructing the deaf how to speak and experimented with the Leon Scott phonautograph in recording the vibrations of speech. This apparatus consists essentially of a thin membrane vibrated by the voice and carrying a light-weight stylus, which traces an undulatory line on a plate of smoked glass. The line is a graphic representation of the vibrations of the membrane and the waves of sound in the air.

This background prepared Bell for work with spoken sound waves and electricity. He began his experiments in 1873-1874 with a harmonic telegraph, following the examples of Bourseul, Reis, and Gray. Bell's designs employed various on-off-on-off make-break current-interrupters driven by vibrating steel reeds which sent interrupted current to a distant receiver electro-magnet that caused a second steel reed or tuning fork to vibrate.

During a June 2, 1875, experiment by Bell and his assistant Thomas Watson, a receiver reed failed to respond to the intermittent current supplied by an electric battery. Bell told Watson, who was at the other end of the line, to pluck the reed, thinking it had stuck to the pole of the magnet. Watson complied, and to his astonishment Bell heard a reed at his end of the line vibrate and emit the same timbre of a plucked reed, although there were no interrupted on-off-on-off currents from a transmitter to make it vibrate. A few more experiments soon showed that his receiver reed had been set in vibration by the magneto-electric currents induced in the line by the motion of the distant receiver reed in the neighborhood of its magnet. The battery current was not causing the vibration but was needed only to supply the magnetic field in which the reeds vibrated. Moreover, when Bell heard the rich overtones of the plucked reed, it occurred to him that since the circuit was never broken, all the complex vibrations of speech might be converted into undulating (modulated) currents, which in turn would reproduce the complex timbre, amplitude, and frequencies of speech at a distance.

After Bell and Watson discovered on June 2, 1875, that movements of the reed alone in a magnetic field could reproduce the frequencies and timbre of spoken sound waves, Bell reasoned by analogy with the mechanical phonautograph that a skin diaphragm would reproduce sounds like the human ear when connected to a steel or iron reed or hinged armature. On July 1, 1875, he instructed Watson to build a receiver consisting of a stretched diaphragm or drum of goldbeater's skin with an armature of magnetized iron attached to its middle, and free to vibrate in front of the pole of an electromagnet in circuit with the line. A second membrane-device was built for use as a transmitter. This was the "gallows" phone. A few days later they were tried together, one at each end of the line, which ran from a room in the inventor's house, located at 5 Exeter Place in Boston, to the cellar underneath. Bell, in the work room, held one instrument in his hands, while Watson in the cellar listened at the other. Bell spoke into his instrument, "Do you understand what I say?" and Watson answered "Yes". However, the voice sounds were not distinct and the armature tended to stick to the electromagnet pole and tear the membrane.

Because of illness and other commitments, Bell made little or no telephone improvements or experiments for eight months until after his U.S. patent 174,465 was published.

The first successful bi-directional transmission of clear speech by Bell and Watson was made on March 10, 1876, when Bell spoke into the device, "Mr. Watson, come here, I want to see you." and Watson answered. Bell tested Gray's liquid transmitter design in this experiment, but only after Bell's patent was granted and only as a proof of concept scientific experiment to prove to his own satisfaction that intelligible "articulate speech" (Bell's words) could be electrically transmitted. Because a liquid transmitter was not practical for commercial products, Bell focused on improving the electromagnetic telephone after March 1876 and never used Gray's liquid transmitter in public demonstrations or commercial use.

Bell's telephone transmitter (microphone) consisted of a double electromagnet, in front of which a membrane, stretched on a ring, carried an oblong piece of soft iron cemented to its middle. A funnel-shaped mouthpiece directed the voice sounds upon the membrane, and as it vibrated, the soft iron "armature" induced corresponding currents in the coils of the electromagnet. These currents, after traversing the wire, passed through the receiver which consisted of an electromagnet in a tubular metal can having one end partially closed by a thin circular disc of soft iron. When the undulatory current passed through the coil of this electromagnet, the disc vibrated, thereby creating sound waves in the air.

