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Doug Deems had 25 years of experience under his belt as a monitor engineer, touring the world with some of the biggest music artists in the U.S., when he became a live broadcast sports A1. “I’m surprised there aren’t more monitor engineers, specifically, that come over to broadcast sports,” he says. “Because there is a lot in common.”
Having looked at how microphones are supposed to work, here we see that what happens in practice isn’t quite the same because the ideal and the actual are somewhat different.
Dialogue is king in television. Let’s face it, you don’t watch an episode of your favorite police procedural or reality show just to listen to the sound design or the incidental music. But whether the content is scripted or unscripted, delivering intelligible dialogue can be a real challenge for the show’s mixer.
DPA Microphones and KLANG:technologies have teamed up to create a system that will enable live event teams to immerse singers and musicians in their on-stage performances.
When televised sports events began to return after the initial coronavirus lockdown in 2020, U.S. broadcasters faced a dilemma. With no spectators in attendance, what do you do about the lack of crowd noise? This is the fascinating story of how a team of award-winning creative audio engineers set about manually re-creating the right atmosphere.
The variable directivity microphone is very popular for studio work. What goes on inside is very clever and not widely appreciated.
DPA Microphones’ 6060 CORE subminiature lavalier microphone and MMA-A digital audio interface capture studio quality sound for beloved on-air weather personality Bill Henley.
Most microphones need a diaphragm in order to follow some aspect of the air motion that carries the sound.