MIC UNIVERSITY

Audio formats have developed over time. Starting with narrow bandwidth mono, moving on to various versions of two-channel stereo and finally to full-band, multi-channel immersive audio. The sound is reproduced in many ways, ranging from personal headphones to multi-channel systems in cinemas or other big venues.

Immersive audio can be described as a group of recording- and reproduction formats that involve more than a basic two-channel stereo.

Stereophonic sound is, in its basic form, recorded in two channels. What defines the stereophonic recording is the fact that the sound pickup in each of the two channels differs from each other. However, merged together, the audio in the two channels creates an image that provides an additional dimension to the perceived sound, as compared to monophonic sound. Stereophonic recording techniques are based on the knowledge of how directional information is perceived by the human hearing system. When reproduced by loudspeakers in a two-channel system, the first arriving and/or the strongest sound provide this directional information to the listener.

The rest of this article explains how to create a variety of stereo set ups, depending on your preferred microphone types or your preferred stereophonic image.

Comb filtering is a well-known problem in audio engineering. When you hear it, you immediately want to get rid of it. As a trained sound engineer, even the slightest hint of comb filtering causes your neck hairs raise.
 

A handheld microphone is a microphone like all others. However, how you hold the microphone affects the sound. Some use this to their advantage; others don't realize this is the case. This article explains how your sound may change depending on how you hold the microphone.
 

Handheld vocal microphones have a certain look for both historical reasons as well as for the fact that they need to meet certain audio needs. The most obvious being a steady handgrip and a controlled wind- and pop-suppression.

Amplifying choirs in connection with live events can be a major challenge. The task is to deliver clear, full, homogeneous and enveloping sound. In practice, it is mostly a question of gain before feedback – how loud can it get without any audible traces of howling sounds due to acoustic feedback?

What do professionals working within the theater and/or live performance think about miniature microphones?
A Q&A session with Jim van Bergen, Sound Designer, Production Sound Engineer, Mixer

 

There are many truths (and some myths) about working on a sound crew in the film industry. It is a challenging environment, so I have gathered some of my thoughts, tips and tricks that I have learned throughout my years in the business.

 

CORE by DPA is a powerful new technology at the heart of DPA miniature mics. CORE minimizes distortion and expanded dynamic range significantly. From a whisper to a scream, you will experience increased clarity and openness. Learn more about why CORE is important and how why it sounds better.
 

All microphones make noise. Or, more accurately: a current of electrons makes noise and the presence of air molecules around the microphone diaphragm makes noise. This article digs into the topic of so-called self-noise in microphones.

We do not want any unintended distortion in our recording chain. Unfortunately, there is usually some form of distortion present although it is below the threshold of audibility. When setting up the recording chain, the individual links of the audio chain may each contribute to the summed distortion, which eventually may become audible.