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When it comes to capturing pristine audio in challenging environments, interference tube microphones - or shotgun microphones - stand out as the go-to solution for professionals in various fields, including film, broadcast, field recording, sports and wildlife sound capture. These specialized microphones are designed to mitigate unwanted noise and deliver excellent sound quality.

The 32-bit floating audio format seems to offer exceptionally high dynamic range and ease of use. However, there are limits! This article explores high-bit resolution microphone recording and addresses its limitations.

One factor differentiating microphones from each other is directivity; how much sound the microphone picks up in a given direction. Usually, polar plots are used to explain the directivity. However, it is not always easy to judge the effect of the given polar pattern on the recorded sound.

A microphone should only react to acoustically transferred sound. However, unfortunately, most mics also pick up vibrations that generate unintentional output. This can create undesirable effects like low-frequency feeds, partial timbre shifts of musical instruments, metallic sounds, and so on. In this article, we look at the phenomenon and discover its seriousness.

Many situations require solutions to protect microphones from the elemental issues. Wind and rain generate noise in microphones. In addition, viruses, like Covid, can be transferred to the surface of a mic. Efficient protection in these cases is necessary, but how these solutions affect audio performance must be understood.

All condenser microphones need power. Phantom power is the primary standard for professional microphones. Here are answers to 10+ of the most frequent questions about phantom power and its use in microphones.

The microphone is an electroacoustic device that converts acoustic energy into electrical energy. This conversion occurs via a mechanical system, usually a diaphragm, set into oscillations by a sound field. The mechanical movement is then converted into an electrical signal by an electromechanical coupling.

Microphone specifications are generated to inform users about the basic features of the mic and how the microphone fits your needs – as well as your equipment’s.

This article explains how Acoustic Pressure Equalizers can increase the directivity of a pressure microphone, providing a mid/high-range boost. It also explains the effect of various grids in front of the membrane. You will learn about the application of acoustic modification (acoustic pressure equalizers and grids) and the purpose of doing so.

This article list all the performance-related differences that exist when comparing omnidirectional and directional microphones.

Balanced lines provide better rejection of electromagnetically induced noise. This article explains the difference between signal balanced and impedance balanced lines.

CORE by DPA and CORE+ are powerful technologies at the heart of DPA miniature microphones. Learn more about why CORE/CORE+ is important and why mics with them sound better.

Acoustic interference tubes are used to increase the directionality of microphones. Over the last decades, DPA Microphones has extensively researched and improved the interference tube technology to an unprecedented new level of performance.

Carefully matched stereo pairs and surround/immersive sets are key to successful stereo or multichannel recordings.

This article provides knowledge about the design principles of output stages for condenser microphones. Especially the advantages and disadvantages of transformer balancing and “Active drive”.

The aim of this article is to outline some differences between directional and omnidirectional microphones in order to remove some of the prejudices that especially PA/live technicians have about omnis.

The 5100 Mobile Surround Microphone is a plug and play solution for 5.1 capture. It employs five miniature pressure transducers with interference tubes and acoustic baffles. Tonmeister Mikkel Nymand explains the thinking and processes behind it.

This article looks into the special problems that microphones in connection with digital transmission systems may provide if not designed well.

When using wireless microphone systems, the polarity of the signal chain from input to output of the reciever should be preserved: A positive-going pressure in front of the microphone membrane should provide a positive-going voltage at pin 2 of the output (XLR) connector.

We do not want any unintended distortion in our recording chain. Unfortunately, there is usually some form of distortion present although it is below the threshold of audibility. When setting up the recording chain, the individual links of the audio chain may each contribute to the summed distortion, which eventually may become audible.

This article describes the problems that arise from electromagnetically induced noise. It explains how to avoid the problems by utilizing balanced lines.

This article gives a practical advice regarding time alignment of ST2011C in XY configuration.

All microphones make noise. Or, more accurately: a current of electrons makes noise and the presence of air molecules around the microphone diaphragm makes noise. This article digs into the topic of so-called self-noise in microphones.

When performing a practical test of a microphone be sure to get manufacturers info about specifications and applications. Besides the reading, it is a good idea to compare against a known reference, for instance, a measurement microphone with a linear response, for example the 4006A Omnidirectional Microphone.

The waveform of an audio signal exhibits a positive segment above the zero line and a negative segment below. Sometimes the waveform looks symmetrical and other times asymmetrical. Usually, the waveform’s shape and polarity doesn’t matter until we begin to mix the signals, i.e., when we have signals from two (or more) microphones that we want to combine or perhaps distribute for spatial imaging. Then, it is important to understand the terms polarity, phase and delay. This article describes the three terms with regard to microphone techniques and technology.