The new development path of microphone mode conversion technology
[Audio Network Information]
The transmission path of digital signals has been well established. Whether it's a studio or live sound reinforcement, or a broadcast and post-production area, a range of high-tech interfaces and transmission protocols bring us clean and manageable sound packets, and everyone is happy with it.
But the obstacles still exist. That is, at the end of each processing step, the audio signal is an absolute analog signal. This is because the sound must be triggered by the physical sound waves to trigger our auditory organs, a truth that cannot be changed. There is bound to be a threshold for analog and digital conversion in the entire signal chain, and the entire industry has never stopped exploring this core area. There have been experiments on digital speakers. For example, 1 Limited has tried to place digital-to-analog conversions on the driver unit of the speaker, but such a solution is always a hybrid, because a purely digital device can never produce people. Heard the sound.
Recently, however, the industry has made breakthroughs in the front end of the entire signal chain. Although most observers believe that digital microphones are still only hybrids of analog and digital devices, this does not stop some industry giants from launching products and redefining them: most of them are in the reserve technical force, and Seeking what they think is appropriate to put new products into production. At the same time, a product that is directly connected to laptops has emerged in the low-end market. Of course, the concept of digital microphones lags behind the market.
Contrary to the principle of the speaker, the digital microphone contains a conventional analog diaphragm and an analog-to-digital converter next to it. This is the MCD100 that Beyerdynamic first proposed in 1998. We can think of it as a super-era product.
After these tests, the company now believes that the entire industry requires unprecedented quality simulation solutions. “When the MCD100 was introduced to the market, the market was not ready for it,†said Wolfgang Ernst, professional audio business manager at Beyerdynamic. “I think a good analog microphone is more popular now than digital microphones, especially now that the entire market is pursuing or retrieving the 'simulation' sound. Our MC840 is just the standard messenger. Of course, if it’s for numbers The demand for microphones is strong and affirmative, and we are bound to make a big impact in this field."
In recent years, three German microphone manufacturers believe that the environment is more mature for digital microphones. Neumann's D-01 opens everything, it has a remote-controlled pointing feature. The conversion of the signal directly into a digital signal in the diaphragm was re-launched. At the NAB show in April, Neumann's parent company Sennheiser launched the MKH 8000 series. These microphones can be digitized by adding a digital module called MZD8000 and an adapter cable. The family has six members: the omnidirectional MKH 8020, the heart-shaped MKH 8040, and the super-cardioid MKH 8050. The short gun MKH 8060 and the long gun MKH 8070 – in addition to the MKH 800, which can adjust the directivity in the mixer or even in the post-production.
“Digital microphones must be considered the first link in the entire digital audio signal chain,†said Sennheiser's Guillaume Ehret. “The advantages of this have become more and more obvious in live sound reinforcement and recording studios, especially when these microphones are used together with other digital devices. The first feature is the extremely low noise floor; secondly It also greatly expands the dynamic range by responding well to low-level signals; in addition, it has a more sensitive transient response, better resolution and better feedback suppression than analog systems. Ability. All of this brings a new experience to the audience and makes the work of the engineer easier."
“The broadcast industry will benefit greatly from systems that are part of a digital microphone. Projects like football and rugby require digital gun microphones to capture live sounds clearly and accurately. This new tool will be HD video. The best match partner with stereo video."
Last year, German microphone pioneer Schoeps made a huge contribution to this field in a white paper called Digital Microphone and AES42. It uses AES42 as the transmission protocol for this technology, through which digital microphones can be used with recording systems. Or the rear equipment such as the mixer is connected. The AES42 enables analog to digital conversion on the diaphragm, eliminating the need for analog gain.
Schoeps recently launched a digital gun, SuperCMIT, claiming that the application of this technology can "add value to analog technology." Specifically for SuperCMIT, it is better to isolate those noises, such as street noise, room sounds, audiences or passing people, any sound that may interfere with the recording. According to Schoeps, the new digital microphone greatly reduces unnecessary noise and guarantees a very good sound even in the low frequency of direct sound. “Even if the microphone is very long, the gun is very difficult to do this,†the manufacturer said. “This makes SuperCMIT an ideal tool for film pickup and sports broadcasts. It also enhances the good results of indoor recordings.â€
In the white paper, Schoeps pointed out that digital microphones also have the advantage of resisting external electromagnetic interference, and there are many operational conveniences: level and directivity can be adjusted on the mixer; the microphone itself can transmit status data; It also records user presets.
