Automatic microphone mixing, long a staple of commercial sound installations, has moved to professional dialogue recording for film and television production. This is the story of that journey over the past half century.
The microphone preamplifiers in most low-cost audio mixers and recorders are now optimized for high-output condenser microphones. However, dynamic and ribbon microphones produce output levels that are too low for normal use by these devices. There is now a simple solution to this problem.
Ribbon microphones are as old as recording itself. Now a new generation of ribbons has erased old problems and limitations and excels in modern digital recording.
Shotgun microphones have long been the staples of live recording. In the 1970s and 80s, virtually all professional shotguns used for location sound were “true” condensers costing over $1,000. Now, a new breed of electret condenser shotguns have appeared. Many wonder, what are the differences and how much does it matter?
Before computers — when the audio for television commercials was edited with razor blades — sound mixers typically created premixed tracks at the beginning of the spot-making process. Then, after computers, the mixer’s role was reversed — with many relegated to simply polishing the final commercial after editing. Now, sound mixers want that to change.
Since 2012 many moviegoers have been captivated by the nearly two thousand theaters throughout the world that have installed Dolby’s 3D immersive sound system called Dolby Atmos. Since then Dolby has worked to also make the technology available for live broadcasts, home theater systems and even stereo headphones.
Fairlight is collaborating with DTS and the University of Salford, located in Manchester, UK, to develop a new approach to assist sound engineers with live sports productions.
I was due to write another terminology article and thought doing one that explains the terms, alliances, and standards might be helpful. There is no shortage of new terms, so let’s get started.