Voice-overs are an essential ingredient in the creation of dynamic media. They can be an unseen character in a story, or just a friendly voice persuading you to buy pet food. Voice-overs are found in every form of media, from news reporting to experimental filmmaking. Even photo slideshows can benefit from a well-executed voice-over.
If you’ve ever checked out an impressive piece of gear and thought to yourself: “Wow, this thing is really neat, but imagine if they could shrink it down so it’s only a third of the size.” This is exactly what Que Audio has done with the shotgun microphone.
The new Fostex AR-4i offers a complete solution for improving the sound quality of the high-definition videos that are shot on Apple’s wildly popular iPhone 4. You slide an iPhone 4 into the cradle of the AR-4i, and it gives you multiple microphone inputs, line-level inputs, level meters and improved A/D converters which enable the phone to capture pristine sound quality.
The iPhone 4 is a revolutionary device that’s capable of recording impressive looking, high-definition video (especially considering that it’s a telephone). But there’s one thing that the iPhone doesn’t have an app for: providing a way to improve the sound quality of its built-in mono microphone.
Off the cuff, one might think there are few, if any, differences between packing a DSLR system and an HDSLR system, but once you look beyond the basics, i.e. the camera bodies, lenses and tripod (the legs, but not necessarily the head), the differences start adding up.
A shotgun is a long, cylindrical microphone that excels at picking up sounds in front of it, while rejecting sounds to the sides and rear. Shotguns are designed to have a narrower focus than an average microphone.
New shotgun microphones come out every once in a while, and more often than not their arrival is met with little fanfare. However, when a giant like Sennheiser releases new models, the professional production world stands up and pays attention.
When it comes to technological advances, it's not uncommon to lose some of the more desirable qualities of a product when "improving upon" the attributes of newer-generation replacement products.
Have you ever wondered what’s going on inside the audio bags that are used in professional video and film productions? In this article we’ll take a close look at the gear found in a typical professional location sound bag, and explain what each piece of equipment does. You’ll gain an understanding of how all these devices connect together and why each tool is necessary to have.
These days, the sound quality you can achieve with a minimal investment in home studio recording equipment is amazing. But as nice as these affordable recording tools are, they all have sonic limitations. What do you do if you want to take your sound to the next level of quality?
Okay, you've done some research and determined that many people are using portable digital recorders like the Zoom H4n and Tascam DR100 to record the audio during DSLR video shoots. Now you need some real-world advice about using this equipment properly with external microphones, field mixers and clapper slates.
An on-camera microphone is a special kind of mic that’s been designed to work well with a camcorder or a video-enabled DSLR camera. It’s typically lightweight (to help keep the overall weight of the camera low), and often features the ability to mount to the shoe of a camera.
The sound of plucked-string acoustic instruments, from the mandolin to the ghimbri, has enlivened thousands of recordings in nearly every genre of music since the invention of the gramophone.
If you could travel back to the year 1953, what would you do once you arrived? I don't know about you, but I'd immediately try to purchase some classic microphones. The desire to go back in time to buy recording equipment is what pushes the microphone manufacturer Telefunken.
In the past, the B&H newsletter has explained some of the different elements found inside of field audio bags. We've published articles about portable field mixers, wireless microphone systems, field recorders, and battery distribution systems, but we've never put it all together and described how these separate devices act as one.
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Voice-overs are an essential ingredient in the creation of dynamic media. They can be an unseen character in a story, or just a friendly voice persuading you to buy pet food. Voice-overs are found in every form of media, from news reporting to experimental filmmaking. Even photo slideshows can benefit from a well-executed voice-over.
If you’ve ever checked out an impressive piece of gear and thought to yourself: “Wow, this thing is really neat, but imagine if they could shrink it down so it’s only a third of the size.” This is exactly what Que Audio has done with the shotgun microphone.
The new Fostex AR-4i offers a complete solution for improving the sound quality of the high-definition videos that are shot on Apple’s wildly popular iPhone 4. You slide an iPhone 4 into the cradle of the AR-4i, and it gives you multiple microphone inputs, line-level inputs, level meters and improved A/D converters which enable the phone to capture pristine sound quality.
The iPhone 4 is a revolutionary device that’s capable of recording impressive looking, high-definition video (especially considering that it’s a telephone). But there’s one thing that the iPhone doesn’t have an app for: providing a way to improve the sound quality of its built-in mono microphone.
Off the cuff, one might think there are few, if any, differences between packing a DSLR system and an HDSLR system, but once you look beyond the basics, i.e. the camera bodies, lenses and tripod (the legs, but not necessarily the head), the differences start adding up.
A shotgun is a long, cylindrical microphone that excels at picking up sounds in front of it, while rejecting sounds to the sides and rear. Shotguns are designed to have a narrower focus than an average microphone. 
New shotgun microphones come out every once in a while, and more often than not their arrival is met with little fanfare. However, when a giant like Sennheiser releases new models, the professional production world stands up and pays attention.
When it comes to technological advances, it's not uncommon to lose some of the more desirable qualities of a product when "improving upon" the attributes of newer-generation replacement products.
Have you ever wondered what’s going on inside the audio bags that are used in professional video and film productions? In this article we’ll take a close look at the gear found in a typical professional location sound bag, and explain what each piece of equipment does. You’ll gain an understanding of how all these devices connect together and why each tool is necessary to have.
These days, the sound quality you can achieve with a minimal investment in home studio recording equipment is amazing. But as nice as these affordable recording tools are, they all have sonic limitations. What do you do if you want to take your sound to the next level of quality?
Okay, you've done some research and determined that many people are using portable digital recorders like the 
The sound of plucked-string acoustic instruments, from the mandolin to the ghimbri, has enlivened thousands of recordings in nearly every genre of music since the invention of the gramophone.
If you could travel back to the year 1953, what would you do once you arrived? I don't know about you, but I'd immediately try to purchase some classic microphones. The desire to go back in time to buy recording equipment is what pushes the microphone manufacturer Telefunken.
In the past, the B&H newsletter has explained some of the different elements found inside of field audio bags. We've published articles about portable field mixers, wireless microphone systems, field recorders, and battery distribution systems, but we've never put it all together and described how these separate devices act as one.
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