This primitive telephone was rapidly improved. The double electromagnet was replaced by a single permanently magnetized bar magnet having a small coil or bobbin of fine wire surrounding one pole, in front of which a thin disc of iron was fixed in a circular mouthpiece. The disc served as a combined diaphragm and armature. On speaking into the mouthpiece, the iron diaphragm vibrated with the voice in the magnetic field of the bar-magnet pole, and thereby caused undulatory currents in the coil. These currents, after traveling through the wire to the distant receiver, were received in an identical apparatus. This design was patented by Bell on January 30, 1877. The sounds were weak and could only be heard when the ear was close to the earphone/mouthpiece, but they were distinct.

The first long distance telephone call was made on August 10, 1876, by Bell from the family homestead in Brantford, Ontario, to his assistant located in Paris, Ontario, some 10 miles (16 km) apart.

Bell exhibited a working telephone at the Centennial Exhibition in Philadelphia in June 1876, where it attracted the attention of Brazilian emperor Pedro II plus the physicist and engineer Sir William Thomson (who would later be ennobled as the 1st Baron Kelvin). In August 1876 at a meeting of the British Association for the Advancement of Science, Thomson revealed the telephone to the European public. In describing his visit to the Philadelphia Exhibition, Thomson said, "I heard [through the telephone] passages taken at random from the New York newspapers: 'S.S. Cox Has Arrived' (I failed to make out the S.S. Cox); 'The City of New York', 'Senator Morton', 'The Senate Has Resolved To Print A Thousand Extra Copies', 'The Americans In London Have Resolved To Celebrate The Coming Fourth Of July!' All this my own ears heard spoken to me with unmistakable distinctness by the then circular disc armature of just such another little electro-magnet as this I hold in my hand."

Only a few months after receiving U.S. Patent No. 174465 at the beginning of March 1876, Bell conducted three important tests of his new invention and the telephone technology after returning to his parents' home at Melville House (now the Bell Homestead National Historic Site) for the summer.

In the first test call on August 3, 1876, Alexander Graham's uncle, Professor David Charles Bell, spoke to him from the Brantford telegraph office, reciting lines from Shakespeare's "Hamlet" (""To be or not to be...""). The young inventor, positioned at the A. Wallis Ellis store in the neighboring community of Mount Pleasant, received and may possibly have transferred his uncle's voice onto a phonautogram, a drawing made on a pen-like recording device that could produce the shapes of sound waves as waveforms onto smoked glass or other media by tracing their vibrations.

The next day on August 4 another call was made between Brantford's telegraph office and Melville House, where a large dinner party exchanged "...speech, recitations, songs and instrumental music". To bring telephone signals to Melville House, Alexander Graham audaciously "bought up" and "cleaned up" the complete supply of stovepipe wire in Brantford. With the help of two of his parents' neighbours, he tacked the stovepipe wire some 400 metres (a quarter mile) along the top of fence posts from his parents' home to a junction point on the telegraph line to the neighbouring community of Mount Pleasant, which joined it to the Dominion Telegraph office in Brantford, Ontario.

The third and most important test was the world's first true long-distance telephone call, placed between Brantford and Paris, Ontario on August 10, 1876. For that long-distance call Alexander Graham Bell set up a telephone using telegraph lines at Robert White's Boot and Shoe Store at 90 Grand River Street North in Paris via its Dominion Telegraph Co. office on Colborne Street. The normal telegraph line between Paris and Brantford was not quite 13 km (8 miles) long, but the connection was extended a further 93 km (58 miles) to Toronto to allow the use of a battery in its telegraph office.

"Scientific American" described the three test calls in their September 9, 1876, article, "The Human Voice Transmitted by Telegraph". Historian Thomas Costain referred to the calls as "the three great tests of the telephone". One Bell Homestead reviewer wrote of them, "No one involved in these early calls could possibly have understood the future impact of these communication firsts".

