GERM-Y MICS...again

Get that thing away from your mouth--you don't know where it's been!

http://www.radio-info.com/programming/country/tales-of-germy-mics-electrocution-listener-food-and-those-critters-that-liv?utm_source=Subscribers&utm_campaign=aaff441da8-TRI_06-15-2012&utm_medium=email

After all these years of exposure to germs of all description, shouldn't we be resistant to all?
And if so, why won't we be the surviving species--like cockroaches?

Mics for Broadcast?

Quite a few new mics have come on the scene in the last several years that resemble or ask us to compare to the standard broadcast mics we have used for years. Usually these are end-address large diameter dynamics. Included are new mics from Rode, Blue, Charter, Heil and now--the new ones from MXL. Even the the long standard bearer--Electro-voice has new choices to the RE20.


Mics for broadcast have to meet many various demands. Have some of the demands, or styles, changed? You bet.


The picture above is me on-air in 1969. Yes, that is a Neumann U87. The company had just replaced all on-air mics with this new mic that was supposed to make every announcer sound like.... well, you know...ballsy or something.


The problem for me was the fact that I was a Rock & Roll screamer--Wild Willie Edwards. I knew how to work the dynamics and adjust levels to where my voice was easily part of the music and other programing. But the new U87s were condensers. It could pick up a fly-fart on the other side of the room. I had to change the way I worked the mic drastically.


Also, radio was changing around that time. FM was coming on strong. The "Hey-man" style of progressive FM allowed for a natural presentation perfect for the right condenser mics.


I have been lucky enough to work with a lot of various mics. In broadcast, I have even been blessed to hear myself on RCA Dx77s and 44s (ribbons). The mic we used on-air and in production before the U87s were Sennheiser MD421s. I   became a voice-over star on the Shure SM7. (And the model before that looked like a football.)


But enough history...back to the new mics. There are a few condensers mixed in with these new end-address mics. Does that mean they are not really for broadcast? Well, not necessarily. It's back to the "right tool for the right job in the hands of a skilled craftsman."


I really look forward to sharing some new test of these new broadcast type mics. I will even let on to some existing studio mics that I feel are fantastic "On-air" mics. You may be surprised.

New "Broadcast/Voiceover" Mic from MXL?

Very interesting. I understood MXL had been looking at this type of mic for a while.

Has anyone tried or heard this new mic?

MXL End address studio mic--BCC-1

Again...Very interesting. I really would like to hear and compare.

Compare at Rode Mic "Soundbooth

Check it out:

http://www.rodemic.com/soundbooth

Long load times.

Let us know what you discover.

Mic Makers Offer Fall Discounts

From Broadcast Engineering

With the turn of the season to autumn, the major microphone manufacturers have announced rebate incentives for select wireless and/or microphone products. These rebate programs from Shure, Sennheiser and Audio-Technica all apply to purchases made on or after Oct. 1 and run through the end of 2011.

Audio-Technica is offering rebates on its professional wireless systems, including the 4000 Series, 3000 Series and 2000 Series. 

Shure’s rebates apply to the classic SM58 and SM57 dynamic microphones, along with cash back on the purchase of its PGX wireless system and a rebate on its new PGX Digital wireless systems. 

Sennheiser’s rebate program covers its 2000 Series professional wireless systems, plus the full range of its Evolution G3 wireless series. The G3 rebates include the LE Sets, ew100 range, ew300 systems and ew500 G3 wireless.

For full details on the products involved, visit the respective manufacturer websites. All require submission of the original UPC code from product packaging, along with the associated sales receipt.

Link to BE article

42 Years Ago and I Still Appreciate High Dollar Mics

Notice the albums, the turn-table and the "count-down clock" (that's the light bulb on the right).

What's with the striped shirt and tie? I forgot R&R had a little class, although mine was mostly "low."

Blue Mics "Reactor" Looks Different, But How Does It Sound?

Interesting.

I would love hear the Reactor on various Voice-over tests.

Malo Shares a Discovery. Tell Us What You Think

I would like to ask you to check out the OSP STM-1300C Studio Condenser Microphone. The maker did a mic test on youtube and a shootout where it was compared to the Neumann u87. I was skeptical, but I purchased it and I must say it sounds AMAZING, especially at the price of $149.99. Check out the video, and I can make samples if needed. Thanks!!

