Broadcasters, production companies, and show producers alike know that engaging audiences more deeply in their productions not only makes their work memorable but keeps the public coming back for more.

That’s why there’s been so much attention paid over the past few years to enhancing resolution—taking it to 4K and even 8K UHD—and transitioning to high dynamic range (HDR) pictures offering a much wider color gamut than standard dynamic range. Each helps to put lifelike images—those that pull viewers into content—on screen.

But what about audio production? Equal effort is being given to enhancing viewers’ audio experience as well. A number of technologies have emerged to enhance the audio experience, such as speech enhancement and descriptive audio. But it’s immersive sound that most directly engages audiences in the action by creating a captivating audio experience that’s the perfect match for 4K/8K UHD images and HDR.

Until recently, capturing immersive audio, especially for live productions like sports, has required elaborate, time-consuming mic setups and exceptional mixing diligence to create an immersive sound experience. Not only was a good deal of work needed to precisely position and tweak the mics' aim to pick up the channels required for the immersive mix, but cabling and mounting complexity grew with each new microphone.

A new digital broadcast microphone array from Shure, however, is changing that equation. The Shure DCA901 is equipped with 78 individual microphone elements that form eight lobes, which can be steered remotely in real time to create a sound field that changes as the action moves across the screen. During setup, having steerable lobes means adjusting the pickup from a central computer, not physically at the mic. During production, they mean being able to capture audio as the action unfolds.

For instance, for basketball games, two DCA901 arrays—one mounted to each backboard stanchion—provide A1s with total court coverage and the ability to steer audio pickup to capture dribbles and shoe squeaks as play moves around the court.

Beyond sports, the DCA901 is leaving its mark in live studio production, newscast production, reality TV production, and even after a shoot is finished in post-production.

Bill Oakley, Shure Associate Director of Global Product Development, recently sat down with TVTech contributing editor Phil Kurz to discuss immersive audio and the role the company’s DCA901 is playing in simplifying production of live immersive audio.

Click here to watch the interview.

SAN DIEGO—Sony Electronics has announced the ECM-L1, a professional-quality lavalier microphone with plug-in power and professional audio technology that ensures every word and nuance is captured with precision.  

The ECM-L1 will be available in October 2024 for approximately $279.99 USD and $399.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

The 3.5mm mini plug providing plug-in power support is designed for an extensive range of uses, including direct connection to Sony’s Alpha series cameras equipped with aux audio inputs or wireless microphone transmitters. Featuring a compact pin design, it can be discreet without sacrificing sound performance, making it perfect for vlogging, interviews, documentaries, and livestreams.

“There has been increasing interest in higher-quality sound options to match the continued rise in video content creation,” says Yang Cheng, vice president, imaging solutions, Sony Electronics. “With the introduction of the ECM-L1, we’re able to leverage technology from our trusted ECM-77 professional audio line. This new addition brings a pro-grade audio lavalier solution to the gear kits of creators.” 

More specifically, Sony reported that the ECM-L1 is designed to meet top-tier reliability and quality demands. Its capsule is built with a fixed electrode plate made of a rigid ceramic. Its superior vibration properties deliver excellent sound quality with improved rise time and high resolution. Externally, the microphone capsule is covered with a machined brass exterior to suppress unnecessary external resonance, enabling clear, crisp sound pickup. In addition, the high-purity OFC (oxygen-free copper) cable reduces audio transmission loss without compromising high sound quality.

The durable brass housing protects the ECM-L1 microphone to hold up against wear and tear, even under rough usage at shooting sites. The 2.2 mm diameter cable is resistant to breakage and a locking ring2 is used at the connection point with the recording device to prevent the connector from accidentally coming loose, Sony said. 

Two types of windscreens are included to reduce wind and pop noise, including a discreet metal option and a faux fur option.

The ECM-L1 lavalier microphone has plug-in power, where power is supplied from the connected device. It can be connected to a wide range of devices equipped with a 3.5 mm microphone input terminal, such as cameras, smartphones, wireless microphones, IC recorders, and computers, enabling high-quality audio recording to suit the many types of use cases.

For detailed product information about ECM-L1, visit here. 

KOKKEDAL, Denmark—DPA Microphones has launched the new 2017 shotgun microphone, designed to capture authentic sound with high directionality even in extreme weather conditions.

“In an industry with a variety of shotgun microphones, we built the 2017 to stand out from the crowd,” said Helga Volha Somava, product management director at DPA Microphones.

“Measuring just 184mm [7.24 inches] in length, the 2017 is more compact than many popular solutions and still offers impressive technological features. From its durable construction and ease of use to its leading acoustical properties, the 2017 can capture the energy of any event. Whether it is used in fixed positions at facilities or on camera systems and booms, our goal was to create a dedicated, optimized broadcast and live sound microphone that rivals the competition and provides exceptional value for professionals.”

Well-suited for broadcast and live events, the 2017 holds up to travel and repeated use in harsh environments. It persists in humid conditions and direct rain showers as well as dry, arid environments, the company said.

The microphone has been tested for use in temperatures up to 104 degrees with 90% relative humidity and down to 140 degrees, it said.

Featuring a specifically designed capsule that is paired with a cutting-edge interference tube and microphone grid, the 2017 offers high performance, both on- and off-axis. It has a high degree of off-axis rejection, which permits the main source to stand out. This heavily attenuated off-axis audio is authentic and extremely usable for mixing into the entire soundscape, the company said.

Audio professionals can now pick up accurate, clean sounds from even the most minute sources. For broadcasts that take place at quieter locations, the 2017’s low self-noise enables excellent a performance, even in the presence of many open microphones, it said.

The versatile 2017 is easy to set up and well-suited for fixed or booming applications in live sports and news broadcasts as well as in theaters on a FOH boom or fly bar, it said.

More information is available on the company’s website.

FREMONT, Calif.—Blackmagic Design has announced a number of new products and updates, including ATEM Television Studio HD8, Blackmagic Studio Camera 6K Pro and ATEM Microphone Converter.

It also unveiled software updates for Blackmagic ATEM Switchers 9.0, which provides support for the ATEM Television Studio HD8 range and general performance and stability updates and Blackmagic Camera Setup 8.0, which adds support for new Blackmagic Studio Camera 6K Pro and Blackmagic Studio Camera 4K Pro G2. 

The new ATEM Television Studio HD8 is a new family of all in one live production switchers that combine broadcast features with extreme portability. These new switchers feature broadcast grade control panels with advanced features such as streaming and recording. There is also an ISO model that can record all video inputs and can connect to up to eight remote cameras. These new switchers also support live streaming, talkback and optional internal storage. 

"These new ATEM Television Studio HD8 switchers are amazing as they pack so many features into an extremely portable design," said Grant Petty, Blackmagic Design CEO. "However we also wanted them to be high end broadcast grade switchers so customers don't have to compromise. We have achieved this as they feature full broadcast control panels, innovative audio mixing, plus streaming and recording all built in. It’s very exciting!"