A later telephone design was publicly exhibited on May 4, 1877, at a lecture given by Professor Bell in the Boston Music Hall. According to a report quoted by John Munro in "Heroes of the Telegraph":
Going to the small telephone box with its slender wire attachments, Mr. Bell coolly asked, as though addressing someone in an adjoining room, "Mr. Watson, are you ready!" Mr. Watson, five miles away in Somerville, promptly answered in the affirmative, and soon was heard a voice singing "America". [...] Going to another instrument, connected by wire with Providence, forty-three miles distant, Mr. Bell listened a moment, and said, "Signor Brignolli, who is assisting at a concert in Providence Music Hall, will now sing for us." In a moment the cadence of the tenor's voice rose and fell, the sound being faint, sometimes lost, and then again audible. Later, a cornet solo played in Somerville was very distinctly heard. Still later, a three-part song came over the wire from Somerville, and Mr. Bell told his audience "I will switch off the song from one part of the room to another so that all can hear." At a subsequent lecture in Salem, Massachusetts, communication was established with Boston, eighteen miles distant, and Mr. Watson at the latter place sang "Auld Lang Syne", the National Anthem, and "Hail Columbia", while the audience at Salem joined in the chorus."

Bell did for the telephone what Henry Ford did for the automobile. Although not the first to experiment with telephonic devices, Bell and the companies founded in his name were the first to develop commercially practical telephones around which a successful business could be built and grow. Bell adopted carbon transmitters similar to Edison's transmitters and adapted telephone exchanges and switching plug boards developed for telegraphy. Watson and other Bell engineers invented numerous other improvements to telephony. Bell succeeded where others failed to assemble a commercially viable telephone system. It can be argued that Bell invented the telephone industry. Bell's first intelligible voice transmission over an electric wire was named an IEEE Milestone.

Elisha Gray recognized the lack of fidelity of the make-break transmitter of Reis and Bourseul and reasoned by analogy with the lover's telegraph, that if the current could be made to more closely model the movements of the diaphragm, rather than simply opening and closing the circuit, greater fidelity might be achieved. Gray filed a patent caveat with the US patent office on February 14, 1876, for a liquid microphone. The device used a metal needle or rod that was placed – just barely – into a liquid conductor, such as a water/acid mixture. In response to the diaphragm's vibrations, the needle dipped more or less into the liquid, varying the electrical resistance and thus the current passing through the device and on to the receiver. Gray did not convert his caveat into a patent application until after the caveat had expired and hence left the field open to Bell.

When Gray applied for a patent for the variable resistance telephone transmitter, the Patent Office determined "while Gray was undoubtedly the first to conceive of and disclose the (variable resistance) invention, as in his caveat of 14 February 1876, his failure to take any action amounting to completion until others had demonstrated the utility of the invention deprives him of the right to have it considered."

The carbon microphone was independently developed around 1878 by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, and most historians credit him with its invention.

Thomas Alva Edison took the next step in improving the telephone with his invention in 1878 of the carbon grain "transmitter" (microphone) that provided a strong voice signal on the transmitting circuit that made long-distance calls practical. Edison discovered that carbon grains, squeezed between two metal plates, had a variable electrical resistance that was related to the pressure. Thus, the grains could vary their resistance as the plates moved in response to sound waves, and reproduce sound with good fidelity, without the weak signals associated with electromagnetic transmitters.

The carbon microphone was further improved by Emile Berliner, Francis Blake, David E. Hughes, Henry Hunnings, and Anthony White. The carbon microphone remained standard in telephony until the 1980s, and is still being produced.

Additional inventions such as the call bell, central telephone exchange, common battery, ring tone, amplification, trunk lines, and wireless phones – at first cordless and then fully mobile – made the telephone the useful and widespread apparatus it is now.

The telephone exchange was an idea of the Hungarian engineer Tivadar Puskás (1844–1893) in 1876, while he was working for Thomas Edison on a telegraph exchange. Puskás was working on his idea for an electrical telegraph exchange when Alexander Graham Bell received the first patent for the telephone. This caused Puskás to take a fresh look at his own work and he refocused on perfecting a design for a telephone exchange. He then got in touch with the U.S. inventor Thomas Edison who liked the design. According to Edison, "Tivadar Puskas was the first person to suggest the idea of a telephone exchange".