I was wondering if you could post this test.

Audio Technica 835b versus the Sennheiser MKH 416

http://soundcloud.com/malospam/416835bledge

Sennheiser mkh 416, a hollywood standard VO mic and boom mic ($1000) versus an OSP STM1300 (250$). Both plugged into a zoom H4n, no pop filter used sorry about that, 6 inches away from my mouth, no processing. Is it worth the price difference for this application? I also have a test from 12" that I will upload soon. Let us know your thoughts.

http://soundcloud.com/malospam/mkh416vsosp-stm1300-6inches

Thanks Malo

What Are We Buying From Sennheiser?

Notice the smallest sales groups.. one of which is Georg Neumann. Does the profit margin make up for smaller numbers?

Wedemark, Germany (June 24, 2011)—Sennheiser has released its financial statement for the business year 2010, reporting an increased turnover of 468.2 million Euros--an increase of 20.1 percent and the largest in the company's history. The company’s 2009 turnover was 389.9 million Euros last year. Profit increased from 3.8 million Euros (in 2009) to 22.6 million Euros.

"All product groups and all markets have contributed to this positive result," said Volker Bartels, Spokesperson of Sennheiser's Executive Management Board. "One of the important factors that contributed to this result was the revival of the professional side of our business and the highly positive growth at the end of the year, particularly in the consumer segment. Now we have to stabilize this dynamic growth and further expand our business.” On average in the year 2010, the Sennheiser Group employed 2,117 people, 1,153 of them in Germany.

The largest part of the company's turnover came from headphone sales, which contributed 34.9 percent of total turnover. Following this was wireless microphone sales (25.5 percent), then Sennheiser communications products (8.1 percent) and then wired microphones (7.4 percent). Audiology products made up 6.6 percent of the total turnover and professional headsets made up 4.5 percent. Georg Neumann GmbH contributed 3.6 percent of the total turnover with studio microphones and studio monitors. The conference and information systems sector contributed 3.3 percent.
  
Despite a global shortage of electronic components, Sennheiser was able to increase production in 2010, by its own reckoning, thereby able to overcome the immediate effects of the global economic and financial crisis.

Sennheiser managed to reach double-digit figures for its growth rate in all sales regions in 2010. In particular, Asia influenced growth in the elecronics industry. In the the "Asia and Australia" region, turnover increased from 44 million Euros in 2009 to 59.7 million in 2010, an increase of 35.6 percent. "This positive development shows us that using our own sales subsidiaries on the ground was the right strategic decision," affirmed Volker Bartels. The audio specialist also grew in the Americas. Turnover increased by 26.5 percent compared to last year, up to a total of 125.6 million Euros. There was a notecibly reversed trend in the "EMEA" region. In this previously decreasing market (-2.8 percent in 2009), Sennheiser achieved an increase of 14.7 percent. In the sub-regional breakdown, Central Europe contributed excellent growth of 17.9 percent. Generally speaking, sales outside Germany continues to be extremely important for Sennheiser. In 2010, the company's export ratio was about 83 percent.

Research and Development (R&D) is a central component of Sennheiser's business strategy. Spending on R&D in 2010 was 6.1 percent of turnover - i.e. 28.6 million Euros. To recognize future trends and opportunities, Sennheiser runs a company-owned research facility: the Sennheiser Innovation AG in Zurich, Switzerland. Here, Sennheiser analyzes future trends that may have an impact on Sennheiser’s business and on the audio specialist’s product development. "We need to be able to react quickly to changes in the market,” Bartels said. “This is why we focus on consumer needs in the long-term and try to recognize important developments as soon as possible."

For Sennheiser and its employees, 2011 will be focused on implementing the new company structure. Since the first of January, Sennheiser has been organized into three business divisions, helping provide greater market and customer focus in each respective business area. "We have developed a divisional strategy over the last few years and this is now also being reflected in our organizational structure,” Bartels said. “The company's new divisional organization will allow us to perfectly adapt our products, services, processes and especially our way of thinking to our customer's needs. This is another reason why we look at the future with optimism.”

