An Introduction to Digital Wireless Microphone Technology 03 Why Sony Developed Digital Wireless Microphone Technology
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Tools for Digital Audio Recording in Qualitative Research
Sociology at Surrey University of Surrey social researchUPDATE • The technology needed to make digital recordings of interviews and meetings for the purpose of qualitative research is described. • The advantages of using digital audio technology are outlined. • The technical background needed to make an informed choice of technology is summarised. • The Update concludes with brief evaluations of the types of audio recorder currently available. Tools for Digital Audio Recording in Qualitative Research Alan Stockdale In a recent book Michael Patton writes, “As a naïveté, can heighten the sense of “being Dr. Stockdaleʼs training is in good hammer is essential to fine carpentry, there”. For discussion of the naturalization cultural anthropology. He is a a good tape recorder is indispensable to of audio recordings in qualitative research, senior research associate at fine fieldwork” (Patton 2002: 380). He see Ashmore and Reed (2000). Education Development Center goes on to cite an example of transcribers in Boston, Massachusetts, at one university who estimated that 20% Why digital? of the tapes given to them “were so badly where he currently serves Audio Quality as an investigator on several recorded as to be impossible to transcribe The recording process used to make genetics education research accurately – or at all.” Surprisingly there analogue recordings using cassette tape is remarkably little discussion of tools and introduces noise, particularly tape hiss. projects funded by the U.S. techniques for recording interviews in the Noise can drown out softly spoken words National Institutes of Health. qualitative research literature (but see, for and makes transcription of normal speech example, Modaff and Modaff 2000). -
How to Tape-Record Primate Vocalisations Version June 2001
How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates. -
USB Recording Microphone
FEATURES USING YOUR MICROPHONE Adjusting your microphone’s angle Front Position yourself 1.5 ft. (0.46 m) in front of the microphone with the Insignia Loosen the adjustment knobs to move the microphone to the position you Microphone: want, then retighten the knobs to secure. Captures audio. logo and mute button facing you. Mute button/Status LED: QUICK SETUP GUIDE Lights blue when connected to power. Lights red when muted. Adjustment knob USB Recording 1.5 ft. (0.46 m) Micro USB port: Tilt adjustment knobs: Attaching to a microphone stand Microphone Connect your USB cable (included) Adjust your microphone’s tilt angle. Your microphone’s cardioid recording pattern captures audio primarily from the 1 Unscrew the desk stand’s adjustment knob to remove the microphone. from this port to your computer. front of the microphone. This is ideal for recording podcasts, livestreams, NS-CBM19 Desk stand: voiceovers, or a single instrument or voice. Desk stand Holds your microphone. adjustment knob PACKAGE CONTENTS Side • Microphone • Desk stand Microphone 2 Screw the microphone onto a stand that has a 1/4" threaded adapter. • USB cable • Quick Setup Guide Desk stand adjustment knob Mounting hole: SYSTEM REQUIREMENTS Attaches the microphone Remove the desktop stand to screw Cardioid Windows 10®, Windows 8®, Windows 7®, or Mac OS X 10.4.11 or later to the stand. onto any ¼" threaded stand. recording pattern Mounting hole Before using your new product, please read these instructions to prevent any damage. SETTING UP YOUR MICROPHONE SETTING THE VOLUME The microphone is picking up background noise determined by turning the equipment off and on, the user is encouraged to try to correct the interference by Connecting to your computer Use your computer’s system settings or recording software to adjust the • This cardioid microphone picks up audio from the front and minimizes noise one or more of the following measures: Connect the USB cable (included) from your microphone to your computer. -
ACCESS for Ells 2.0 Headset Specifications
