It need only be emitted from one loudspeaker or earpiece, but you can have as many as you like and the signal is still mono. A mono sound signal contains no directional information, one microphone picking up whatever sound there is wherever it comes from.Stereo recordings create an illusion of space when played back correctly, each aural field coming from the correct direction. The left aural field is captured by a microphone pointing in that direction, and the right field by a second microphone pointing to the right (you will also find stereo microphones that have the two directional microphones built into one piece). Consequently, the two fields need to be kept separate throughout the whole process from recording to storage to playback. A stereo sound signal contains synchronized directional information for the left and right aural fields.
Never connect these outputs to a line or microphone input, there’s no telling how far the damage will spread. Loudspeaker outputs (from power amplifiers, tape recorders, radios etc) are very powerful, rated from a few Watts to hundreds of Watts (depending on the design), providing the energy needed to drive loudspeakers.In any case the output for earphones has usually been modified by bass and treble filters and is no longer true to the original sound, so it’s not a suitable quick solution, however tempting it might look. Earphone outputs are rated in milliwatts, and are definitely too powerful for microphone inputs, and generally for line inputs too.If in doubt, check your equipment manuals. This usually includes the output from a separate microphone amplifier (don’t connect it to a microphone input). and between hi-fi units, and anything labelled line or aux (auxilliary), are matched to a computer line input. Outputs of hi-fi preamplifiers, recorders, radios etc.Some microphones need power, either batteries, or phantom power supplied through the cable from equipment that can deliver it.
#Praat port audio cannot play sound output professional
Professional equipment will usually have a switch to set the correct sensitivity, or to insert a damping component ( a pad) to weaken the signal by perhaps 20dB. Computer microphone inputs rarely distinguish them. Microphones are built for one of two sensitivities, usually denoted 200 or 600 Ohms, or simply hi or lo.
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