Key features of the ATEM Television Studio HD8 features include:

• All in one switcher and control panel design.
• Supports connecting up to 8 x SDI cameras.
• Wide range of professional video effects included.
• Internal media for stills and motion graphics.
• 4 ATEM Advanced Chroma Keyers for green/blue screen work.
• Includes SuperSource multi layer processor with 4 DVEs.
• 8 x standards converted 3G-SDI inputs.
• 9 x 3G-SDI program video outputs and 2 x 3G-SDI aux outputs.
• Audio mixer supports limiter, compressor, 6 band EQ and more!
• 16 way multiview for monitoring all cameras on a single monitor.
• Live stream via Ethernet or mobile phones via USB.
• Records to USB flash disks or optional internal cloud storage.
• USB output operates as a webcam and supports all video software.
• ISO model supports recording all video inputs for later editing.
• ISO model records a DaVinci Resolve project file.
• Supports remote internet connected cameras on ISO model.
• Includes free ATEM Software Control for Mac and Windows.
• Localized for 13 popular languages.
• Expands audio inputs with ATEM Microphone Converter.

ATEM Television Studio HD8 is available immediately from Blackmagic Design resellers worldwide from US$2,995. For more information, please find the press release and images here. 

Another new product is the Blackmagic Studio Camera 6K Pro, a new more powerful studio camera model that features an EF lens mount, a larger 6K sensor for improved colorimetry and fine detail handling, ND filters and built in live streaming via Ethernet or mobile data. 

Blackmagic Studio Camera 6K Pro shares the same compact all-in-one design of the studio camera family with a lightweight carbon fiber reinforced polycarbonate body, large integrated 7" HDR viewfinder and powerful broadcast connections.

Also announced today is the Blackmagic Studio Camera 4K Pro G2, an updated model that now includes built in live streaming.

Blackmagic Studio Camera 6K Pro features include:

• Native 6K sensor with 13 stops of dynamic range.
• Compatible with a wide range of popular EF lenses.
• Live streaming for global remote cameras via Ethernet of mobile data.
• Built in 2, 4 and 6 stop remote controllable ND filters.
• Large 7 inch high brightness viewfinder.
• Includes 12G-SDI, HDMI, 10G Ethernet connections.
• Single 10G Ethernet allows SMPTE fiber style workflow.
• Professional mini XLR inputs with 48 volt phantom power.
• Optional focus and zoom demands for lens control.
• Blackmagic Studio Converter allows all connections via Ethernet.

Blackmagic Studio Camera 6K Pro is available immediately from Blackmagic Design resellers worldwide from $2495. For more information, please find the press release and images here. 

In addition Blackmagic introduced the ATEM Microphone Converter, a new audio analog to digital converter that lets customers add additional microphones to ATEM switcher models such as the new ATEM Television Studio HD8. Featuring a MADI connection, it means customers don't have to configure any complex settings because the connection is a simple BNC cable. The design features amazing quality with an extremely low noise floor of -129dBV, a dynamic range of 131 dB(A), low distortion of 0.002% and uniform tolerances across all channels. The design also features an HDMI monitoring output with scrolling waveform displays. 

ATEM Microphone Converter features include:

• Expand audio inputs with ATEM Microphone Converter.
• Robust converter style design.
• Connects via MADI for multi channel audio.
• Extremely low noise floor of -129dBV.
• Ultra high dynamic range of 131 dB(A).
• Precise input matching and low distortion of 0.002%.
• Includes HDMI monitoring output with scrolling audio waveform display.

 ATEM Microphone Converter will be available in Q2 from Blackmagic Design resellers worldwide for $395. 

A detailed presentation of the new products and updates by the company founder and CEO Grant Petty is available here. 

PARAMUS, N.J.—Sony Electronics is expanding its DWX series of professional wireless mics and transmitters with the introduction of a new digital wireless plug-on transmitter, the DWT-P30.  

Designed for studio, electronic newsgathering (ENG) and location sound, the new transmitter complements Sony’s slot-in receiver and bodypack transmitters to create an all-inclusive digital wireless microphone system that can be used with Sony’s cameras, in addition to UniSlot standard devices, the company said. 

Key features include:

• 375kHz spacing high-density simultaneous multi-channel operation and wideband tuning at a maximum of 148MHz
• Allows tuning to frequencies as mandated by the FCC Spectrum guidelines UHF-TV Ch. 14-36 and 38 UHF-TV
• High sound quality with CODEC MODE4
• Prioritizes audio quality
• Ensures faithful reproduction
• Maintains transmission stability
• Provides low delay time
• Selectable RF outpower power (2mW/ 10mW / 25mW)
• Long battery life of approximately 6 hours
• Remote control of transmitter settings with Cross Remote function

 The DWT-P30 is planned to be available at the end of 2022.  For additional information about Sony’s latest professional audio technologies, please visit pro.sony/audio.

London, UK— The decision to standardize on Point Source Audio (PSA) was led by Dave Cowell, lead sound designer and programmer for Carnival UK. Point Source Audio’s body-worn microphones will support the fleets’ performance venues which are in use a standard 15-hours a day, 365 days a year.

Carnival UK (which incorporates Cunard Cruise Line and P&O Cruises UK) are part of Carnival Corporation & plc, the world’s largest leisure travel company, with a cruise fleet of 102 ships operating in North America, England, Europe and Australia.

“The cruising industry is one of the harshest environments for product delivery I have worked in. When microphones fail due to sweat, cable failure or breakages, it significantly affects our product delivery to the thousands of guests we cater to on a daily basis,” described Cowell.

Having used microphones from different manufacturers over the years, Cowell experienced increasing costs but saw no major benefit change to the products. The variation of microphones from ship to ship—including a mixture of omni and directional units—made the shows sound different, as well as life more difficult for the engineers who had to come to grips with new sound challenges on a routine basis.

“There weren’t many available solutions to consider. First and foremost, I was looking for quality, followed very closely by sweat resistance and longevity,” said Cowell. “While the quality aspect was matched from our previous supplier, there were continued issues with sweat ingress and breakages as well as the aforementioned cost implications.”

Autograph supplied demo units of PSA’s CO-8WD omni headsets for Cunard’s Queen Elizabeth which led to Cowell’s ultimate recommendation to move ahead with Point Source: “From the moment the microphones were plugged in, I could hear the quality. Crystal clear mid and high frequencies made vocal mixing easy. The low end was also great for our male cast members. The gain before feedback was impressive and there was very little EQ applied to any of the performers as the response was so flat out of the box.”

The ability of the headsets to be bent and configured to any conceivable shape without breaking was incredibly important to Cowell. He described the wear and tear the mics typically face: “The production casts are on board between five to seven months and perform two or three shows a night, on average every two days. We have costume changes that run under 8 seconds, so having a unit which dealt with the day to day environment was paramount. The sturdy frame of the headset was also an important factor for the same reasons.”

