Despite significant lobbying efforts on the part of wireless microphone manufacturers and others to establish secure RF spectrum in which to operate, the FCC has issued a new order declining the industry’s request to preserve a vacant channel in the television bands for use by white space devices and wireless microphones.
The world’s first immersive audio format is getting a new generation of consumers hooked via gaming, VR and ASMR, while both production and consumer technology is making it easier to record and easier to access.
The U.S. Postal Service’s unofficial motto applies just as much to ENG crews as to mail carriers: “Neither snow nor rain nor heat nor gloom of night” will keep these dedicated professionals from their appointed tasks.
Here we look from the state of the art in microphones, to what the future may bring with the enticing theoretical potential of microphone arrays built using MEMS technology.
“If you can’t stand the heat, get out of the kitchen,” U.S. president Harry S. Truman famously said. But when there’s a cooking show to produce, audio engineers have no alternative but to improvise.
If you are going to try and convey the bone-rattling power of nitro-fueled cars drag racing down a quarter-mile track to viewers at home, what better way than to mix it in Dolby Atmos?
M-S techniques provide useful sound-field positioning and a convenient way to check mono compatibility. We explain the hard science behind this often misunderstood technique.
John Hunter holds a unique distinction among broadcast audio mixers: he was the A1 for the NBA Raptors vs. Pelicans basketball game in November 2018, one of the very first sports events to be produced in immersive Dolby Atmos sound with 4K HDR picture for live distribution to homes across North America.