Danish microphone developer DPA used the first day of IBC 2018 to announce a significant move into sub-miniature technology. Having established itself as a maker of discreet miniature head-worn and lapel/clip microphones for the broadcast, theatre, live sound and presentation markets, the company has now produced what it describes as a true 3mm model.
Getting their European debut, Sennheiser and Neumann will showcase a range of media tools for tasks ranging from content creation to high-end production at IBC.
Stereo recording can be implemented in many ways. However, for broadcasters, the safest method for stereo broadcasting is Mid-Side, or M/S, a simple recording system that automatically protects the mono signal should something go wrong. Here are the basics of M/S recording.
Ribbons were the first great microphones, mainly due to their very musical, natural sound qualities. Invented in the 1920s, their run of popularity lasted until the 1960s when ribbons fell out of favor. That was not because of the microphone itself, but due to changes in the way voices and music were recorded. Now ribbons are back in favor. How did that happen?
Because we experience the world in three-dimensional sound, why shouldn’t we always choose a stereo over a mono microphone for a video camera? The question sounds like a no brainer, but stereo audio is not always the right choice in video production.
Because Apple’s iPhone is used by many journalists for broadcast news gathering, equipment manufacturers have been rushing to fill the gaps with ultralight accessory gear including audio, lenses and feather-weight tripods. While the quality of gear being offered varies widely, CEntrance has hit a home run with one of the best micro-sized mobile recording interfaces available for journalists.