Cowell summed up his experience by expressing that “our Point Source Audio microphones are delivering monetary benefits as well as continued quality across our delivered product.” He credited the marked improvements by saying, “Thankfully, our relationship with Autograph and the fact we were provided demo units to trial during the aforementioned installation meant that they could be properly tested by myself on board, allowing me to gather an informed opinion on their suitability, both from a product delivery standpoint as well as a cost benefit one.”

Visitors to PLASA 2019 from September 15-17 will be able to demo Point Source Audio’s collection of microphones at Autograph Sales & Installations’ stand H10 in Olympia, London.

To learn more about Point Source Audio products, visit www.point-sourceaudio.com or its UK distributor, Autograph Sales & Installations at http://www.autographsales.co.uk.

About Carnival United Kingdom Carnival UK (which incorporates Cunard Cruise Line and P&O Cruises UK) are part of Carnival Corporation & plc, the world’s largest leisure travel company, whose portfolio of global cruise line brands includes operations in North America, England, Europe and Australia. Their cruise fleet of 102 ships is the most extensive globally, visiting more than 700 ports around the world, employing over 120,000 people worldwide and attracting 11.5 million guests annually.

About Autograph Sales & Installation Autograph Sales & Installations was established in 1982 by Autograph Sound, a global pioneer in audio for theatre and one of Europe’s leading sound rental companies. Then, as now, Sales & Installations’ activities complement those of the hire division by bringing the same design principles, system engineering, technical expertise, and leading-edge technologies to a much broader spectrum of clients in education, worship, industry and retail. They are also acknowledged leaders in providing installed audio solutions for contemporary theatre and dedicated performance spaces.

About Point Source Audio Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Petaluma, Calif.— Point Source Audio (PSA), manufacturer of specialty sub-miniature body-worn style microphones, has launched Mic Finder, an interactive web-based tool designed to help sound teams—from TV to theatre—pinpoint specific mic elements and mic styles to suit applications from corporate presenters to rock n’ roll musicals to violin mic’ing.

Expanding beyond traditional lavalier and headset style microphones, recent advances in the company’s approach to body-worn mics include the patent-pending Confidence™Collection microphones highlighting built-in redundancy, and the EMBRACE™Collection of concealable microphones that are twice patented. The company emphasizes that these additions present a world of fresh possibilities when sound teams are challenged with unique requisites—from facial hair to drop hoop earrings—when fitting mics on actors or speakers.

The Mic Finder web tool is accessible online via desktop, tablet, and mobile devices. The tool presents a series of questions to narrow microphone choice and shares successful experiences from real-world examples that best match the users’ needs.

“What we’ve learned in working closely with our customers is that no two mic’ing situations are the same; the smallest variable can make one mic selection perfect in one situation, and a disaster in another,” said Yvonne Ho, sales and marketing VP for Point Source Audio.

Users looking for the right microphone simply select the relevant application with various considerations from Mic Finder’s menu settings. Product recommendations are then presented along with customer use cases including:

• Mics that hide
• Mics that survive heavy water/sweat
• Mics for fast-moving musical theatre
• Mics for preaching
• Mics that fight feedback
• Mics that shape and bend
• Mics that accept custom color
• Mics for bearded performers
• Mics that backup themselves

Besides finding the right microphone performance features, sound teams must also battle variables such as costuming, concealment, venue size, loudspeaker placement, vocal projection, and more. Ho explained with examples: “We get questions routinely on how to head mic an actor with no hair, or one who sweats heavily, or sometimes both at the same time.”

The novice sound person can learn about mic choice with consideration for speaking or singing, whereas those new to Point Source Audio mics can discover unconventional mic’ing possibilities including how EMBRACE microphones can be used for violinists or boom headsets for flutists doubling on several instruments in one performance.

The company expects to continue expanding the tool with new products and technology solutions alongside noteworthy applications in real-world environments. To access Mic Finder, visit www.point-sourceaudio.com/mic-finder

About Point Source Audio

Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Manteo, N.C.— Through wind and rain, stage fights, environmental acoustics and more, Point Source Audio mics have weathered all the challenges in The Lost Colony, the outdoor theatre production located on the Outer Banks of North Carolina. The audio team, confident in their PSA investment since 2013, recently added the new patent-pending CO2 Confidence Collectiondual-element headset mic to their collection of 24 active on set mics.

“We were excited to see a product that made the application of the dual elements simpler by combining those wire runs and keeping things as tidy as possible. That mic has been a great benefit to the production,” says Sound Designer/composer Michael Rasbury. “The [lead] character is most likely to have a mic issue due to the activity required by this role; stage combat; perspiration.”

Since 1937, The Lost Colony has been telling the story of the first English colonies in North America and their mysterious disappearance. Over the past few years, the audio systems have been overhauled, upgraded and redesigned, including the ever-important microphones.

Robust equipment to withstand elements including water—in the form of rain and perspiration— as well as wind and heat is invaluable for theatre, but especially for outdoor theatre. The associate producer Lance Culpepper explains: “To provide our audience the experience that they’re expecting, we really have to put a lot of our resources into ensuring that the audio equipment can sustain itself through all of these dynamic changes. That’s one of the reasons why microphones are so important to us. Prior to the Point Source mics, we saw a much shorter lifespan with the previous microphones and we had to send them out for servicing more frequently. We don’t see those problems with the Point Source mics.”

“I am beyond pleased with the addition of Point Source microphones to our production,” states A1 Joseph Reynolds. “The waterproof elements are paramount to an outdoor period drama, where the perspiration of the talent could compromise mic functionality. I especially enjoy the dual behind the ear headsets. It helps to have consistent placement and keeps the mic off the talent’s face.”

Placement is an important consideration as noted by Rasbury. “From a design perspective, the low profile of these microphones is key for getting the mic near the voice without detracting from the 16th-century costume design. Our show is also very physical in nature. We have a large company and large-scale fight choreography. Given the way these mics attach to both ears, they stay on the actor and in the correct place throughout the show.”

The other feature of the PSA mics that the team wants to highlight is that “the frequency response of these elements is excellent (20Hz to 20kHz),” says Rasbury. “Our show also includes gunshots, explosions, and loud actor responses; these do not distort at high SPL.” Reynolds adds, “The frequency response is tailored nicely to the full range of human speech and I don’t have to slice up every channel with a parametric scalpel.”

The CO2 Confidence Collection has two waterproof and frequency-matched elements, each measuring a tiny 3mm. Both elements offer built-in redundancy and integrate PSA’s first-to-market features including IP 57 waterproof rating and the “unbreakable” headset boom. Point Source Audio mics are engineered for durability and to endure challenging mic applications.

Culpepper appreciates the support from Point Source Audio. “They’ve been great to work with,” he says. “The communication has been excellent as well as customer service-wise. Knowing that we’re not just another account number with them means a lot to our organization.”

The audio team at The Lost Colony includes sound designer Michael Rasbury, A1 Joe Reynolds, and A2 Josiah Rodgers. Microphones supplied by Wake Forest, NC-based Provision Audio Video Solutions.

