Review: Elgato Low Profile Mic Arm… and magnets. I talk about magnets.

Cast your mind back to primary school. Remember the first time you saw a strange horseshoe shaped piece of red metal that was grey at the ends? And then your teacher – Mr Phillips or Miss Smith or Mrs Ellicot – threw some metal filings on to a piece of card paper, placed the horseshoe object underneath and lo! Wonderous patterns suddenly appeared.

Of course, you and your classmates all gasped!  It was magic! How could this be?

We now know this is called “magnetism”, and even if we don’t know WHY it does what it does, we at least understand what is happening.

A few companies in the film and video making biz have successfully incorporated the properties of magnetism into their products, with to me, the most notable being DJI which is using it very successfully as an “attachment” medium; that is using magnetism to connect two or more devices together. The Action 2 used it extensively.

SmallRig also uses it to cleverly attach Allen keys to its rigs, so you don’t need to go hunting for one to assemble or dismantle or even remove a camera from the rig Zhiyun has done the same thing with a screwdriver on some of its gimbals.

Which leads me neatly onto the Elgato Low Profile Mic Arm.

I reviewed the Elgato Multi-Mount system back in July last year. This is a series of articulated arms attached to an upright with a clamp at the end to attach it to a desk or benchtop. The cleverness is the adaptability at the end to being to connect a mic holder of various types, tablet holders or even cameras as well as the option to add further different length reticulated arms.

Conversely, the Elgato Low Profile Mic Arm, whilst having standard ¼” thread at the end – and is supplied with a pair of adaptors for different sizes (¼ ” – 5/8” and ¼” to 3/8”) – it is primarily designed for microphones as the name suggests.

Again, there is a standard bench clamp – more on that in a second – and the Low Profile Mic Arm slides onto a vertical spigot allowing full 360° rotation. It has to be said this was a very tight fit and needed a bit of bash file persuasion to nub down correctly, but thankfully, was easily again removable for transportation to somewhere else.

A clever feature of the clamp is a button on the windy handle thing (called a ratchet apparently) that allows you reposition it after tightening so that it isn’t jammed up hard against something or otherwise difficult to get to.

The horizontal arm that extends from this has a joint halfway along allowing 180° rotation in the horizontal plane in the vertical axis will go from full vertical (90°) to 60° below the horizontal giving lots of flexibility.

As mentioned, on the end of this is a standard ¼” thread on a ball joint that has a range of 90° (vertical) to -90° (straight down).

It is thus relatively easy to set this up so that the mic is at head height no matter you are sitting or standing. I used the Elgato Wave:3 that uses a USB-C connector without issue.

So where does the “magnetism” thing come in you ask?

One of the banes of anyone involved in audio and video is cable management. We are all familiar with the site of extra cable being wound around the boom and mic stand, I am sure! What Elgato has cleverly done is create compartments in the two arms of the Elgato Low Profile Mic Arm in which the cable can be fed and thus kept out of sight.

Access to these compartments is via a pair of magnetically attached “lids” covering the top of the arm. Simply lift this off, run the cable through and pop it back on again.

Very nice and well thought out.

The Elgato Low Profile Mic Arm can be bought for around $150 – a bit less if you shop around. You can get more information from the Elgato website.

 

 

 

 

 

Vloggers, videographers and content creators… lend me your ears (and voice)..

I’ve never been one much to do Christmas gift idea lists for my readers, and so it is again this year.

But Sennheiser sent me a list of equipment ostensibly as a “gift buying guide” thing, and it actually does stand up as a guide to “what mic for what task” as well. Thrown into the mix are some suggested headphones too.

This inofmration might be particularly useful if you are considering starting up vlogging for example.

Now I freely admit I use Sennheiser mics and headphones, and due to this, I am happy to say that I have at some point used most of the ones suggested, and can vouch for their build and sound quality.

