When recording live audio with a dynamic microphone, a good recordist may want to know what is the maximum sound pressure level that mic can handle without distorting. As with many such seemingly basic questions in audio, the answer is not so simple.
Gavin Kelly, a well-known “ghost hunter,” seeks to prove the existence of the paranormal by recoding strange sounds with his TASCAM DR-series field recorder for Amazon Prime’s new television series “Paranormal Journey: Into the Unknown.” Kelly, who serves as the host and lead investigator for the series and partner
Self-noise in a microphone is important if the recordist is seeking to come as close as possible to making a clean, noise-free recording. But how does one read self-noise specs and what numbers are good and bad when making a decision on which microphone to use?
Last year, Rode purchased the SoundField Microphone system, a high-end Ambisonic surround sound microphone used extensively by sports broadcasters. Now, the company is expanding SoundField technology to the lower end of the market with the new VideoMic SoundField on-camera microphones.
When using different microphones, some models require less gain than others. In layman’s terms, that means some mics are “hot” or especially “loud” while others are not. In technical terms, this is “sensitivity.” But what does it mean and why does it matter to the sound recordist?
On Febuary 12, when Alan Blumlein receives the Grammy’s Technical Award, few in the audience will grasp the profound implications of his life and work. But Blumlein, a visionary engineer whose greatest work happened in the 1930s, changed and still affects modern stereo recording to this day.
Audio is often a step-child when it comes to both video production and live broadcasts. Even so, there are new solutions that improve both the audio quality and ease of installation. First solution is to install an IP for audio system to maximize both quality and flexibility. Second, consider the
When purchasing a new studio condenser microphone, buyers are immediately faced with the choice of small and large diaphragm types. What are the sonic differences, and which type is best for a certain application?
For most people working in pro audio, phantom power is fed through a mic cable from a mixer to bring electricity to condenser microphones. That’s what they know — period. However, working pros in the audio field know there is much, much more to this “phantom” power flow. It pays
Sennheiser has introduced a new stereo microphone for DSLR video cameras that breaks the mold of previous models, allowing stereo sound to be recorded that precisely follows the field of view of the camera’s lens.
Though they often take tremendous abuse in daily use, microphones are the most delicate and important part of the pro audio chain. To keep microphones working properly, there are a few things the audio engineer can do.