In Broadcast - October/November 2011 - 54


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InSOUND
Microphones in Action Cont.
A long-standing choice for high quality voice work is the Neumann range. The large, heavy and expensive U87 is still a benchmark for quality but the manufacturer, which is now owned by fellow German company Sennheiser, has produced other mics based on the design to appeal to more users. The TLM series offers good quality in a small package. The TLM 170 appeared in 1985 as an alternative to Neumann’s flagship U87. Unlike its progenitor it does not require a transformer and is lighter. This last fact allows it, and the TLM 103, to be hung on a conventional mic stand or angle-poise, as opposed to the elaborate counterbalance and wire suspension needed to support the U87. The latest addition to the range is the 102, which has been designed to be more compact and affordable. Other Neumann mics used in broadcasting are the BCM 104, BCM 705, TLM 49 and U89. On an equal footing with these mics are those in the Microtech Gefell range. Founded by Georg Neumann, Microtech offers the M930 (cardioid), M940 (supercardioid), the switchable UM930, which comes in a dual condenser version, and the solid state, transformerless M930 art.

DPA’s range of capsule microphones

54

of the broadcast production community are unhappy at having to replace existing equipment, despite a compensation scheme currently under way. Manufacturers are producing systems that accommodate the changes, with Sony launching the PrimeSupport Plus modification kit to convert its DWX digital systems to channel 38 operation. Despite the development of smaller and smaller wireless mic capsules, there has been a swing back to more visible miking, with the increasing use of head worn radio microphones. DPA (Danish Pro Audio) mini-boom mics, with the capsule on a small arm along the jaw line, have long been used in musical theatre. They have now made the crossover into broadcasting, particularly for fast moving entertainment shows that mix music, dancing and chat. These units are also used for broadcast situations where desk mics were once the standard. An example of this is the press conference after Formula 1 Grand Prix; the drivers being interviewed wear headsets so they can look around and never go off mic. The DPA 4066 is used widely in TV now these days. DPA says that while miniature mics are still in demand the use of head-worn models is growing rapidly in many countries. A feature DPA has improved of late is RF rejection, to

comply with changes in standards for digital broadcast systems. DPA further targeted the broadcast market at IBC with the launch of the new d|FINE headset mic. This is a single earpiece headset, which is said to provide accurate audio definition and natural sonic characteristics in a stable headworn package. Electro-Voice produces both miniature lavalier units and head worn mics. The company has done well with the RE-2 Pro body pack and handheld packages, as well as clip mics including the RE90T condenser and the RE97LTX

E-V says the biggest percentage of usage is still with lavaliers. AKG introduced a new headset mic earlier this year. The C544 L is primarily designed for on-stage vocals and non-entertainment applications like aerobics but, given the cross-over of DPA into TV presentation, there’s a strong chance this mic will also jump the boundary. Australian manufacturer Røde has made in-roads into the broadcast market in the last two years, after starting out in music recording. It produces two headworn mics, the HS1-B (for black) and HS1-P (pink), and also two lapel mics, the Lavalier and the Pinmic, which, as the name

Good Commentary
For commentary, quality has to be balanced with cancelling out background noise. The first viable design for doing this dates back to 1951 by BBC engineers DEL Shorter and HD Harwood produced a noise cancelling lip mic that became the industry standard. Since the early 1970s this distinctive device has been manufactured by Coles Electroacoustics as the 4104. While the performance of the 4104

The SoundField surround sound microphone system

“micro lavalier”. The company produces a head worn unit, the RE97-2Tx, and although it is seeing a move to the mini-boom, head-worn style of mic,

suggests, is a very small, discreet device. Røde’s wide range also includes the Broadcaster, a large diaphragm condenser mic designed specifically for good voice reproduction. While the target market is primarily radio, the Broadcaster is also used in TV for voice-overs and narration.

has never been in question, it is not entirely satisfactory because it is handheld, which means making notes or picking up scripts while commentating is awkward. A good compromise is the headphones and boom mic combination that is now used widely
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Table of Contents for the Digital Edition of In Broadcast - October/November 2011