ACCESS for ELLs 2.0 Headset Specifications The table below outlines features for headsets and recording devices and WIDA’s rationale in recommending those features. Please note that WIDA does not endorse specific brands or devices. Recommended Reason for Recommendation Alternatives not Features Recommended Device: Allows for recording and playback using Separate headphones and Headset the same device. microphone increase the need to ensure proper connection and setup on the computer and thus complicate the testing site set-up. Headset Design: Comfortable when worn for a longer In ear headphones (ear buds) that Over Ear period of time by students of different are placed directly in the ear canal Headphones ages. Weight and size of headphones are more difficult to clean between can be selected based on students’ age. uses by different students. They are Portable headphones are smaller and also not suitable for younger lighter and hence may be suitable for students. Many ear buds come with younger students. Deluxe headphones the microphone attached to the are larger and heavier but have the cord, making capturing the advantage of canceling out more noise. students’ voice more of a challenge. Play Back Mode: The sound files of the assessment are Stereo recorded and played back in stereo. Noise Cancellation Noise cancellation often does not Many headsets with a noise Feature: cancel out the sound of human voices. cancellation feature require a power source (e.g. batteries or USB None connection) and hence complicate the testing site set-up. Type of Connector Some computers have two ports for Many USB-connected headsets Plug: connecting audio-out and audio-in require driver installation, but • Single 3.5 mm separately, while others have one port perform adequately for audio plug (TRRS) for both. -
Frequencies for Wireless Microphones
Post Box 68, 91081 Baiersdorf, Germany www.apwpt.org [email protected] Frequencies for wireless microphones This is how it works in Austria, Australia, Belgium, Brazil, Denmark, Finland, France, Germany, Greece, Italy, Japan, Norway, The Netherlands, New Zealand, Norway, Portugal, Romania, Slovenia, Spain, South Korea, Sweden, Switzerland, USA, UAE, Ukraine and UK - June 2018 - Stephen Buckland, Begoña Cordero, Aljo van Dijken, João Duque, Matthias Fehr, Miguel Henriques, Norbert Hilbich, Bryan Lee, Alan March, Anna Nydegger, Markku Laasonen, Bruno Marx, Andrea Molinari, Stella Morabito, Jonas Naesby, Edgar Reihl, Pia Seeger, Pascal Soulé, Ivica Stevanovic, Markus Wahrlich and some more.. 2 Table of contents Australia................................................................................................................................................... 3 Austria ..................................................................................................................................................... 4 Belgium .................................................................................................................................................... 5 Brazil ........................................................................................................................................................ 6 Denmark .................................................................................................................................................. 7 Finland .................................................................................................................................................... -
Broadcast Studio Microphones
BROADCAST STUDIO MICROPHONES NEUMANN #NEBCM104 BCM104 $82999 With precision engineering and design, the Neumann BCM104 is a natural sounding large diaphragm, cardioid condenser microphone, specifically tailored for the demands of today’s digital broadcast studios. • Cardioid microphone for broadcast & studio • Easily switchable color coded head grilles • Internal switchable low-frequency roll-off • Unique shock mount assembly • 14dB pad • 152dB SPL • Switchable proximity compensation • 20Hz-20kHz frequency response RODE #ROB BROADCASTER $39900 An affordable choice for today’s modern digital broadcast facilities, the RODE BROADCASTER is a large diaphragm cardioid condenser microphone that features a true full-range response especially suited for voice over use. • Low noise handling • Power indicator • 135dB SPL • Unique “On-Air” LED indicator • 20Hz-20kHz frequency response • Internally shock mounted capsule with pop filter • Custom case with microphone holder (included) SHURE #SHSM7B SM7B $34995 The Shure SM7B is a large diaphragm dynamic microphone designed for studio broadcast applications. It has a smooth, flat, wide-range frequency response, and provides excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and electrical devices. • Selectable tone controls • Internal suspension shock mount • High sound pressure level handling capabilities • Graphic display of bass and mid-range adjustments • Rugged steel construction • Improved bracket design • 40Hz-16kHz frequency response ELECTRO-VOICE #ELRE20 -
Application Notes