Bell has been widely recognized as the "inventor" of the telephone outside of Italy, where Meucci was championed as its inventor. In the United States, there are numerous reflections of Bell as a North American icon for inventing the telephone, and the matter was for a long time non-controversial. In June 2002, however, the United States House of Representatives passed a symbolic bill recognizing the contributions of Antonio Meucci ""in the invention of the telephone"" (not ""for the invention of the telephone""), throwing the matter into some controversy. Ten days later the Canadian parliament countered with a symbolic motion conferring official recognition for the invention of the telephone to Bell.

Champions of Meucci, Manzetti, and Gray have each offered fairly precise tales of a contrivance whereby Bell actively stole the invention of the telephone from their specific inventor. In the 2002 congressional resolution, it was inaccurately noted that Bell worked in a laboratory in which Meucci's materials had been stored, and claimed that Bell must thus have had access to those materials. Manzetti claimed that Bell visited him and examined his device in 1865. And it is alleged that Bell bribed a patent examiner, Zenas Wilber, not only into processing his application before Gray's, but allowing a look at his rival's designs before final submission.

One of the valuable claims in Bell's 1876 was claim 4, a method of producing variable electric current in a circuit by varying the resistance in the circuit. That feature was not shown in any of Bell's patent drawings, but was shown in Elisha Gray's drawings in his caveat filed the same day, February 14, 1876. A description of the variable resistance feature, consisting of seven sentences, was inserted into Bell's application. That it was inserted is not disputed. But when it was inserted is a controversial issue. Bell testified that he wrote the sentences containing the variable resistance feature before January 18, 1876, "almost at the last moment" before sending his draft application to his lawyers. A book by Evenson argues that the seven sentences and claim 4 were inserted, without Bell's knowledge, just before Bell's application was hand carried to the Patent Office by one of Bell's lawyers on February 14, 1876.

Contrary to the popular story, Gray's caveat was taken to the US Patent Office a few hours before Bell's application. Gray's caveat was taken to the Patent Office in the morning of February 14, 1876, shortly after the Patent Office opened and remained near the bottom of the in-basket until that afternoon. Bell's application was filed shortly before noon on February 14 by Bell's lawyer who requested that the filing fee be entered immediately onto the cash receipts blotter and Bell's application was taken to the Examiner immediately. Late in the afternoon, Gray's caveat was entered on the cash blotter and was not taken to the Examiner until the following day. The fact that Bell's filing fee was recorded earlier than Gray's led to the myth that Bell had arrived at the Patent Office earlier. Bell was in Boston on February 14 and did not know this happened until later. Gray later abandoned his caveat and did not contest Bell's priority. That opened the door to Bell being granted US patent 174465 for the telephone on March 7, 1876.

In 1906 the citizens of the City of Brantford, Ontario, Canada and its surrounding area formed the Bell Memorial Association to commemorate the invention of the telephone by Alexander Graham Bell in July 1874 at his parent's home, Melville House, near Brantford. Walter Allward's design was the unanimous choice from among 10 submitted models, winning the competition. The memorial was originally to be completed by 1912 but Allward did not finish it until five years later. The Governor General of Canada, Victor Cavendish, 9th Duke of Devonshire, ceremoniously unveiled the memorial on October 24, 1917.

Allward designed the monument to symbolize the telephone's ability to overcome distances. A series of steps lead to the main section where the floating allegorical figure of "Inspiration" appears over a reclining male figure representing "Man, discovering his power to transmit sound through space", and also pointing to three floating figures, the messengers of "Knowledge", "Joy", and "Sorrow" positioned at the other end of the tableau. Additionally, there are two female figures mounted on granite pedestals representing "Humanity" positioned to the left and right of the memorial, one sending and the other receiving a message.

The Bell Telephone Memorial's grandeur has been described as the finest example of Allward's early work, propelling the sculptor to fame. The memorial itself has been used as a central fixture for many civic events and remains an important part of Brantford's history, helping the city style itself as" 'The Telephone City'."