For more information about Point Source Audio and its products, visit www.point-sourceaudio.com.

AboutThe Lost Colony

First staged in 1937, The Lost Colony is the nation’s premier and longest-running outdoor symphonic drama. Written by Pulitzer Prize-winning playwright Paul Green and produced by the Roanoke Island Historical Association, a 501 (c)(3) nonprofit, The Lost Colony’s 2019 season runs May 31-Aug. 23, 2019 at Roanoke Island’s Waterside Theatre, located within the Fort Raleigh National Historic Site on the Outer Banks. For information, go to www.thelostcolony.org

About Point Source Audio

Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Petaluma, CA ­– Point Source Audio (PSA), will be displaying their patent-pending CO2 Confidence Collection, a new class of built-in redundant microphones, at this year’s Infocomm trade show being held June 12-14 in Orlando, FL.

The CO2 Confidence Collection all have dual elements, each measuring a tiny 3mm, that offer built-in redundancy and comes in three styles: headset, lavalier, and in Point Source Audio’s patented EMBRACE™ embodiment. The CO2 dual elements maintain two of the company’s signature features: IP 57 waterproof rating (rated against water, sweat and makeup), and the “unbreakable” headset boom bendable up to 360° to bolster durability.

The CO2 Confidence Collection, released in February 2019, has been gaining market acceptance as a convenient mic redundancy solution in their core theatre market as well as house of worship and corporate audio markets. Forty of PSA’s CO2 headsets were recently utilized for double mic’ing at the 2019 American Israeli Policy Conference (AIPAC) held at the Walter E. Washington Convention Center in Washington, DC, in early March.

The CO2 headset microphones were also used at the recent USITT 2019 Stage Expo for the keynote speech and other high profile events. Jeff Polunas, Special Events Sound Coordinator for the USITT Sound Commission, incorporated the CO2 Confidence mics into his audio rigs saying, “I think they are top of the line products and anyone that would be using them would be happy to have them in their production.”

Attendees can see the full line of specialty miniature, body-worn style microphones and the patented EMBRACE™ earmounted lavalier, as well as in-ear audio headsets at the Infocomm booth 5443. For more information about Point Source Audio’s various audio solutions, visit www.point-sourceaudio.com.

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones — a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Petaluma, Calif. — Point Source Audio (PSA) announced that it has appointed China’s EAD and South Korea’s Capstone Pro to be distribution partners for its SERIES8 and EMBRACE™ microphones as well as its CM-i series of patented in-ear headsets. The appointments come on the back of an expansion effort in response to increased sales and product awareness outside of the USA for Point Source Audio. These partnerships further expand the company’s worldwide reach, which now includes international partners in the United Kingdom, Australia, Japan Italy, Norway, Finland and France, among others.

“We’re excited to be working with both Capstone Pro and EAD,” said James Lamb, President of Point Source Audio. “The creative community in these regions is massive and our products fit their needs. Our goal is to continuously improve our customers’ experience around the world in every aspect and we are confident that our new partners will help achieve that.”

Integral to achieving this growth trajectory in the Asia Pacific region is also the appointment of AS Audio APAC Pte. Ltd. as the manufacturer’s representative in the territory. Based in Singapore, the company, led by Alex Schloesser, will support the Asia Pacific business and develop its distribution network. AS Audio will also handle all technical and sales support for Point Source Audio throughout the APAC region.

Schloesser comments, “Developing and growing the PSA business is a rewarding and enjoyable task. Wherever we take the products, they shine and stand their ground with the competition. I very much look forward to be taking PSA into APAC.”

Point Source Audio is a manufacturer of specialty sub-miniature body-worn style microphones and patented lavalier mounting systems specifically designed for theatre applications. The company creates value-added solutions through intelligent designs, driven by market demand — examples include their IP 57 rated waterproof models and unique headsets which retain the position of the microphone capsule regardless of performer activity.

About EAD
Established in 1997, Guangzhou Donghui Digital Technology Development Co, Ltd is a professional audio and video integrator and distribution company. The company is headquartered in Hong Kong with branches in Guangzhou and Beijing. For more information, visit their website at www.ead.cn.

About Capstone Pro
CAPSTONE PRO, led by founders Kevin Kim and Jesse Park, both veterans of the professional audio industry, was established in 2018. The company distributes pro audio brands including Point Source Audio throughout Korea. For more information visit their website at www.capstonepro.co.kr.

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones—a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, Calif. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Washington, D.C.. — Point Source Audio’s CO2 Confidence headsets played a large primary—and a critical secondary—role for double mic’ing at the 2019 AIPAC Policy Conference held at the Walter E. Washington Convention Center in Washington DC. Over 18,000 people attended the three-day conference and included members of Congress, students, and synagogue delegations. The guest speaker roster was massive (the AIPAC website lists over 400) and the audio needs were equally large with 120 channels of wireless mics being used. And, as typical, the expectations for fail safe reliability and sonic excellence with microphones were high.

AIPAC live interviews got “backup” from 40 redundancy headsets

To that end, audio supplier, Maryland Sound Industries (MSI) provided their client, Viva Creative, 40 of Point Source Audio’s CO2 Confidence headset mics for use with the Shure and Sennheiser RF systems that were utilized for the event. Given the amount of RF which, in addition to microphones, included IEMs, broadcast and security channels, the chance of being “stepped” on was very real and made frequency coordination and backup or redundancy options vital.

Robert Jones is the account manager for MSI and first tried the PSA mics at a demo and was impressed both with the sonic capability and the fact that he now had two identical microphones in one package. “In the past we’ve used two transmitters with a headset and with a lavalier mic as backup. If we lost a particular frequency, which can happen in an event this large, and needed to switch transmitters during the speech, the sound difference between the lav and headset is audible. With the Point Source Audio mics, the sound never changes and, on those occasions, where we do need to switch to the backup transmitter, the audience doesn’t notice. There is a sonic consistency we like.”

Jones also noted the increased speed and ease of mic’ing the talent with the PSA mics saying, “Once this thing gets rolling, it’s a constant process of removing the mic as the speaker leaves the stage, putting one on for the new speaker, and on and on. Anything that helps our techs with that process is much appreciated.”

Yvonne Ho, VP of sales & marketing at Point Source Audio, appreciates and understands the challenges of large-scale productions such as AIPAC and commented, “Beyond the audio quality aspect, our goal is to assist our customers in solving problems. If the tech crew can double mic speakers in half the time and ensure the live mic is fail-safe, then we are making real progress.”

The patent-pending CO2 Confidence Collection, a new class of wireless microphones, all have dual elements, each measuring a tiny 3mm that offers built-in redundancy. The CO2 mics also integrate two of the company’s important first-to-market features in miniature microphones: IP 57 waterproof rating, and the “unbreakable” headset boom bendable to 360° to bolster durability.