Measurement of Loudspeaker and Microphone Performance using Dual Channel FFT-Analysis by Henrik Biering M.Sc, Briiel&Kjcer Introduction In general, the components of an audio system have well-defined — mostly electrical — inputs and out puts. This is a great advantage when it comes to objective measurements of the performance of such devices. Loudspeakers and microphones, how ever, being electro-acoustic transduc ers, are the major exceptions to the rule and present us with two impor tant problems to be considered before meaningful evaluation of these devices is possible. Firstly, since measuring instru ments are based on the processing of electrical signals, any measurement of acoustical performance involves the Fig. 1. General set-up for loudspeaker measurements. The Digital Cassette Recorder Type use of both a transmitter and a receiv- 7400 is used for storage of the measurement set-ups in addition to storage of the If we intend to measure the re- measured data. Graphics Recorder Type 2313 is used for reformatting data and for ., „ J, ,, „ plotting results sponse of one of these, the response ol the other must have a "flat" frequency response, or at least one that is known in advance. Secondly, neither the output of a loudspeaker nor the input to a micro phone are well-defined under practical circumstances where the interaction between the transducer and the room cannot be neglected if meaningful re sults — i.e. results correlating with subjective evaluations — are to be ob tained. See Fig. 2. For this reason a single specific measurement type for the character ization of a transducer cannot be de- r.- n T ,-,,-,■ -. -
Digital Mixing System D-2000 Series
Digital Mixing System D-2000 Series Integrating high-performance mixing, matrixing and processing functions to meet a wide scope of sound reinforcement applications Expandable all-in-one designs ideal offering easy operation, advanced functions and system control capabilities Expandable to a massive 128 input/output configuration, the D-2000 Series includes various modules and peripherals that can be combined to create the best possible sound in small to medium-size venues of all types, including hotel banquet and function rooms, indoor sports facilities, multipurpose halls and places of worship and many others. Creating the ideal sound environment » Auto-mixing advantages » Highly effective feedback suppression NOM (Number of Open Microphones) - automatically adjusts The D-2000 Series provides feedback elimination for up output level based on the total number of open microphones. to 4 channels. In addition, each channel can control 12 Ducker function (Auto-Mute function) - automatically works to problem frequencies. This makes it convenient for feedback attenuate outputs of channels with low priority. suppression in different areas of the same hall. 2 versatile suppression modes Either presettable Auto Mode or realtime Dynamic Mode can be selected to suit the situation and eliminate feedback. » Essential audio processing Delay, High-, Low-Pass and Notch Filters, Parametric Equalizers, Compressor/Auto Leveller, Gate, Crossovers and Crosspoint Gain. User-friendly design facilitates operation by any user » 32 preset memories for user convenience. Up to 32 different routing and parameter configurations can be stored in memory and called up to handle venues such as multi-purpose halls and conference rooms that require frequent changes in staging, seating and speaker arrangements. -
Microkorg Owner's Manual
E 2 ii Precautions Data handling Location THE FCC REGULATION WARNING (for U.S.A.) Unexpected malfunctions can result in the loss of memory Using the unit in the following locations can result in a This equipment has been tested and found to comply with the contents. Please be sure to save important data on an external malfunction. limits for a Class B digital device, pursuant to Part 15 of the data filer (storage device). Korg cannot accept any responsibility • In direct sunlight FCC Rules. These limits are designed to provide reasonable for any loss or damage which you may incur as a result of data • Locations of extreme temperature or humidity protection against harmful interference in a residential loss. • Excessively dusty or dirty locations installation. This equipment generates, uses, and can radiate • Locations of excessive vibration radio frequency energy and, if not installed and used in • Close to magnetic fields accordance with the instructions, may cause harmful interference to radio communications. However, there is no Printing conventions in this manual Power supply guarantee that interference will not occur in a particular Please connect the designated AC adapter to an AC outlet of installation. If this equipment does cause harmful interference Knobs and keys printed in BOLD TYPE. the correct voltage. Do not connect it to an AC outlet of to radio or television reception, which can be determined by Knobs and keys on the panel of the microKORG are printed in voltage other than that for which your unit is intended. turning the equipment off and on, the user is encouraged to BOLD TYPE. -
Wireless Microphones
