Audio-Technica is expanding its U.S. operations with the acquisition of a new facility in Hollywood, California. Located in the heart of the Hollywood Media District, the company says the property will establish a significant new West Coast presence for Audio-Technica and provide direct access to one of the world’s most influential entertainment and content creation communities.

The 8,966-square-foot, two-story facility is currently occupied with an existing tenant but will eventually support Audio-Technica’s expanding activities in the region, including sales and marketing offices, product development, customer engagement and product demonstration capabilities. The property also includes existing studio and production spaces that complement Audio-Technica’s professional audio expertise and close relationship with the entertainment industry.

The investment builds on Audio-Technica’s establishment of TECHNICA HOUSE New York, its SoHo marketing salon designed as a shared space for collaboration, inspiration and connection. With the addition of the Hollywood facility, Audio-Technica is extending this commitment to direct engagement by establishing a significant presence within another of the country’s most important creative communities, the company said.

“Hollywood has played an extraordinary role in shaping the way the world experiences sound and entertainment, making it a natural location for the next stage of Audio-Technica’s growth in the United States,” said Manabu Aoki, CEO of Audio-Technica U.S. “Building on what we established with TECHNICA HOUSE New York, this investment gives us another opportunity to be closer to the professionals and creators who use our products every day. By creating spaces where our teams can listen, collaborate and exchange ideas directly with the industry, we can deepen those relationships and bring valuable insights into the development of future Audio-Technica products and solutions.”

The Hollywood expansion complements Audio-Technica’s established U.S. operations and represents a long-term investment in key focus categories, including professional audio, system solutions, broadcast, production and content creation.

Not too long ago, pro AV and broadcast equipment occupied two separate worlds, defined by very different production goals and budgets. Today, those separate worlds are merging into one.

This convergence is dramatically reshaping the expectations surrounding wireless microphone deployments. Whether outfitting a corporate boardroom, university lecture hall, or major league sports stadium, end users now demand broadcast-tier reliability from all of their wireless mics.

Mark Donovan, director of commercial applications at Audio-Technica U.S., noted that wireless microphones have transitioned from event-driven tools to core infrastructure in installed AV systems. “Corporate, education, and government environments now expect wireless audio to perform with the same consistency as networked systems,” he said.

Unfortunately, delivering pristine, uninterrupted audio via wireless is becoming exponentially more difficult. As the demand for wireless connectivity in pro AV spaces skyrockets, the spectrum it uses is becoming more crowded. Navigating this increasingly congested RF environment requires a deep understanding of new transmission technologies, rigorous security protocols, spectrum policy and strict deployment best practices.

The most pressing trend affecting the state of wireless microphones today is the severe congestion within licensed frequency bands. The available real estate for wireless audio is disappearing, putting immense pressure on systems integrators to deliver reliable results.

Jens Pilz, Sennheiser’s spectrum policy and standards manager, points to a frustrating disparity between Pro AV and other technology sectors. “Other wireless industries ask for new spectrum with each generation of their technology,” he said. “The Pro AV industry is forced to stick to the same spectrum resources—or lose spectrum while other industries gain it, like Digital Dividend 1 and 2 in Europe [when broadcast TV moved from analog to digital, freeing up spectrum] or 600 MHz in the U.S. [the same].”

Consequently, as governments globally reallocate valuable RF spectrum, often to support mobile data, wireless microphone operators are being squeezed into smaller frequency bands. This reallocation makes finding clear frequencies incredibly difficult, said René Moerch, group director of wireless for DPA Microphones and Wisycom. “The ability to find usable spectrum, what I often describe as ‘parking spots,’ is becoming one of the most critical challenges in Pro AV today,” he explained.

Integrators are facing the same spectrum squeeze. “We [have to] find more channels in less space, both physically and in bandwidth loading,” said Jason Jacquemain, design engineer for American Sound’s Venue and Entertainment Division. “Refining the quality and agility of systems to cope with more crowded RF environments is a frequent challenge that we must overcome.”

According to Donovan, this reduction in available spectrum has forced a shift from convenience to intentional design. “Wireless systems can no longer be deployed casually in professional environments; they require planning, awareness, and a clear understanding of RF tradeoffs,” he said. Donovan noted the industry has been driven to greater adoption of alternative frequency bands, recognizing there is no longer a single “best” solution.

Pushing Limits and Technological Shifts
Is there a hard limit to the number of wireless microphones that can be operated in the same space? No one knows for sure.

"There’s no universal number," admitted Ben Escobedo, Shure’s account executive for professional audio. “The limit is determined by available spectrum, system efficiency, regulatory rules, and RF conditions in the specific location. Ten channels might be easy in one room and impossible in another due to outside RF interference.”