Point Source Audio will be showcasing the CO2 Confidence microphones for audio professionals at the upcoming InfoComm in Orlando, June 12 – 14, booth 5443. To learn more about Point Source Audio products, please visit www.point-sourceaudio.com

###

About Maryland Sound
Founded in 1967 as a touring sound company, Maryland Sound has been an industry leader for over 40 years. While still maintaining a presence in the touring industry with artists such as Slash, Yanni, Seal, and other international artists, the company is now known as a leader in broadcast, sporting, and corporate events such as the Dew Action Sports Tour, multiple Presidential Inauguration Swearing In Ceremonies, as well as Inaugural Balls and, for 28 years, New Year’s Eve in Times Square. www.marylandsound.com

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones — a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Charlotte, N.C. — Charlotte-based Elevation Church now has 19 campuses around North Carolina, all with very high production values. Each of the locations has its own worship band, and services are streamed from Elevation’s broadcast location to its satellite locations and the internet during worship experiences each weekend.

About four years ago, one of the technical volunteers at the main broadcast campus where sermons originate, got tired of wearing the large bulky double muff can-style headsets for tech team communication. So he bought a Point Source Audio CM-i3 in-ear headset with his own money. Its innovative lightweight design goes behind the head, as opposed to over the top of the head. A lightweight frame goes over his ears and it has small earbuds, a head strap around the back, and a mic that’s a little larger than a lavalier-style mic.

Other techs took notice and now 15 volunteers at Elevation have all purchased their own set.

Jared Olson is production director at Elevation’s Ballantyne Campus. Olson says, “I wear mine for 8-10 hours a day every Saturday and Sunday. I’ve had the same headset for four years with no problems. Any production I do, I do with this headset. I wear glasses and any muff-style headset gives me a headache.” Olson continues, “Most of the techs have custom in-ear molds and you can easily replace the stock or standard earbuds with your in-ear molds. It’s even more comfortable, and also provides an added measure of isolation.”

During those 8-10 hours a day, Olson says he wears the headset listening to rehearsals, front-of-house mixes or the streaming mix, as well as for conducting party line communication with camera operators, graphics, the stage, the band—the full production team. As production manager, he says the team has to know he is always available, so that’s why he wears the headsets the entire day. “Even between services we often take cameras outside to shoot interviews and video,” he says. Through it all, Olson is wearing his CM-i3 headset.

Elevation volunteer Mike Mitchell was the first member of the team to buy the CM-i3 back in 2016. “When I first used the CM-i3 headset, it was transformational,” says Mitchell. “The ability to hear better and protect my hearing at the same time has improved the way I approach my role in the production process.”

The headsets feature the company’s EM-3 in-earphones which can be switched with earphones of the user’s choice. The flexibility also extends the serviceability and lifetime of the product. The headset has a boom moving coil dynamic element with a cardioid pattern and a frequency response of 300 to 10,000 Hz. The earphones feature a single-driver ported design and come with three sizes of ear tips, a windscreen with an o-ring, and a custom storage case.

The newer CM-i5 in-ear headset is a back-electret condenser design offering a noise-canceling cardioid pattern and expanded frequency response of 100 to 10,000 Hz. The earphones feature an improved single-driver ported custom-molded style, universal design that can also be easily switched with the user’s personal earbuds.

Volunteers and staff now using the CM-i3 and CM-i5 in-ear headsets at Elevation Church say using them has made a huge difference in the ease and comfort of the production process and has been well worth the personal investment.

Point Source Audio will be showcasing the CM-i3 and CMi-5 in-ear headsets at the NAB Convention in Las Vegas, April 6-11, booth C2357. To learn more about Point Source Audio products, please visit www.point-sourceaudio.com.

###

About Elevation Church
Elevation Church is a multi-site church pastored by Steven Furtick, based in Matthews, North Carolina.Elevation has 19 locations, with 9 in the Charlotte area, as well as locations in Raleigh; Greensboro; Winston-Salem; Roanoke Virginia; Melbourne Florida; and the Greater Toronto Area. From 2007 through 2010, Elevation was cited by Outreach Magazine as one of the Top 100 fastest growing churches in the United States. www.elevationchurch.org

About Point Source Audio
Point Source Audio (@PSA_audio) manufactures and distributes worldwide their SERIES8, EMBRACE, and CONFIDENCE collection of miniature microphones — a unique line of headset, earworn and earmounted microphones known for their robust bendable boom and waterproof features. The company also holds two patents for the EMBRACE concealable microphone as well as the patent for the world’s first modular in-ear comms headset that is supporting the hearing health for audio, lighting and camera techs using headsets everywhere from sports to space. Founded in 2004, Point Source Audio is headquartered in Petaluma, California. For more information call (415) 226-1122 or visit www.point-sourceaudio.com. Follow the company on Twitter at www.twitter.com/PSA_audio.

Petaluma, California — Point Source Audio (PSA) today announced the patent-pending CO2 Confidence Collection microphones. The new class of wireless microphones all have dual elements offering built-in redundancy—and showcase an appealing new slimline design. They integrate two of the company’s important first-to-market features in miniature microphones: IP 57 waterproof rating, and the “unbreakable” headset boom bendable to 360° to bolster durability. All this unlocks new conveniences and simplicity for broadcast, audio, and production techs as well as please the presenters and performers they serve. The CO2 Confidence Collection microphones are shipping February 4.

“Double mic’ing can be heavy lifting when it comes to the cabling and their clutter; that’s why our CO2 Confidence Collection is specifically intended to ease the workload of many A2’s and sound engineers working in live mic applications. We released our first dual element mics in 2017 and now we’ve added other popular styles to the collection—our development team also originated a design such that the back-up mic practically disappears from view,” said Yvonne Ho, Point Source Audio’s vice president of Sales & Marketing. “The new form factor pairs our smallest elements at roughly 3mm each to create a dual mic’ing system that is barely detectable.”

Groundbreaking Double Mic’ing Simplicity in Three New Mic Styles

The ingenious double mic’ing setup of the CO2 Confidence Collection comes in three popular styles: headset, lavalier, and in Point Source Audio’s patented EMBRACE™ embodiment. The mics’ new petite form factor is based on the company’s existing omnidirectional single element microphones of a mere 3mm—and that are all waterproof. The backup element is fashioned to the existing mic in tandem and where the independent and continuous wire paths are integrated into a singular wire jacket giving audio technicians a clean alternative to cumbersome cable dressing. The mic cable splits approximately nine inches above connection to the body-packs to allow ample room for separation of the transmitters.

Time-Tested Waterproof Endurance

The CO2 Confidence mics utilize the same waterproof elements that have helped audio teams power through many challenging stage conditions from water, sweat, makeup and even (fake) blood-soaked stage actors in productions ranging from Sweeney Todd to Singin’ in the Rain to Monsoon Wedding. Cyril Auclair, Assistant and FOH Mixer at Paris’ Théâtre du Châtelet, sums up his experience with Point Source Audio’s waterproof mics in Singin’ in the Rain this way: “We are happy with the product because after 110 shows and a lot of water the mic is perfect!!”