Kino-Eye.com Wireless Microphones Compiled by David Tamés, [email protected] is document provides a crash-course on wireless microphone technology, concepts, and terminology and is designed as a companion to (not a substitute for) the user’s manual of the Sennheiser Evolution series wireless microphone system. This document might help learning to use this wireless mic kits a little easier. is is a work in progress, therefore, please send me your comments, suggestions, and corrections. I look forward to your feedback. — David. Introduction G3 series of Sennheiser wireless mics (which bagan shipping the summer of 2009) features an adaptive ere is some mystery surrounding wireless microphone diversity system using the audio cable as an antennae. systems and how they work, but the best way to think about them is that you’re operating a small radio station. Compander. A compander is a technique used to e electrical energy from the microphone is modulated improve the dynamic range of the audio signal. It by the transmitter into radio frequency (RF) and then compresses the audio signal in the transmitter to lift it demodulated by the receiver back into an electrical signal above the inherent noise "oor of the radio frequency which is fed into your mixer or camera. link. e signal is then expanded by the receiver. Microphone gain adjustment. Most wireless systems Wireless system features offer adjustable microphone gain on the transmitter in Diversity. Better models have true diversity reception order to accommodate different level sources. is helps (two separate receiver modules each with its own to avoid clipping. -
PDF Version of Recording Digital Audio
Telling Your Story through Recording Digital Audio Digital Audio !On a computer Dr. Helen Barrett !On a digital tape recorder Researcher and Consultant Electronic Portfolios and ! Digital Storytelling for On an iPod Lifelong and Life Wide Learning On a Computer On a Digital Tape Recorder ! Software: Audacity ! Portable (free) ! Digital= Good Quality but Expensive ! Recommend using ! Analog= Lower Quality external but Cheap Microphone ! Transfer into computer ! Digital = file ! Need a Computer ! Analog = cable+software (less portability) Samson USB Mic Popular Digital Recorder On an iPod ! Records to SD Card ! Portable ! 320 kbps MP3 recording ! Requires special ! High-grade stereo condenser microphone built in microphone ($70) in ! Mic and Line audio inputs addition to iPod ! High speed file transfer via USB ! Transfer to computer 2.0 connection to computer as a digital file (WAV) ! Time & date stamp ! Long battery life (4 hour recording with AA alkaline type x 2) ! $400 1 Quality of Recording on iPod Steps in Recording on iPod ! 2 different quality levels: ! Settings in iTunes Low (default) and High ! NOTE: Voice Memos (from the xTreme Mac MicroMemo website) downloaded are removed from iPod ! Settings on iPod ! Extras -> Voice Memos -> Quality Set to High Always use the High rate for recording - you can’t increase the quality later Web 2.0 Development Tools What happens (Analog->Digital) ! Sound comes into ! The more samples per microphone second the greater ! the accuracy and Online Tools for ! Computer (or quality of the microphone) -
Wireless Microphone Transmitter
M-216 OPERATOR’S MANUAL M-216 Wireless Microphone Transmitter 357 West 2700 South • Salt Lake City, Utah 84115 • Phone: (800) 496-3463 • Fax: (801) 484-6906 • http://www.comtek.com TABLE OF CONTENTS Introduction ........................................................... 1 Setup ............................................................................... 2 Controls .................................................................. 3 Battery Removal / Replacement ...................................... 4 Battery Charging ...................................................... 5 Auxiliary Audio Input Operation ................................... 6-7 Snap-On Belt Clip ................................................. 7 Frequency Selection .............................................. 8 Frequency Information ......................................... 9-10 Optional Accessories ............................................ 11 Options ................................................................. 12 HH-185 ................................................................... 13 Trouble Shooting .................................................. 14-15 Specifications ......................................................... 16 Warranty and Service .................................................. 17 © 2009 COMTEK® All rights reserved. Printed in the U.S.A. 10-27-2009 INTRODUCTION M-216 Wireless Microphone Transmitter he M-216 wireless microphone Ttransmitter offers the ultimate performance and versatility for assistive listening, language interpretation,