Sennheiser
www.sennheiser.com 

Mics for Video

Microphone use for video is a little more of a different animal. We tell new videographers that if the lighting is close (we can see the eyes) and the audio is spot on, the viewer will forgive a lot of visual mistakes. Actually, the quote is often attributed to Cecil B. DeMille.
I have been meaning to write on this subject outside of the manual we have for our teams, but the folks at HDVideo Pro have done a good job:
Microphone Grab Bag

Have you seen the "Pocket Sound-booth?"

Description

The Pocket Sound Booth™ reduces ambient sound received by a microphone; placing special high acoustic loss materials and structures between unwanted sound sources and your microphone. Basically, it alters and tightens the polar pattern of a microphone while making minimal changes to the near field on axis response.
The Pocket Sound Booth™ fits over your side-address studio microphone or axial (hand held) microphone and doesn't require any expensive hardware to do its job. Other products such as reflection filters cost around ten times as much as the Pocket Sound Booth™ and they block less than half of the ambient sound that the Pocket Sound Booth™ does.
The Pocket Sound Booth™ uses a quarter wave trap to reduce wavelengths that are 4 times the largest dimension of the Pocket Sound Booth™. The quarter wave trap allows open acoustic passage for the microphone being used in the Pocket Sound Booth™ to have minimal coloration.
Pop Filter and Wind Screen
The Pocket Sound Booth™ includes two variations of front filters if you need them. One filter is an extremely acoustically transparent and very effective turbulence filter (pop filter) and the other is a more conventional windscreen.
The system supports microphones of all polar patterns, some square type microphones are supported and other types can be fitted to with a few minor adjustments. The model PSB448 is 4" x 4" X 8". Voiceovers with a ribbon microphone and a Pocket Sound Booth™… big, smooth, silky and quiet!
An XLR extender might be needed for some shorter axial microphones. An XLR extender and Proximity Touch Up Filter™ (TUF) is also available for shorter microphones. This special microphone filter is passive and compensates for close microphone use (-3dB) without rolling off all of the lower bass. Most low cut filters “cut off” all the low bass (-12dB at 75Hz.).
The Pocket Sound Booth™ is made in America.

Cloudlifter Adds Gain to Ribbon and Dynamic Mics

There are times when I prefer to use a dynamic mic in certain situations. Some large diaphram dynamics need a lot of gain to get the best sound. Here's a solution:

The Ramblings of Some Audio Guy: SomeAudioGuy Video Mini-Review: Cloud Microphone's Cloudlifter CL-1 Mic Activator

Is Blue Upping USB Mic Credibility?

I haven't found a USB Mic that I would use for all voiceover applications, although I have used some pretty good ones. But this review piques my interest.


Engadget's Review of the Blue Yeti Pro

I would love to test this new Blue. Maybe I will ask my new found "Apple" buddies to loan me theirs.

About Your Acoustical Environment

Universal Audio published an interesting article on Sound Proofing/Deadening for musicians. Most points can be taken by Voiceover Artists.

Studio Acoustics and Soundproofing Basics

Here's the "Build Your Own Sound Deadening Panels" piece we did several years ago:

DIY Sound Absorbing Panels

Would You Take a Class With This Teacher?

How to improve microphone technique (for singers but some of the same principles for Voice Over).

WHOA! A New RE(3)20

Anaheim, CA (January 14, 2011)—Electro-Voice has released the RE320, drawing from its RE20 and RE27N/D Broadcast Group mics to create a studio and live performance mic for the MI marketplace.

The RE320’s key features include Electro-Voice’s Variable-D proximity control technology which affects tonal performance; a patented humbucking coil for reputedly noiseless operation; and a high-output neodymium magnet structure capsule.

Rounding out the feature set is the new “dual personality” switch; one setting of the switch engages a response curve for voice and most instrument miking, while the other switch position activates a response curve designed specifically for kick drums with dips and peaks in traditional spots.

Regarding the switch, Electro-Voice’s Rick Belt comments, “We’ve known for many years that the RE20 is sought-after for miking kick drums, despite its broadcast vocal ‘original purpose.’ Adding the kick drum curve switch position as a key RE320 feature reinforces its usefulness as a specialty instrument mic, in addition to its outstanding performance on voice and low-mid to upper-register instruments in the alternate switch position.”