Sonic Excellence Seamlessly Matched in Both Elements

The Confidence microphones feature precisely matched elements to a near identical ±0.5 dB difference. Whereas a usual method of redundant mic’ing can be achieved with two separate microphones, audio between them may vary due to differences between the microphone brand, the microphones’ age, as well as variances in the specifications. The Confidence Collection solves this challenge with elements that are factory matched in frequency and sensitivity—so when a vital backup is initiated, any difference in audio performance is nearly undetectable.

SERIES8 Technology

All the dual element omnidirectional microphones come with SERIES8’s award-winning performance features and specifications. SERIES8 microphones are used worldwide—trusted by productions from Hamilton to the Tootsie Musical, and renowned performing arts programs at Belmont University, Berklee College of Music, Lindenwood and more. The backward compatibility is an advantage for existing SERIES8 customers to add the new dual element mics with total confidence in form, fit and function.

Locking X-Connectors for Added Confidence

All SERIES8 microphones feature convenient interchangeable X-Connectors for a rapid and inexpensive way to quickly change the microphone wireless termination from one brand to another. Both ends of the screw-on X-Connector now have locking “teeth” to give added confidence to the connection. More importantly, the low-cost X-Connector spares offer no-hassle repair or troubleshooting on-site.

Pricing and Availability

The CO2 Confidence Collection are offered in headset (CO2-8WD), lavalier (CO2-8WLp) and earmount (EO2-8WL) styles in beige, brown and black color starting at $825 (US) through Point Source Audio Authorized Resellers and Distributors worldwide (prices may vary).

More information about Point Source Audio and the CO2 Confidence Collection can be found by visiting www.point-sourceaudio.com.

NILES, ILL.—NBC has been helping to spread some holiday cheer with its coverage of both the Macy’s Thanksgiving Day Parade and “Christmas in Rockefeller Center” tree lighting telecast. For both events, NBC went with Shure Axient wireless microphones and PSM 1000 in-ear personal monitor systems to deal with the coverage and wireless spectrum for the outdoor broadcasts.

During the Thanksgiving Day Parade, hosts Matt Lauer, Savannah Guthrie and Al Roker were equipped with Axient AXT200 handheld transmitters with the KSM8 microphone element. Behind the scenes, eight channels of Shure PSM 1000 were used as an IFB system for camera operators and other crew members.

For the Christmas tree lighting, all hosts were outfitted with both handheld and bodypack Axient systems, which like the parade, were set up in frequency diversity mode to limit interference. In addition, tree lighters Kate McKinnon and Alec Baldwin used handheld Axients with KSM8 capsules, while the stage for music performances was outfitted with 10 channels of Axient wireless and 16 channels of PSM 1000 in-ear monitors. In total, 18 Shure Axient systems and 22 channels of PSM 1000 were used for the broadcast.

Both telecasts were run by Project Manager Joshua Flower and RF Engineer Clair Global.

Lavalier microphone development seems to be pretty much evolutionary, rather than revolutionary. No earth-shattering design or capability changes are really predictable, as far as I can tell. The arc of development consists of refinements and improvements: smaller, better sounding, lower-power demand and so on. DPA as a company has been focused on close miking in various applications for some 60 years, since being born out of pioneering measurement microphone developer (among other things) Brüel & Kjær.

FEATURES

Even by current lavalier standards, the d:screet Slim 4060 is small and light. The DPA d:screet Slim 4060 Microphone is small and light, slim and discreet, even by current lavalier standards. The microphone itself weights about 8.5 grams, including cable (a bit less than 6 feet long) and the MicroDot connector it terminates in (and which must be adapted for input to a recording device), and about 1/8 inch wide by less than 3/8 inch long and slightly over 1/16 inch thick. The cable exits the capsule perpendicularly, with built-in strain relief, making it very easy to mount and hide.

DPA uses the MicroDot connector as standard, mentioned above, which requires an adaptor for connection with a wireless transmitter or XLR cable. This proprietary connector, in addition to being small and very stable, and the proprietary adaptor provide a kind of future proofing, ensuring that there will always be a properly-wired, stable connection to whatever piece of hardware comes down the pike.

The microphone capsule itself is an omnidirectional, pressure gradient condenser, with a wide frequency response range (20 Hz to 20 kHz with a 3 dB soft boost between 5–20 kHz), roughly 100 dB of dynamic response, very low self noise, and less than 1 percent total harmonic distortion up to 123 dB peak sound pressure levels. There are actually two varieties of this microphone design: the 4060 is high sensitivity (preferred for film and/or TV applications), and the 4061 is lower sensitivity (best for music or special effects work), both designed to better match downstream equipment. This microphone is adaptable to 48V phantom power through the XLR connector and to 50V through DPA’s MicroDot adaptors for various wireless systems (from AKG and Lectrosonics to Sennheiser and Zaxcom): 3-pin LEMO, TA4F mini XLR, XLR or mini jack termination, for approximately an extra $90. The mic has a stated power range of 5–50V, with published power consumption at 1.5mA for the microphone and 3.5mA with the XLR adaptor, which can power up to 300 meters of cable run.

The d:screet Slim 4060 comes in four colors (black, brown, beige or white), and with one mounting accessory: the button hole mount. This small piece mounts to the microphone head, allows mounting with the added feature of a small pipe in the mount that allows sound to enter the mic when fully concealed. Other mounting and concealment accessories are available as well: the concealer for flat mounting, adhesive tape mounts, and a wide variety of clips and double pin (vampire) mounts and windscreens.

IN USE

I primarily used the d:screet Slim 4060 on a number of sit-down interview shoots, with the MicroDot to XLR adaptor. Admittedly, these are less demanding situations than a walk-and-talk with a wireless transmitter, or a serious concealment or a crowd situation, but it winds up being the bulk of the work I do. I primarily wanted to hear and use this mic as directly as possible, with no other adaptors or extenuating factors. The model I was provided with for this review was black, with several clips, a buttonhole adaptor and the concealer, a flat mounting plate that I used successfully and easily with some adhesive tape.

Needless to say, this microphone is very easy to mount quickly and to conceal, mainly due to its size, and has absolutely excellent sound, as expected. A nice touch is the included belt clip on the XLR adaptor, which serves to take the weight and strain off the mic capsule cable and mount, greatly reducing handling noise and the possibility for any kind of disconnect. Handling noise is very low, something I am too often aware of in interviews, as it seems many of my subjects are either in motion or nervous and twitchy, and somehow constantly moving their clothes and/or the mic mount and cable. The extreme lightness and small size of this microphone greatly reduces the subject’s awareness of it, and thus their tendency to fiddle. Despite the fact that the capsule is more exposed and would tend to be more prone to clothing rustle, its size and weight make it easy to secure and protect.