Lacking access to such a number, the best choice for Pro AV operators is to employ a mix of prudent signal coordination, system choices and disciplined deployments that don’t use more wireless microphones than necessary. “That’s why planning and testing matter more than channel count on a spec sheet,” Escobedo told SCN. “Performing an RF site survey is essential to ensuring one can deliver the channel count and performance that the user expects."

To maximize channel counts within these tight constraints, manufacturers are focusing heavily on RF efficiency and RF agility. RF efficiency refers to how many channels can be packed into a single channel (typically 6 MHz in the U.S.). RF agility refers to wideband tuning, which allows wireless systems to scan a massive range of frequencies to avoid interference and congested areas.

Thanks to digital’s better spectral efficiency and advanced security features, the wireless microphone industry’s move from analog to digital has made room for more channels. Plus, manufacturers are introducing novel transmission standards to bypass UHF congestion entirely.

For example, Sennheiser is championing both WMAS and DECT NR+. Short for wireless multichannel audio systems, WMAS is a wideband, bidirectional approach that allows wireless microphones and in-ear monitors (IEMs) to operate within the same section of RF spectrum. DECT NR+ uses the 1.9 GHz range—a band largely exclusive to DECT technologies—to support bidirectional communication adapted for higher audio fidelity.

Pilz views WMAS and DECT NR+ as complementary rather than competitive technologies. "In the core Pro AV world, these are more like tools in a toolbox, and for the right application, you need to select the right tool," he explained. "You shouldn't buy a product based on technology—you should buy the product based on your use case."

Added Donovan: “Manufacturers are addressing RF complexity by both adding capability and reducing user burden. On one hand, systems are becoming more sophisticated, with improved tuning control and coordination tools. On the other, they are becoming more automated, with features that simplify setup and ongoing operation.”

Securing the Signal
Because pro AV and broadcast applications are converging into unified, IP-centric environments, AV systems now routinely reside on corporate IT networks. This shift has raised security demands for wireless audio applications.

“Unencrypted wireless audio is no longer acceptable in many cases for both security and privacy reasons,” Escobedo said. “Whether it's a major financial institution hosting a town hall in NYC or a pop star about to perform at a halftime show, digital wireless systems often provide AES-256 encryption to ensure secure transmission.”

In this heightened security realm, users must understand the distinction between fully digital systems and digital hybrid systems. While fully digital platforms support AES-256 encryption, digital hybrid platforms prioritize absolute RF robustness and long-range resilience over encryption.

As a result, “digital hybrid technology does not support encryption,” Moerch explained. “For that reason, Wisycom solutions are typically deployed in applications where RF performance and audio quality are the top priorities, while environments requiring encrypted transmission, such as corporate or government use, are better suited to fully digital systems with built-in encryption, like the DPA N-Series.”

"Manufacturers are addressing RF complexity by both adding capability and reducing user burden," Donovan observed. "On one hand, systems are becoming more sophisticated, with improved tuning control and coordination tools. On the other, they are becoming more automated, with features that simplify setup and ongoing operation."

Even the most advanced, heavily encrypted wireless technology will fail if deployed without paying attention to today’s congested RF spectrum. "It seems most designers are having to truly relearn the best practices as a result of said overcrowding, limits, and security concerns," said Jacquemain.

To ensure consistent and reliable service, end users and integrators need to adhere to strict deployment strategies.

Assess your real needs first. "A great starting point is a quick reality check on true channel count needs," Jacquemain advised.

Check the spectrum. Never rely on guesswork when deploying wireless microphones. "Knowing what spectrum is available where you’re working is critical, including avoiding DTV stations," Escobedo said. Using software tools like Shure’s Wireless Workbench or built-in system scanners can help find the most useful frequencies.

Place antennas properly. Maintaining strict line-of-sight between the transmitter and the receiver antennas is crucial, because human bodies and structural obstacles absorb RF energy. "Proper antenna spacing is also important for true diversity performance, which is typically around half a wavelength [approximately 20 inches in UHF ranges]," Moerch added.

Be smart about transmission power. Higher transmit power does not automatically equal better performance—it often just raises the noise floor. "In many cases we are finding it is preferred to use lower output power but have a more robust antenna receiving system,” Escobedo said. “Keeping the output power low may allow one to multiplex [reuse] the same frequency elsewhere in the deployment."

Know when not to use wireless. In those situations where microphone mobility is not necessary, it makes sense to use wires rather than going wireless. "A mentor of mine often pointed out that setting up a wireless microphone involves deploying four cables: power, two antenna cables, and an audio cable," said Escobedo. "Sometimes a simple XLR cable to a wired mic can suffice for the intended application."

