Friday, January 28, 2011
Friday, January 14, 2011
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.”
Thursday, January 13, 2011
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 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?
Thursday, December 16, 2010
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)
Tuesday, November 9, 2010
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 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
Saturday, October 23, 2010
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.
Thursday, October 14, 2010
Does Quality Equal Money?
Pro Sound Review of large diaphragm condenser mics.
Excerpts from article. Read entire article HERE.
MICS Tested:
The "large-diaphragm condenser" class of 2008 was loaded with gorgeous and innovative contenders, and we here at PAR would like to revisit the top five "LDCs" we reviewed to compare them in close proximity. Note that this is the first installment of our new Session Review series —not a clinical "shootout," per se, but parallel testing and evaluation to seek the best applications for these proven winners and suggest their comparative strengths in the real world.
On VO Work
I did some commercial spots with male voiceover artist Charles Curcio and found something likable about all five of our mics. Ultimately, we chose the Neumann TLM 67 for its smooth, yet articulate top end, with minimized sibilance problems. Low frequencies were flattering without any undue girth while plosives were never an issue, even at really loud levels.
The Brauner VMA in classic mode was our second choice for this VO session; it was wonderfully detailed and natural, if ever so slightly strident on hard consonants. The Berliner U77 was nearly as likable as the TLM 67, except for a little missing "chestiness." I must say, however, that the U77 would be my "best-all-around" choice if I could buy only one mic for all VO work. The Flamingo ME was very warm and supple; I would prefer it with female voice artists. The Black Hole BH-1 had the most top end of any mic tested here — great for definition on deeper voices, but too sensitive to plosives in cardioid. Even with two pop screens employed, we had to switch to omni to get suitable results.
Excerpts from article. Read entire article HERE.
MICS Tested:
Neumann TLM 67 $3,858
Berliner U77 $3,495
Brauner VMA $9,719
Berliner U77 $3,495
Brauner VMA $9,719
JZ Black Hole BH-1 $2,295
Violet Flamingo ME $6,990
The "large-diaphragm condenser" class of 2008 was loaded with gorgeous and innovative contenders, and we here at PAR would like to revisit the top five "LDCs" we reviewed to compare them in close proximity. Note that this is the first installment of our new Session Review series —not a clinical "shootout," per se, but parallel testing and evaluation to seek the best applications for these proven winners and suggest their comparative strengths in the real world.
On VO Work
I did some commercial spots with male voiceover artist Charles Curcio and found something likable about all five of our mics. Ultimately, we chose the Neumann TLM 67 for its smooth, yet articulate top end, with minimized sibilance problems. Low frequencies were flattering without any undue girth while plosives were never an issue, even at really loud levels.
The Brauner VMA in classic mode was our second choice for this VO session; it was wonderfully detailed and natural, if ever so slightly strident on hard consonants. The Berliner U77 was nearly as likable as the TLM 67, except for a little missing "chestiness." I must say, however, that the U77 would be my "best-all-around" choice if I could buy only one mic for all VO work. The Flamingo ME was very warm and supple; I would prefer it with female voice artists. The Black Hole BH-1 had the most top end of any mic tested here — great for definition on deeper voices, but too sensitive to plosives in cardioid. Even with two pop screens employed, we had to switch to omni to get suitable results.
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