The sound is excellent—natural and very even. Since this is an omni pattern mic, I mostly mounted it center chest, about 12 to 18 inches below the subject’s mouth. Even when there was a fair amount of head movement, the sound stayed balanced and equally present, with a very low level of proximity effect “boominess” and a wonderful resistance to the level changes my subjects always seem to make when they get excited. Side noise rejection and focus were also excellent and very welcome, making the d:screet Slim 4060 extremely useful and appropriate for many interview or close mic situations.

SUMMARY

This mic was easy and quick to apply, secure and conceal and worked seamlessly in connection with my cameras and mixer, and even in multi-adaptor tests with my Lectrosonics and Sony wireless transmitters. This is no surprise, given DPA’s long history of development, refinement and further miniaturization of these tools. DPA microphones are most definitely not in the bargain or even mid-range category. They are, and have been, superior microphones for the highest quality and most demanding applications, at reasonable and professional prices that will work well and continue doing so for a long time.

Michael Hanish operates Free Lunch, a video/audio/multimedia production house near Guilford, Vt. He may be contacted atmichael@freelunchmedia.com.

➤FAST FACTS

APPLICATION
Audio for video/film

KEY FEATURES
Small, easy to hide, omnidirectional, good sensitivity and focus

PRICE
$429.95

CONTACT
DPA Microphones
www.dpamicrophones.com

AMSTERDAM—The first thing most people think about in terms of creating virtual reality content is the camera, but Sennheiser wants to make sure they don’t forget about the audio, as the company unveiled during IBC 2016 the AMBEO VR Mic. The AMBEO mic is a compact, hand-held unit that Sennheiser says will produce “high-quality 3D audio that eliminates the boundaries between playback and reality.”

The AMBEO VR Mic is an Ambisonics microphone that uses four matched capsules in a tetrahedral arrangement. Fully balanced, the mic is powered by 4x 48 volts phantom powering. The mic comes with a split cable with four XLR connectors, a Rycote suspension mount and a foam windshield.

An encoding software is also included, which translates the A format file generated from the recording of the four microphone channels into a B format file: W, X, Y and Z. The W component is the omni and X, Y, and Z components are figure-of-eight capsules along three spatial axels. The A to B format encoder is available in VST, AAX and AU plug-ins, as well as a stand-alone version for Mac and Windows.

Sennheiser will release the AMBEO VR Mic in November.

OLD LYME, CONN.—At Prolight+Sound in Frankfurt, Germany, Sennheiser has introduced a new app for its evolution wireless D1 radio microphone systems. With the app, users can convert their iPads or iPhones into a remote control for digital D1 systems, assisting in configuration, management and monitoring of radio links.

The WSR app can automatically detect whether D1 microphones are up-to-date with firmware and can provide an update if they are not. With the app, users can adjust the settings of individual units or groups, controlling audio effects, network settings and output signals.

With the app, an iOS device can become a signal tester, displaying the transmission quality of the radio link in real-time. The app also monitors the battery status, sound levels, and signal strength. The iPad version allows users to include photos for identification of the systems and to arrange the positions of the systems on the screen.

The app is now available via the Apple App Store.

MOUNT ARLINGTON, N.J.—Consumers will have their pick of a new microphone from Azden come February, as the company has introduced a pair of camera-mount, shotgun microphones, the SMX-30 Stereo/Mono Shotgun Video Microphone and SMX-15 Powered Shotgun Video Microphone.

Each microphone features a +20dB gain booster and a -10dB pad to protect against overload distortion. Both also have a wide band frequency response from 40 Hz to 20 kHz. Additional features include a low-cut filter, an “auto” power setting that can sense when the camera is on or off, and a shock absorbing shoe mount with a 1/4-inch 20 thread for mounting to boom poles and other camera accessories. The microphones are powered by two AA batteries.

Azden will release both the SMX-30 and SMX-15 on Feb. 1 at a starting price of $310 for the SMX-30 and $250 for the SMX-15.

LOS ANGELES—With GoPro cameras capturing personal action videos, Roland’s recent announcement of the new WEARPRO mic looks to provide immersive first person soundtracks. Compatible with GoPro’s HERO3, HERO3+ and HERO4 cameras, WEARPRO supports both binaural and standard stereo recording.

Roland WEARPRO Microphone with GoPro camera

WEARPRO’s binaural audio capture technique is able to accurately recreate the way we hear sounds in the environment by placing microphones at each ear. This creates a 3D audio experience with sounds coming from a 360-degree space.

To use the WEARPRO mic, the user wears the microphones like earphones and plugs the cable into the mini-USB port on the HERO camera. The mic is powered by the GoPro; no need for batteries or external power.

The WEARPRO also comes with two clip mounts to attach the mics anywhere. Two windscreens and four rubber sleeve pairs to fit kid and adult ear sizes are also included.

The d:fine in-ear broadcast headset in use

DPA’s d:fine in-ear broadcast headset microphones are exceptionally small, lightweight, and barely visible, yet deliver the full audio frequency spectrum and sound fidelity of a full size condenser mic. The headsets come in several varieties, offering directional or omnidirectional microphones, and can be supplied with one or two in-ear transducers. These are ideal for on-air talent or performers who need recording-grade audio capture, but require mobility and a nearly invisible microphone. The headsets are designed to be connected to a wireless transmitter.

FEATURES
DPA d:fine in-ear headsets are designed to be as small and unobtrusive as possible, while employing an advanced microphone capsule that delivers the same frequency response found in a high-quality recording microphone, such as the electret condenser models commonly used in live event and studio recording. The obvious advantage with the DPA headset is that it’s worn by the talent, eliminating the need to hold a mic. And as the distance to the sound source remains constant, there’s no variation in audio levels and bass response.

For this review, I evaluated the DPA’s single ear model. The “single ear” designation refers to the transducer that is inserted in the user’s ear for talkback, monitoring directions, or hearing any desired signal feed. The d:fine headset is also available for double ear monitoring. One can select a configuration that has an ear mount on only one side to provide total invisibility. Other choices include directional or omnidirectional microphone capsules.

While DPA has invested a great deal of engineering finesse to create a minimally apparent headset apparatus, the most significant feature is the overall microphone performance. Both the directional and omnidirectional microphones yield an impressive frequency response ranging from 20 Hz to 20 kHz, and truly cover the entire audible frequency range.

The unit I reviewed employed the d:fine 66 omnidirectional microphone capsule which maintains a perfectly flat frequency response between 20 and 5 kHz and elevates output slightly between 5 kHz and 20 kHz in order to capture vocal sibilance. Another model, the d:fine 88 directional microphone, has an inherent proximity effect which enhances bass pickup as the microphone is placed closer to the sound source. Although the microphone capsule is smaller than an eraser on a mechanical pencil, it performs like a full-sized recording mic. Its signal-to-noise ratio is 68 dB, there’s less than one percent harmonic distortion and the unit sports a 97 dB dynamic range.

The DPA engineers didn’t scrimp on the in-ear monitor either. It provides clear, wide spectrum audio quality, and there is no leakage of sound to the microphone capsule.