Despite all this, it's still possible to use wireless microphones successfully through the use of planning, spectrum checking before going live, and leveraging innovative technologies like WMAS and DECT NR+. Just plugging in a wireless microphone system and hoping it works—especially if it's part of a system that's old and outdated—is a risky choice in today’s congested RF spectrum.

Ultimately, as Donovan said, "The most reliable systems are those designed with realism in mind, anticipating challenges rather than reacting to failures."

This article originally appeared on TV Tech sister brand SCN.

STOW, Ohio—Audio-Technica has introduced the 20 Series Control Application, a Stream Deck plug-in designed to provide streamlined control of compatible Audio-Technica USB microphones directly from Elgato Stream Deck devices.

Developed for streamers, content creators, podcasters, gamers and audio production professionals, the application delivers fast access to essential microphone functions through customizable Stream Deck keys, dials and foot pedals.

Compatible with the Audio-Technica AT2020USB-X, Audio-Technica AT2020USB-XP and Audio-Technica AT2040USB microphones, the 20 Series Control Application allows users to mute and unmute microphones instantly, adjust microphone input levels, and, for AT2020USB-XP users, control Automatic Gain Control (AGC) and Noise Reduction (NR) functions directly from the Stream Deck interface.

The plug-in integrates with the Elgato Stream Deck ecosystem through simple drag-and-drop configuration, enabling users to assign controls to specific keys, dials or foot pedals and customize layouts to match individual workflows for streaming, recording, gaming, podcasting or content production.

Among the plug-in’s key functions is instant mute/unmute control, allowing users to silence or reactivate their microphone with a single press. The feature is especially useful for live streamers and gamers; it can also be assigned to compatible Stream Deck foot pedals for convenient hands-free operation.

The Virtual Fader function enables precise microphone input adjustment directly from the Stream Deck interface. Users can configure the control to set fixed microphone levels or increase and decrease levels incrementally using keys or rotary dials.

For users of the AT2020USB-XP microphone, the application also provides direct access to the microphone’s onboard AGC and Noise Reduction functions. AGC helps maintain a consistent output level regardless of changes in speaking or singing volume, while the Noise Reduction control allows users to select from multiple levels of ambient noise suppression or disable the feature entirely depending on their recording environment.

The Audio-Technica 20 Series Control Application is available now through the Elgato Marketplace.

For more information, read a recent blog from the company.

STAMFORD, CONN—NBC Sports has selected Audio-Technica to once again provide professional microphones, broadcast headsets, headphones and related accessories for its production of the 2026 Milan Cortina Winter Olympics and Paralympics.

NBC Sports will utilize Audio-Technica equipment to deliver much of its audio capture requirements across all sporting venues for its production of the 2026 Winter Olympics and Paralympics, helping NBC Sports route the excitement in Italy back to viewers watching coverage of the Games in the United States.

“NBC Sports is proud to mark 25 years of partnership with Audio-Technica, whose advanced audio technology solutions have played a vital role in supporting NBC Olympics’ production efforts around the world. Throughout this longstanding partnership, Audio-Technica has continued to deliver premium products and pioneering innovations in microphone technology, serving as the foundation of an audio signal chain dedicated to superior sound quality and reliability. Audio-Technica consistently delivers outstanding performance, Games after Games, whether in the host city as well as at our Stamford broadcast facility,” said Karl Malone, senior director, audio engineering at NBC Sports.

“We are delighted to be able to once again provide an extensive package of microphones, headsets and headphones that meets the demanding of technical requirements of NBC Sports”, states Rodrigo Thomaz, project manager – broadcast partnerships at Audio-Technica with technical responsibility for the collaboration; “and that they continue to have the confidence in our brand to deliver both on audio quality and logistical excellence.”

Click here for more on NBCUniversal’s Milan Cortina 2026 programming.

TV Tech’s overall coverage of NBC Sports' overall tech plans for the 2026 Winter Games can be found here, here and here.

STAMFORD, Conn.—NBC Sports will use a variety of microphones, headsets and headphones from Audio-Technica for its production of the 2024 Paris Olympics and Paralympics, July 24-August 11, and August 28-Sept. 8, respectively.

NBCUniversal’s coverage of the Olympic Games Paris 2024 will feature multi-platform offerings across NBC, Peacock, USA Network, E!, CNBC, GOLF Channel, Spanish-language networks Telemundo and Universo, and NBCOlympics.com and the NBC Sports app. NBC will provide at least nine hours of daytime coverage of the Summer Games’ most exciting events, including live finals coverage.

“We’re delighted once again to have Audio-Technica provide more than 600 microphones, headsets, and headphones for our Olympics and Paralympics production,” said Karl Malone, Sr Director Audio Engineering, NBC Sports. “The quality and reliability of Audio-Technica hardware, as well as the tonal quality of the products, allow us to be consistently creative in our audio production. Whether using a mono or stereo shotgun microphone or an immersive 8.0 microphone, Audio-Technica's products will ensure exceptional sound quality for NBC Sports production in Paris and Stamford.”