Sennheiser introduces the MK 4 large-diaphragm studio microphone

At the NAMM Show in Anaheim, audio specialist Sennheiser is presenting the new MK 4, a large-diaphragm true condenser microphone. This cardioid microphone, which is manufactured in Germany, is Sennheiser’s first large-diaphragm side-address microphone and focuses on giving the best possible sound quality rather than technical extravagance. It provides a powerful yet warm sound that is both direct and tight with fine treble resolution.

The MK 4 large-diaphragm microphone was developed for project studios, but is also affordable for home recordists and musicians

The MK 4 with its nickel-colored finish was developed for professional users in project studios, but is equally well suited for other recording environments and is tough enough for use on stage. It is also a microphone that is affordable for home recordists and musicians. “In the development of the MK 4, we invested every euro in getting the best possible sound,” explained Product Manager Sebastian Schmitz, “and we focused on the key elements of a good studio microphone to ensure that we can offer the MK 4 to our customers at an attractive price.” The finest sound structures are well resolved, and sound coming from the sides is picked up without coloration and so does not change the overall sound quality. The microphone has a very harmonious presence; it has vivid mids and is also very detailed in the bass range. At the same time, typical cardioid cancellation is relatively frequency-independent.

Sturdy large-diaphragm model
The MK 4 has a large 1-inch diaphragm precisely spattered with 24-carat gold. The sturdy metal housing and the elastically mounted capsule make the microphone tough enough for even the most energetic recording situations. The excellent suppression of handling noise offered by the internal capsule mount can be even further improved by the use of an elastic suspension, which is available as an accessory. The open front of the suspension mount enables the MK 4 to be positioned close to the sound source. The microphone has a maximum sound pressure level of 140 dB, and its self-noise of 10 dB(A) is extremely low. “The MK 4 is highly versatile for vocals, acoustic guitars and grand pianos as well as for strings and wind instruments,” Sebastian Schmitz explained. “What is more, in numerous field trials it has proven to be an excellent microphone with guitar amplifiers, drums and percussion. To sum up: it is an unpretentious microphone with outstanding sound.”

The MK 4 will be available after NAMM and comes complete with a microphone clip and a protective pouch. Optional accessories include an elastic suspension, a foam windshield and a popshield.

Technical data

Transducer principle:	externally polarized condenser microphone
Diaphragm diameter:	25.4 mm (1”)
Pick-up pattern:	cardioid
Frequency response:	20 – 20,000 Hz
Sensitivity:	25 mV/Pa
Maximum sound pressure level:	140 dB
Equivalent noise level:	10 dB(A) / 20 dB(CCIR)
Dynamic range:	130 dB
Power supply:	48 V phantom power (P48)
Current consumption:	3.1 mA
Diameter:	57 mm (maximum)
Length:	6.3 in. (160 mm)
Weight:	17.1 oz. (485 g)

Optional accessories: MKW 4 windshield MZP 40 popshield MKS 40 elastic suspension 

This is interesting. Doesn't Sennheiser own Neumann? Will there be a MK series for voice studio? Or will they leave that to Neumann?

Microtech Gefell M1030

The studio condenser microphone M 1030 combines modern large diaphragm capsule technology with the latest in semiconductor circuit topology. The size of the microphone housing is optimized with regard to the expectations of a large diaphragm microphone for studio applications.

The microphone is specifically designed to meet the needs of professional and semi-professional users who demand the highest performance. The microphones are ideally suited for universal miking applications in broadcast and sound studios. Applications include vocalists, announcers, dialog pickup and as spot microphones for recording guitars, keyboard, percussion, wind and string instruments.

The pick-up pattern is perpendicular to the direction of the microphone axis (side addressed). The model number and pick-up pattern symbol mark the front of the microphone. The green light emitting diode (LED) inside the protection grid operates as optical ready indicator.

The condenser capsule exhibits a smooth frequency response with a slight presence boost in the 8 to 14 kHz range. The polar response exhibits an exceptionally high degree of rejection for sounds impinging from the rear (cardioid) or sides (super-cardioid) of the microphone. The electronic impedance converter uses a newly perfected circuit topology. This design reduces the noise floor to an extremely low level while also raising the maximum output capability. As a result, this microphone has a clean, distortion free sound over an extremely wide dynamic range. RFI susceptibility is very low.

