Once the basic requirements for reproducing sound were in place, the most significant next step was to reproduce to some extent the spatial attributes of sound. Stereophony, using two channels, was the first successful system.
Doug Deems had 25 years of experience under his belt as a monitor engineer, touring the world with some of the biggest music artists in the U.S., when he became a live broadcast sports A1. “I’m surprised there aren’t more monitor engineers, specifically, that come over to broadcast sports,” he says. “Because there is a lot in common.”
Having looked at how microphones are supposed to work, here we see that what happens in practice isn’t quite the same because the ideal and the actual are somewhat different.
Dialogue is king in television. Let’s face it, you don’t watch an episode of your favorite police procedural or reality show just to listen to the sound design or the incidental music. But whether the content is scripted or unscripted, delivering intelligible dialogue can be a real challenge for the show’s mixer.
When televised sports events began to return after the initial coronavirus lockdown in 2020, U.S. broadcasters faced a dilemma. With no spectators in attendance, what do you do about the lack of crowd noise? This is the fascinating story of how a team of award-winning creative audio engineers set about manually re-creating the right atmosphere.
The variable directivity microphone is very popular for studio work. What goes on inside is very clever and not widely appreciated.
Most microphones need a diaphragm in order to follow some aspect of the air motion that carries the sound.
To get the best out of a microphone it is important to understand how it differs from the human ear.