On the other hand, the advantage of analog microphones is that temporary replacement does not affect the overall production; they do not require software upgrades; they use less power; different brands have the same standard interface; they are more familiar and easy to use. They have no signal delay; they have a larger dynamic range potential - the AES42 protocol in the 24-bit state has a dynamic range limit of 144dB, while the high-end analog microphone can withstand a dynamic range of over 155dB.
Therefore, the white paper concludes that the convenience of remote operation must be considered simultaneously with delay, synchronization, sample rate conversion, comb filtering effects, complex operational settings, and overall system complexity.
From this point of view, other microphone manufacturers become more cautious about this unproven technology. At present, the attitude of the US recording equipment, mixer and channel manufacturer Sound Devices for this microphone technology basically represents the general state of the industry. “In theory,†the company said, “the conversion in the diaphragm is able to achieve a high dynamic range. At the same time, as the digital signal is processed by the DSP inside the microphone, gain adjustment, frequency adjustment and dynamic effects can be obtained. All aspects of functionality."
“As AES42-compliant devices continue to be developed by Neumann, Schoeps and Sennheiser, Sound Devices will also evaluate its use on mixers and recorders. The advantages of AES42 in many areas have become apparent. Whether it is suitable for simultaneous recording remains to be seen."
This type of solution improves sound quality by minimizing the length of the analog cable, but adding converters to conventional devices also adds significant cost. Cost is still a key factor blocking the popularity of high-end technology.
“DPA has naturally realized that this change and development is going on,†said Ken Kimura, DPA's Asia Pacific sales manager. “But in order to obtain professional-grade quality, a lot of economic investment is required. It is the core advantage of this technology to equip each diaphragm with a converter, but in the end we only get implanted in the microphone. Converters. We already have a powerful modular system, so it is possible to implement more functions. However, the cost of existing solutions is indeed too high."
“I doubt if the huge advances in microphone performance are really achievable, because we are not using completely different methods and methods than the existing ones,†adds digital media expert Dave Shapton. “You have to consider how the performance can be greatly improved when the existing equipment is already of very high quality. When we use a good quality conventional microphone for 24-bit high sampling rate digital recording, we are away. The goal of achieving maximum dynamic range is not far off, so in a sense, the good quality of digital recording technology will eventually block the ultimate sound quality that digital microphones can achieve."
The transmission path of digital signals has been well established. Whether it's a studio or live sound reinforcement, or a broadcast and post-production area, a range of high-tech interfaces and transmission protocols bring us clean and manageable sound packets, and everyone is happy with it.
But the obstacles still exist. That is, at the end of each processing step, the audio signal is an absolute analog signal. This is because the sound must be triggered by the physical sound waves to trigger our auditory organs, a truth that cannot be changed. There is bound to be a threshold for analog and digital conversion in the entire signal chain, and the entire industry has never stopped exploring this core area. There have been experiments on digital speakers. For example, 1 Limited has tried to place digital-to-analog conversions on the driver unit of the speaker, but such a solution is always a hybrid, because a purely digital device can never produce people. Heard the sound.
Recently, however, the industry has made breakthroughs in the front end of the entire signal chain. Although most observers believe that digital microphones are still only hybrids of analog and digital devices, this does not stop some industry giants from launching products and redefining them: most of them are in the reserve technical force, and Seeking what they think is appropriate to put new products into production. At the same time, a product that is directly connected to laptops has emerged in the low-end market. Of course, the concept of digital microphones lags behind the market.
Contrary to the principle of the speaker, the digital microphone contains a conventional analog diaphragm and an analog-to-digital converter next to it. This is the MCD100 that Beyerdynamic first proposed in 1998. We can think of it as a super-era product.
After these tests, the company now believes that the entire industry requires unprecedented quality simulation solutions. “When the MCD100 was introduced to the market, the market was not ready for it,†said Wolfgang Ernst, professional audio business manager at Beyerdynamic. “I think a good analog microphone is more popular now than digital microphones, especially now that the entire market is pursuing or retrieving the 'simulation' sound. Our MC840 is just the standard messenger. Of course, if it’s for numbers The demand for microphones is strong and affirmative, and we are bound to make a big impact in this field."
In recent years, three German microphone manufacturers believe that the environment is more mature for digital microphones. Neumann's D-01 opens everything, it has a remote-controlled pointing feature. The conversion of the signal directly into a digital signal in the diaphragm was re-launched. At the NAB show in April, Neumann's parent company Sennheiser launched the MKH 8000 series. These microphones can be digitized by adding a digital module called MZD8000 and an adapter cable. The family has six members: the omnidirectional MKH 8020, the heart-shaped MKH 8040, and the super-cardioid MKH 8050. The short gun MKH 8060 and the long gun MKH 8070 – in addition to the MKH 800, which can adjust the directivity in the mixer or even in the post-production.
