Try our new AI powered Smart-Search!
In this era of mobile podcasting, reporters often have to record interviews anywhere — in noisy coffee shops, on trains or on campaign buses. Getting clean audio for two or more people quickly on the go can be a challenge if the interviewer is not prepared for it.
Active noise reducing headphones are avoided by professional sound engineers, while passive designs are used. Why is this?
Immersive audio may be driven by virtual reality, but its arrival opens far more possibilities, including a re-birth of the “theatre of the imagination.”
Basic audio processing for narration is so mature that it now free or costs very little. Though it’s easily accessible to anyone, how many recording audio know how to use it?
It’s another election year and hundreds of candidate speeches will be recorded by news reporters and campaign operatives on the stump. Some will be recorded on video on smartphones and others on audio recorders. Virtually all reporters are dependent today on the internet to connect with homebase. But what happens when the net fails?
Automatic microphone mixing, long a staple of commercial sound installations, has moved to professional dialogue recording for film and television production. This is the story of that journey over the past half century.
The microphone preamplifiers in most low-cost audio mixers and recorders are now optimized for high-output condenser microphones. However, dynamic and ribbon microphones produce output levels that are too low for normal use by these devices. There is now a simple solution to this problem.
Ribbon microphones are as old as recording itself. Now a new generation of ribbons has erased old problems and limitations and excels in modern digital recording.