The variable directivity microphone is very popular for studio work. What goes on inside is very clever and not widely appreciated.
Digital filters are ubiquitous. That has happened because they have significant advantages over the technology they widely replaced.
Most microphones need a diaphragm in order to follow some aspect of the air motion that carries the sound.
We live in fascinating times: increasingly, we live in the era of cloud-based broadcast operations.
Previously a basic record/play system using a hard drive was considered. This relied on a table linking time codes in the recording with physical addresses so that the drive would access audio data blocks in the right sequence slightly ahead of when they were needed. In that way a time base corrector could present the samples in an unbroken sequence at the correct sampling rate to a DAC. The mechanical timescale of a legacy medium such as tape or film has been replaced by a logical timescale.
To get the best out of a microphone it is important to understand how it differs from the human ear.
The random-access characteristic of the disk drive made it attractive for audio editing purposes and when drive prices fell as computers became popular the attraction was even stronger.
In the beginning, there was television. And whenever people tried to make television programmes effective video signal monitoring was an essential pre-requisite.