Originally featured on BroadcastEngineering.com
8/27/2008 12:26 PM
®’s H2-PRO and H3-D will have access to the Dolby Pro Logic II® encoding technology found in the company’s popular H4 SuperMINI and PortaMic 5.1 camera-mountable microphones with the introduction of the
Holophone N-CODE portable multi-channel encoder
. The Holophone N-CODE will be on exhibit at IBC 2008 (Stand 8.C10).
The N-CODE helps bring the convenience and portability of a two-channel recorder setup to larger productions which require the more detailed 5.1 channel surround recordings of Holophone’s larger microphones. Based on the H4’s and PortaMic 5.1’s encoders, the Holophone N-CODE takes six channels of audio from the H2-PRO or H3-D and converts them to two channels using Dolby’s Pro Logic II technology. With the N-CODE, these encoded two channels of audio can be captured to virtually any stereo recording device, or can be broadcast over the existing stereo infrastructure. The H2-PRO and H3-D are connected to the N-CODE via six 1/4" XLR inputs with a mic/line selection. It also comes equipped with two XLR outputs which connect the encoder to the recording device or transmission line from a remote broadcast truck. Through six high-quality microphone pre-amps, the N-CODE provides 48v of phantom power and is also battery powered.
“The HD revolution combined with the move to mic all talent on-set has lead to users needing a way to simply record surround without eating up their track count,” says Jonathan Godfrey, CEO of Holophone. “The addition of the Holophone N-CODE gives our customers the best of both worlds – a quality surround recording that is easy to set up while utilizing only two tracks of audio. Combined with our new D-CODE multi-channel decoder, users will be able to bring recordings from the field to the studio no matter what Holophone microphone they decide to incorporate.”
The D-CODE is the final piece in Holophone’s Dolby Pro Logic II encoded audio workflow. It takes the stereo recordings made with the Holophone N-CODE and easily converts them back to six channels of discrete audio. These files can then be edited as multi-channel audio and synced with video in any standard editing program, such as Apple’s Final Cut Studio, Sony Vegas and Adobe Premiere. The recording device is connected to the D-CODE through two RCA inputs and the audio decoded is delivered via 6 RCA outputs or Multi-Channel USB directly to the user’s computer.