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Recording the human speaking voice can be one of the trickiest tasks a professional sound recordist encounters. Even when working with seasoned professional voice artists, problems can creep in. Here are a few of them and how to solve the problem.
One of the stark differences between pro audio and video is the pursuit of vintage technology. As video technology continually improves, most working professionals go after the latest gear as soon as it hits the market. For audio, on the other hand, the pinnacle for many professionals are vintage components from decades ago. Why the huge difference?
Acoustic impedance is analogous to electrical impedance, and we all know that impedance matching is important in electronic systems. Here John Watkinson looks at the importance of acoustic impedance to loudspeaker design.
Nearly 50 years ago — 1969 to be exact — Sony introduced the ECM-50, a tiny peanut-sized electret condenser lavalier microphone that virtually ended the reign of large, cumbersome microphones used in television broadcasting. Since then, the scope, quality and price of lavalier microphones has dramatically expanded. Here’s a look at what’s available now.
From the earliest days of professional sound, a single microphone was used in broadcast studios and on stage to capture everything — from actors doing drama to music performers. Then, when the close-miking multitrack era arrived, the trend disappeared. Now single-mic sound is back and growing in popularity.
Having spent much time and energy exploring AES67 (see our recent 3-part series, “Your practical guide to AES67, Parts 1-3”), we’d now like to turn our attention to AES70 – what is it, how does it relate to AES67 and why do we need it?
Away from traditional broadcasting a revolution is happening. Live internet streaming is taking the world by storm with unprecedented viewing figures and improved accessibility for brands looking to reach better targeted audiences. The Live Explosion, hosted by the DPP in London and enabled by Dropbox, presented three live streaming experts to share their experience of this new phenomenon.
In this interview, we meet Sean Prickett – a “young gun” audio mixer that’s making a name for himself on some of TV’s most high-profile live and audition shows. Most recently, Sean was A1 for the live-broadcast finals of the CBS reality-TV dance competition “So You Think You Can Dance” (SYTYCD), which just wrapped its 14th season. Other impressive A1 credits include the 2017 U.S. Presidential Inaugural Balls, SYFY Channel’s “Live from Comic-Con,” and MTV’s “Wonderland” and “VMA Weekend,” and he’s already out working on the new season of “American Idol.”