The microphone capsule and electronics are elastically suspended inside the compact metal housing. This reduces the sensitivity to mechanical impact and structure born noise.

The microphone is finished in satin matt.

(Looks like $1,800 to $2,000)

Click HERE for more details

Finally, Adobe Audition for Mac

From Cool Edit to Sound Booth. If you  come from the broadcast world, you probably used some form of  what is best known as Adobe Audition. I am glad to be able to finally release the news:

Welcome to the public beta release of Adobe® Audition® for Mac. Adobe Audition for Mac brings modern audio post-production to the Mac platform. Familiar tools for audio editing, multitrack mixing and recording meet improved performance, greater workflow flexibility, and new features such as native 5.1 surround support and new effects. Plus, the best-of-breed audio sweetening and restoration tools in Audition make it easy to clean up production audio. With essential tools you can rely on for quick-completion projects, Audition for the Mac brings a fresh face to audio post-production.

Download and Discuss
Download Audition for Mac
Discuss Audition for Mac

Adobe Audition for Mac offers:

Fast start-up, high performance multi-threaded processing, and parallel workflows
Powerful audio editing and multitrack mixing views
Superior noise reduction capabilities
Native 5.1 Surround support and multi-channel effects, plus other new effects
Optimized audio post-production workflows

Download Here: http://labs.adobe.com/technologies/audition/

FUTURE TECH--"..Junior Pooted."

On a local Kids TV show in the late Fifty's, several children stopped dancing and started laughing. "What's so funny?' the lady host asked. "Junior pooted," came the reply. Is this new cutting edge tech taking us over the line? I don't want to hear Junior poot on the basketball court. Willie

New microphone can hear any sound at outdoor sports venues

Oct 22, 2010 3:54 PM, By Michael Grotticelli

An operator uses the AudioScope control station to remotely zoom in on the sound.

The large yellow circle attached to the bottom of the Los Angeles Lakers Jumbotron is a new super microphone that can hear anyone on the basketball court with perfect clarity — even players chewing bubble gum.

The microphone is called an AudioScope and could radically transform sound for sporting events. Developed accidentally when two former University of Oslo physicists — Morgan Kjølerbakken and Vibeke Jahr — were working on sonar technology, the new device is a circular array of 315 microphones and a wide-angle camera that hangs above sporting venues.

It can be used to capture audio from any chosen sound source, like a zoom lens on a camera. With sophisticated signal processing algorithms and so many individual microphones, the AudioScope can isolate sounds and make them clear — even in a noisy environment.

Viewers can hear a player's voice as he scores during a football match on television. Or one could hear every question at a news conference without the use of handheld or shotgun microphones. Such a breakthrough in sound quality could intensify the action of the game and add an entire new dimension for the viewer.

Based on the same principle as sonar, the AudioScope microphone can be zoomed in to listen to any individual who happens to be playing, coaching or refereeing. Because the camera is also fixed, it can be calibrated to zoom in to any location within its range. In addition to the Lakers, the system is currently being tested out in some basketball and soccer arenas around the world.

The system's software determines where the desired sound is originating from and then calculates how long it should take that sound to reach each individual mic overhead. It then synchronizes the conversation, making any spot audible even in a crowded stadium.

"If we correct the audio arriving at three microphones then we have a signal that is three times as strong," Kjølerbakken said. Doing the same thing with 300 microphones can make a single conversation audible even in a stadium full of sports fans.

An operator uses the AudioScope control station to remotely zoom in on the sound. He monitors the picture on a screen and moves the cursor to any audio source. The trackball is used to follow moving objects, and the jog wheel is used to rewind the tape for replays. The system supports multiple output channels, and the operator can select up to five audio sources simultaneously.

Kjølerbakken and Jahr have now patented the device and founded a company, Squarehead Technology, based in Oslo, Norway, to develop their idea. The most obvious application is in televised sports, and the company has been working with basketball and soccer teams to test it out. The response has been good, Kjølerbakken said, although some players aren't pleased by the idea.

The new microphone is also envisioned as an addition to video teleconferencing equipment. Squarehead recently announced that a system is now installed in a 175-seat auditorium at the Max Planck Institute in Munich.

A video demo can be seen at www.squarehead.no/video.html.