“Digital microphones must be considered the first link in the entire digital audio signal chain,†said Sennheiser's Guillaume Ehret. “The advantages of this have become more and more obvious in live sound reinforcement and recording studios, especially when these microphones are used together with other digital devices. The first feature is the extremely low noise floor; secondly It also greatly expands the dynamic range by responding well to low-level signals; in addition, it has a more sensitive transient response, better resolution and better feedback suppression than analog systems. Ability. All of this brings a new experience to the audience and makes the work of the engineer easier."
“The broadcast industry will benefit greatly from systems that are part of a digital microphone. Projects like football and rugby require digital gun microphones to capture live sounds clearly and accurately. This new tool will be HD video. The best match partner with stereo video."
Last year, German microphone pioneer Schoeps made a huge contribution to this field in a white paper called Digital Microphone and AES42. It uses AES42 as the transmission protocol for this technology, through which digital microphones can be used with recording systems. Or the rear equipment such as the mixer is connected. The AES42 enables analog to digital conversion on the diaphragm, eliminating the need for analog gain.
Schoeps recently launched a digital gun, SuperCMIT, claiming that the application of this technology can "add value to analog technology." Specifically for SuperCMIT, it is better to isolate those noises, such as street noise, room sounds, audiences or passing people, any sound that may interfere with the recording. According to Schoeps, the new digital microphone greatly reduces unnecessary noise and guarantees a very good sound even in the low frequency of direct sound. “Even if the microphone is very long, the gun is very difficult to do this,†the manufacturer said. “This makes SuperCMIT an ideal tool for film pickup and sports broadcasts. It also enhances the good results of indoor recordings.â€
In the white paper, Schoeps pointed out that digital microphones also have the advantage of resisting external electromagnetic interference, and there are many operational conveniences: level and directivity can be adjusted on the mixer; the microphone itself can transmit status data; It also records user presets.
On the other hand, the advantage of analog microphones is that temporary replacement does not affect the overall production; they do not require software upgrades; they use less power; different brands have the same standard interface; they are more familiar and easy to use. They have no signal delay; they have a larger dynamic range potential - the AES42 protocol in the 24-bit state has a dynamic range limit of 144dB, while the high-end analog microphone can withstand a dynamic range of over 155dB.
Therefore, the white paper concludes that the convenience of remote operation must be considered simultaneously with delay, synchronization, sample rate conversion, comb filtering effects, complex operational settings, and overall system complexity.
From this point of view, other microphone manufacturers become more cautious about this unproven technology. At present, the attitude of the US recording equipment, mixer and channel manufacturer Sound Devices for this microphone technology basically represents the general state of the industry. “In theory,†the company said, “the conversion in the diaphragm is able to achieve a high dynamic range. At the same time, as the digital signal is processed by the DSP inside the microphone, gain adjustment, frequency adjustment and dynamic effects can be obtained. All aspects of functionality."
“As AES42-compliant devices continue to be developed by Neumann, Schoeps and Sennheiser, Sound Devices will also evaluate its use on mixers and recorders. The advantages of AES42 in many areas have become apparent. Whether it is suitable for simultaneous recording remains to be seen."
This type of solution improves sound quality by minimizing the length of the analog cable, but adding converters to conventional devices also adds significant cost. Cost is still a key factor blocking the popularity of high-end technology.
“DPA has naturally realized that this change and development is going on,†said Ken Kimura, DPA's Asia Pacific sales manager. “But in order to obtain professional-grade quality, a lot of economic investment is required. It is the core advantage of this technology to equip each diaphragm with a converter, but in the end we only get implanted in the microphone. Converters. We already have a powerful modular system, so it is possible to implement more functions. However, the cost of existing solutions is indeed too high."
“I doubt if the huge advances in microphone performance are really achievable, because we are not using completely different methods and methods than the existing ones,†adds digital media expert Dave Shapton. “You have to consider how the performance can be greatly improved when the existing equipment is already of very high quality. When we use a good quality conventional microphone for 24-bit high sampling rate digital recording, we are away. The goal of achieving maximum dynamic range is not far off, so in a sense, the good quality of digital recording technology will eventually block the ultimate sound quality that digital microphones can achieve."
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