In Broadcast - October/November 2011
Contents
3Ality Digital Acquire Element Technica
RTL Choses Quantel
Studios In Production
MAM Questions Answered
Changing Faces of Post Production
Microphones In Action
New Developments in Audio for Television
Routers and Switchers
Loudness Measuring in Workflows
In Broadcast - October/November 2011 - In Broadcast - October/November 2011
In Broadcast - October/November 2011 - 2
In Broadcast - October/November 2011 - Contents
In Broadcast - October/November 2011 - 3Ality Digital Acquire Element Technica
In Broadcast - October/November 2011 - 5
In Broadcast - October/November 2011 - 6
In Broadcast - October/November 2011 - 7
In Broadcast - October/November 2011 - 8
In Broadcast - October/November 2011 - 9
In Broadcast - October/November 2011 - 10
In Broadcast - October/November 2011 - 11
In Broadcast - October/November 2011 - 12
In Broadcast - October/November 2011 - 13
In Broadcast - October/November 2011 - 14
In Broadcast - October/November 2011 - 15
In Broadcast - October/November 2011 - 16
In Broadcast - October/November 2011 - 17
In Broadcast - October/November 2011 - 18
In Broadcast - October/November 2011 - 19
In Broadcast - October/November 2011 - RTL Choses Quantel
In Broadcast - October/November 2011 - 21
In Broadcast - October/November 2011 - 22
In Broadcast - October/November 2011 - 23
In Broadcast - October/November 2011 - Studios In Production
In Broadcast - October/November 2011 - 25
In Broadcast - October/November 2011 - 26
In Broadcast - October/November 2011 - 27
In Broadcast - October/November 2011 - 28
In Broadcast - October/November 2011 - 29
In Broadcast - October/November 2011 - 30
In Broadcast - October/November 2011 - 31
In Broadcast - October/November 2011 - 32
In Broadcast - October/November 2011 - 33
In Broadcast - October/November 2011 - 34
In Broadcast - October/November 2011 - 35
In Broadcast - October/November 2011 - 36
In Broadcast - October/November 2011 - 37
In Broadcast - October/November 2011 - 38
In Broadcast - October/November 2011 - 39
In Broadcast - October/November 2011 - 40
In Broadcast - October/November 2011 - 41
In Broadcast - October/November 2011 - 42
In Broadcast - October/November 2011 - 43
In Broadcast - October/November 2011 - 44
In Broadcast - October/November 2011 - 45
In Broadcast - October/November 2011 - 46
In Broadcast - October/November 2011 - 47
In Broadcast - October/November 2011 - MAM Questions Answered
In Broadcast - October/November 2011 - 49
In Broadcast - October/November 2011 - Changing Faces of Post Production
In Broadcast - October/November 2011 - 51
In Broadcast - October/November 2011 - Microphones In Action
In Broadcast - October/November 2011 - 53
In Broadcast - October/November 2011 - 54
In Broadcast - October/November 2011 - 55
In Broadcast - October/November 2011 - 56
In Broadcast - October/November 2011 - 57
In Broadcast - October/November 2011 - 58
In Broadcast - October/November 2011 - 59
In Broadcast - October/November 2011 - 60
In Broadcast - October/November 2011 - 61
In Broadcast - October/November 2011 - 62
In Broadcast - October/November 2011 - 63
In Broadcast - October/November 2011 - New Developments in Audio for Television
In Broadcast - October/November 2011 - 65
In Broadcast - October/November 2011 - 66
In Broadcast - October/November 2011 - 67
In Broadcast - October/November 2011 - 68
In Broadcast - October/November 2011 - 69
In Broadcast - October/November 2011 - 70
In Broadcast - October/November 2011 - 71
In Broadcast - October/November 2011 - Routers and Switchers
In Broadcast - October/November 2011 - 73
In Broadcast - October/November 2011 - 74
In Broadcast - October/November 2011 - 75
In Broadcast - October/November 2011 - 76
In Broadcast - October/November 2011 - 77
In Broadcast - October/November 2011 - 78
In Broadcast - October/November 2011 - 79
In Broadcast - October/November 2011 - 80
In Broadcast - October/November 2011 - Loudness Measuring in Workflows
In Broadcast - October/November 2011 - 82
In Broadcast - October/November 2011 - 83
In Broadcast - October/November 2011 - 84
In Broadcast - October/November 2011 - 85
In Broadcast - October/November 2011 - 86
In Broadcast - October/November 2011 - 87
In Broadcast - October/November 2011 - 88
In Broadcast - October/November 2011 - 89
In Broadcast - October/November 2011 - 90
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