Audio-Technica has worked with NBC Sports for 24 years, assisting NBC Sports’ production efforts at previous Olympics and other major international sports events in North America, Europe and Asia.

“It is always a pleasure to work with the audio team at NBC Sports, from the meticulous planning through to the on-site delivery,” states Rodrigo Thomaz, Project Manager – Broadcast Partnerships at Audio-Technica with technical responsibility for the collaboration. “The concepts that we work on together are always pushing the barriers of what can be achieved with exceptional audio capture at the numerous sporting venues.”

STOW, OHIO — Alteros, an Audio-Technica company, has introduced two new handheld transmitters — the GTX24HHP live performer handheld and GTX24HHB broadcast handheld (shown) — along with remote and network control software platform that makes it easier to set up and operate the GTX Series L.A.W.N. (Local Area Wireless microphone Network) Ultra-Wideband (UWB) wireless microphone system.

WIRELESS MIC SYSTEM

A 6.5 GHz digital system, the GTX Series L.A.W.N. UWB system offers immunity to radio frequency spectrum regulatory changes, bandwidth loss and channel crowding, resulting in interference-free performance, even in the most demanding live broadcast settings, the company says.

The L.A.W.N. system enables operation outside the crowded UHF spectrum, free from database registration, licensing, complex support equipment, and even RF frequency coordination. It supports repeated deployment, from studio-to-studio and location-to-location, of 24 simultaneous, low latency (<3ms), 48 kHz/24-bit audio channels in any indoor or outdoor broadcast or performance environment, according to A-T.

HANDHELD MIC TRANSMITTERS

Available this summer, the GTX24HHP “performer” and GTX24HHB “broadcaster” microphone transmitters join a product line that includes the GTX3224 control unit, GTX24 bodypack transmitter, and GTX32 transceiver.

Intended for live performance, the GTX24HHP “performer” wireless handheld mic features a lightweight, ergonomic design that accepts popular thread-on microphone capsules using a 1.25-inch /28-thread pitch. This allows performers to select their preferred mic sound and performance from a wide range of manufacturers, including new Audio-Technica capsules.

The GTX24HHB “broadcaster” wireless handheld mic includes a dedicated “flag mount” section and incorporated “talkback button,” while incorporating interchangeable mic capsule mounts for maximum sound and performance flexibility.

According to Alteros President and CTO Jackie Green, “Modern facilities and systems are taking advantage of IP-based networking technology to reduce operational costs, simplify workflows, ensure … production quality, and even simplify equipment setup and operation.”

The Alteros R&D team worked closely with key professionals in the live, touring and broadcast markets to identify their desired workflows, interfaces and functionality.

The resulting Ethernet-based system allows easier setup, control, monitoring, naming, and network and clock management via a sophisticated user interface that can be accessed directly or remotely on multiple device platforms.

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STOW, OHIO—Audio-Technica has announced the formation of Alteros, a subsidiary company that will focus on providing technically advanced technology that addresses frequency spectrum and how it affects the operation of wireless products in live audio production, broadcast studios, sporting events and other applications.

Philip Cajka, Audio-Technica U.S. president and CEO, and Jackie Green, Audio-Technica U.S. vice president R&D/Engineering and Alteros president and CTO.

Jackie Green, Audio-Technica U.S. vice president of R&D/Engineering, has been tapped to serve as Alteros’ president and CTO. Additional members of the Alteros executive team include Brian Friar as executive vice president digital engineering and Bob Green as executive vice president of product engineering.

Alteros will take from A-T’s previous research on ultra-wideband and RF technology to address issues facing frequency spectrum allocation, frequency auctions, and frequency coordination. The subsidiary’s first technology platform is based off A-T’s SpectraPulse ultra-wideband wireless microphone system.

STOW, OHIO—Audio-Technica is heading to Rio de Janeiro for the 2016 Olympics as NBC Olympics, a division of NBC Sports Group, has announced it will use the company’s microphones, broadcast headsets and monitor headphones for production of the XXXI Olympiad.

The Ohio-based company will provide its BP4027 and BP4029 stereo shotgun microphones to mount on cameras; its AT4050ST large-diaphragm stereo microphones and BP4025 X/Y stereo microphones to capture ambiance from the events; the BPHS1 broadcast stereo headsets will be worn by announcers; the BP4001 handheld cardioid dynamic microphones will be used for interviews; and the ATH-M50x professional monitor headphones will be used in edit rooms for monitoring RF mic receivers and sub mix consoles.

The 2016 Summer Olympics in Rio de Janeiro will take place from Aug. 5-21.