Recording multi-track immersive audio is no longer difficult. Yet, many broadcasters and video producers prefer to stick with plain old mono sound. They are missing the opportunity to add major impact to their productions.
In 1969, Sony shook up the microphone world with the debut of the tiny ECM-50, the smallest broadcast condenser microphone recording engineers had ever seen. Since then, thousands of super-compact lavalier mics have been released, complicating the choice of the right microphone for a specific application.
Broadcasters and videographers use various strategies and elements of craft to effectively communicate our stories to viewers. First and foremost, the storytelling imperative requires a clear communication of genre.
In the not so distant past, the microphone stand was simply a support device to keep a microphone secure. When its quality was high, the stand just did its job and was forgotten. Today, microphone stands have evolved to include accessories that can actually improve audio performance.
In this episode of Bruce’s Shorts, Bruce Devlin raises the question “What does the word resolution actually mean and why do people get confused?”.
New users of wireless microphones will quickly find they are far more convenient than wired systems. But users also learn there are far more things that can go wrong with wireless systems. Here are some basic rules to stay out of trouble.
A microphone splitter is an item in the sound engineer’s kit that is appreciated only when it is needed. But when a microphone must be simultaneously fed to a second mixer, a professional-quality splitter is worth its weight in gold.
On occasion, broadcasters must do remote projects that require both over-the-air and live amplified sound simultaneously. In these cases, doing a good job with both is as much an art as science. Here are some guidelines to consider when faced with such a project.