VR post-production software company, Assimilate, has joined Sennheiser’s Ambeo for VR partnership program.
In this series of articles, we will explain broadcasting for IT engineers. Television is an illusion, there are no moving pictures and todays broadcast formats are heavily dependent on decisions engineers made in the 1930’s and 1940’s, and in this article, we investigate microphones and how they are used in television.
Much is written about expensive microphones that either emulate classic models or do one specific task very well. For most small studios, however, it is more important to choose cost-effective microphones that can handle most situations. Here are some suggested choices.
Countryman Associates has introduced the H7 Headset Microphone, featuring wide dynamic range and a precision cardioid pattern that effectively shuts out surrounding noise.
In its 62-year history the Eurovision Song Contest (ESC) has gone through several major technological broadcast developments: colour TV, stereo and then 5.1 sound, with, most recently, the EBU (European Broadcasting Union) implementing its Flex IP-hybrid self-managed digital transmission system to distribute the event in 2016. The innovation for this year’s ESC was the first ever live production trial of MPEG-H immersive and interactive audio, which is designed to not only give viewers a more enveloping experience but also the ability to select languages, commentaries and speech-to-music/effects levels according to personal preference.
Microphones — depending on the owner — either are treated gently or with abuse. This treatment often extends to how the microphone is used. There is a big difference between shouting mindlessly into a dynamic mic in a small club and recording pristine audio in a studio. Here are some tips on how to use microphones to their fullest potential.