The headset is almost weightless, and consists of a thin wire bracket that encircles the back of the neck on the dual-ear mount models. Flexible rubber coils curl around the ears, holding the headset in a very stable position. The microphone capsule is on the end of a durable, yet malleable boom, which can be adjusted to change the distance from the mouth to accentuate or attenuate bass response if needed. The cables from both the microphone and in-ear monitor are linked to avoid tangling. These mics can be fitted with appropriate connectors to fit any wireless transmitter on the market.

The spectrum analysis graph comparing audio performance of the d:fine mic with that of a high quality condenser microphone.
IN USE
In testing the DPA d:fine headset, I connected it to a Sennheiser EW100 G2 wire-less mic system using a supplied adapter. I then connected the receiver to an input box set up to work with Avid Pro Tools software.

As the headset is made of very light and thin materials, it takes a bit of adjusting to get it properly placed in position. However, once I mounted it correctly, I found it to be surprisingly stable. And within a few minutes, I forgot that I was wearing any apparatus at all. With the wireless transmitter, it provides complete freedom of movement.

My first test was to see how well the in-ear transducer worked. So, on the Pro Tools timeline, I recorded af vocal selection on track one. Then, using the in-ear monitor, I listened to that track while recording a new track on the second channel. This worked just as if I were doing a multitrack recording session. I could hear the audio on track 1 very clearly, and was able to sync a second track to it with ease. The thing that impressed me most in this test was the clarity of the audio coming through the earpiece. It was comparable to the sound of a high-quality headphone for music listening. This left me thinking that the DPA d:fine headset could also be used in multitrack music recording—in addition to the broadcast use it was primarily designed for—as it allows clear monitoring of pre-recorded tracks while laying down a new one.

Of course the ultimate test is the quality of the microphone. To establish this, I recorded a vocal track using the DPA d:fine headset, then I recorded a parallel vocal track using a high-quality condenser microphone that I use for music recording.

After recording both tracks, I listened to them carefully over a set of speakers—alternating between the tracks—and found the audio quality to be virtually identical.

However, just in case my ears were fooling me, I performed one more objective technical test. I imported the two-track audio file into iZotope’s RX3 audio analyzing software and pulled up the spectrum analyzer function to view a graphic image of the frequency response for each audio source. The graph showed two differently colored lines representing the frequency response of each track. When I analyzed the graph, the frequency curve for each track was virtually identical, indicating that both microphones were delivering identical frequency responses. I found this to be compelling evidence that the audio quality delivered by the DPA d:fine headset is equivalent to the audio delivered by a high quality, full-size condenser microphone.

SUMMARY
DPA’s d:fine in-ear broadcast headset microphone delivers outstanding audio quality in a wearable form that’s as close as possible to being invisible. While the microphone capsule is smaller than a thumbtack, it’s been so finely engineered that it produces audio equivalent to full-sized professional recording microphones. The in-ear monitor expands its capability to a host of possible applications, including any situation that involves on-air broadcast talent or live performance, as well as musical performances and even studio recording.

Geoff Poister, Ph.D., is a member of the film and television faculty at Boston University and a regular contributor toTV Technology.

FAST FACTS

APPLICATION
Audio pickup when a worn headset is desired

KEY FEATURES
High-quality audio pickup from a very small device

PRICE
Various models with prices starting at $770 MSRP

CONTACT
DPA Microphones 303-485-1025

www.dpamicrophones.com

WASHINGTON—Wireless mics will have no dedicated spectrum after next year’s incentive auction. The Federal Communications Commission delivered that verdict earlier this month when it announced that one channel in the television band would be set aside to be shared by wireless mics and white-space devices. Manufacturers and users of wireless mics lobbied to retain the two channels the FCC originally reserved in its 2010 Order that allowed unlicensed white-space devices to be used in TV spectrum. (See “Wireless Mics Afforded Two Channels,” Sept. 27, 2010.)

Those two channels were slowly absorbed by the Obama Administration’s plan to clear 500 MHz of spectrum for wireless broadband, and the subsequent squeeze on television frequencies. TV Technology asked Sennheiser’s Joe Ciaudelli (at right) about the implications of wireless mics sharing a single channel with unlicensed white-space devices.

TV Technology: How many wireless mics does Sennheiser have working in the field in the United States on any given day?
Ciaudelli: A more relevant measure is how many citizens benefit from content or live events made possible by wireless microphones... hundreds of millions.

TV Technology: Is interference with other wireless devices a problem now? If so, has it become worse in recent years?
Ciaudelli: Wireless microphones have a stellar history of peaceful co-existence with primary services that share the same frequency bands, such as over-the-air TV broadcast and land mobile emergency communications. Wireless microphones have to work flawlessly without experiencing interruption or interference. Therefore, microphone operators proactively seek clear frequencies, which have the added benefit of preventing interference to the primary service using the same band. 

Certainly frequency coordination became more challenging once wireless microphones lost access to 700 MHz five years ago, but manageable. White-space device deployment to date has been limited to a few hundred fixed devices. No personal portable white-space devices have been introduced. If they are, it is unrealistic to believe that consumers using them would proactively prevent interference in the same manner as wireless microphone operators do with their gear.

TV Technology: Why did Sennheiser and others go after two 6 MHz channels? Wouldn't one be enough in most markets?
Ciaudelli: The definition of wireless microphones also includes in-ear monitor systems and interruptible foldback listening systems. Just like broadband has paired blocks for uplink and downlink with a guard band in between, it is best practice to have duplex audio in separate send and receive channels.

TV Technology: Wireless mics have to be retuned each time they get moved in the spectrum, correct? What does that involve?
Ciaudelli: High-end systems can be tuned. Standard systems often need to be scrapped. Either way it is costly and inconvenient for the microphone owner.

TV Technology: Is there any anecdotal evidence that white-space devices—I am now told there are fewer than 500—interfere with wireless mics? Have there been incidents?
Ciaudelli: Wireless microphone operators can navigate around fixed white-space devices. The potential threat is from portable white-space devices. No portables have been introduced into the market despite the FCC opening UHF to them five years ago.

TV Technology: What is Sennheiser's confidence level in the FCC's white-space database approach to preventing interference among white-space devices, mics and TV signals?
Ciaudelli: Although the problems of the white-space database system have been well documented, bugs will be worked out. The commission also envisions that the system will refresh faster in the future so that licensed microphone operators can reserve channels on short notice. However, this still does not adequately address breaking news, since its time and location are often completely spontaneous. Furthermore, spectrum sharing not only depends on the database system, but also on the proper operation of all the white-space devices that it governs. That poses a high risk for hyper-critcal microphones even for planned events.

TV Technology: How does Sennheiser suggest its clients move forward in a landscape where they share a channel with white-space devices?
Ciaudelli: If you qualify to be a licensed microphone operator, become one so that you can register your events for interference protection in the database. Regarding equipment, buy high quality gear with flexible RF tuning architecture from a company that also provides a high level of guidance and after sales support.