DPA Microphones’ d:screet 6060 CORE subminiature microphones are 3 mm in size, but if you close your eyes when monitoring a recording with one of these you’d swear you’re using a studio microphone the likes of a Neumann. I tested one of these tiny mics and it offered an unbelievable clarity, with as much detail in the low tones as much bigger and more expensive mics.
Bubblebee’s Sidekick In-Ear Monitors are IFB devices, which are essential parts in a monitoring and cueing system as used by TV, filmmaking, video production and radio broadcast people. They are great monitors for voice recordists too.
Which is better, a microphone cable that costs €15 for 10m or one that costs five times as much? And if it’s the latter, then the next question is: will you actually hear a difference?
The Modular Windshield Kit Rycote sent me won the 2000 Technical Achievement Award from the Academy of Motion Picture Arts & Sciences. In the 18 years since then, the family-run business hasn’t stopped inventing new products that set the industry standard. The PCS-Boom Connector is the latest example of how Rycote address the problem of […]
I found out about Bubblebee Industries when I was searching for shotgun microphone windshields on the web. They didn’t exactly float to the surface – I had to dig into the results – but I was intrigued by the names they give their products and the design. And so, I asked for test units and got their Windkiller and Spacer Bubble kit.
An article from a company that’s active in VoIP, video conferencing, etc and a recording that was ruined because an ambulance and police car drove by made me think about noise cancellation using two microphones instead of complex machine-learning algorithms. Could it be that, if you use two identical microphones with good off-axis rejection, you can achieve better noise reduction?
If you record audio via an external recorder in order to replace the audio your camera captures, you’ll usually need some sort of a synchronisation tool. The simplest is using a clapper, with the second-best using Red Giant’s PluralEyes. But what if the audio your recorder captures drifts out of sync during recording? Why does that happen and how can you avoid it?
With studio condenser microphones like my favourite sE2200A usually come nice shock mounts. The only problem is that these are heavy and wear out quickly because the shock absorbers are elastic rubber bands. When I saw how well Rycote’s Softie Duo-Lyre Mount with pistol grip handle works with a Deity S-Mic 2 shotgun, I decided to give the company’s InVision Universal Studio Mount Kit a try as well.
Rogue Amoeba just released a major upgrade of Loopback, the audio routing app used by many thousands of podcasters, sound pros and screencast creators. They all use Loopback to route sounds from any sort of source on a Mac to any sort of output – from physical inputs and outputs to audio generated and/or accepted by software apps.
Almost a year ago, I purchased an sE Electronics V7 dynamic microphone, assuming it would be a great microphone to have for creating videos on Youtube or Vimeo. At the time, I didn’t realise I would have to “eat” the microphone or crank up the gain to a whopping 75dB on my Apogee Duet iOS/Mac in order to get a decent signal. As a result, I only used the mic occasionally. A week or so ago, I discovered the DM1 Dynamite preamp on the sE Electronics website that claims to solve exactly this problem.