MIC UNIVERSITY

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.

 

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.

When we talk about a microphone's sensitivity, it normally refers to microphone's sensitivity to sound; and that's the most important one! This is a specification that is important when we select a microphone for a job as it defines the working conditions for microphone and the preamp.

This article focuses on microphone sensitivity to sound but mentions the influence from other phenomena like vibration, magnetic fields, etc.

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.

Close-miking is the term we use when we place a microphone close to the sound source, for instance, a musical instrument. However, there is more to it than that.

What are the common misunderstandings regarding dynamic versus condenser mics and why condenser microphones are useful in many situations where dynamic microphones, per tradition, have been preferred?