So here it is: I hope it proves useful (and the Chrissy decorations on the images are their idea, not mine) 🙂

MKE 200 Upgrading your video blogging audio is just one microphone away – Sennheiser’s MKE 200 brings presence to your voice, while features like a built-in windscreen and shock mount keep your recordings sounding cleaner than ever before. AUD$199

MKE 400 If you’re searching for that perfect on-camera microphone, look no further! The MKE 400 is a compact, highly directional, on-camera shotgun microphone designed to isolate and enhance the audio for your video, and comes with built-in windscreen and shock mount. AUD$299

MKE 600 Even the most demanding filming challenges can be handled with an MKE 600 shotgun mic. Thanks to its high directivity, it picks up sounds from the direction in which the camera is pointing and effectively attenuates noise from the sides. AUD$499

MKE 440

Prefer stereo sound? The MKE 440 on-camera stereo mic has two aligned and matched mini shotgun mics, so it captures the natural audio you want and rejects off-axis noise. AUD$599

 

MKH 416  A classic – Sennheiser’s MKH 416 moisture-resistant interference tube microphone lets you capture superb broadcast-level audio in demanding conditions. Ideal for your next professional film, TV, or location recording. AUD$1069

 

XS Lav USB-C Whether connected to a computer or a mobile device with a USB-C port, with XS Lav USB-C you can record yourself simply and effectively, helping you instantly produce better content. AUD$129

 

XS Wireless Portable Lav Mobile Kit

Designed for vloggers, content creators and streamers on the go, the Sennheiser XSW-D Portable Lav Mobile Kit includes everything you need to get high-quality audio into your smartphone videos. AUD$349

MK 4 With the typical warm sound of a studio condenser mic, the MK 4 is a great all-rounder for podcasting and voice-overs, as well as for recording vocals and instruments. It delivers fantastic sound quality, while still being an affordable choice for home recording. AUD$419

MD 421-IIOne of the best-known microphones in the world, the cardioid MD 421’s full-bodied sound and five-position bass control make it an excellent choice for most instruments, as well as group vocals and radio or television broadcasting AUD$635

 

HD 25

Great sound, super-rugged and lightweight! The iconic HD 25 is one of the most widely used headphones among professionals. It’s ideal for any professional monitoring environment. AUD$349

HD 280 PRO

The HD 280 PRO monitoring headphones boast extremely robust construction combined with the sound quality, modular design, and excellent noise isolation you need in the field AUD$179.95

 

HD 300 PRO

Modelled on the precise sound reproduction of the legendary HD 250 Linear headphones, the HD 300 PRO delivers a neutral, high-resolution working sound, at the same level of precision you apply to your production. Its sound pattern remains delicate and accurate in every application AUD$369

 

RØDE Releases the Videomicro II

RØDE  says the VideoMicro II takes everything that made the original such a success and introduces several new features for enhanced performance, redefining the gold standard for ultra-compact on-camera audio.

Key Features:

• Professional-grade on-camera shotgun microphone

• Supercardioid polar pattern for highly directional audio capture

• RØDE’s annular line tube technology for unmatched transparency and natural, full-bodied sound

• Innovative HELIX™ isolation mount system for superior protection from knocks, bumps and handling noise

• 3.5mm TRS output with plug-and-play connectivity and no complicated controls – incredibly easy to use

• Ultra-compact and lightweight – just 39g

• Rugged, all-metal body and premium components

• Deluxe foam and furry windshields and cables for connecting to cameras and smartphones included

• Designed and made in RØDE’s state-of-the-art facilities in Sydney, Australia

The VideoMicro II records professional audio directly to a camera or smartphone. It is a true shotgun condenser microphone, with a supercardioid polar pattern for highly directional audio capture that focuses on what it is pointed at while reducing background noise.

The body has been completely redesigned, utilising RØDE’s revolutionary annular line tube technology for unmatched transparency and natural, full-bodied sound. The circuitry has also been overhauled, offering enhanced sensitivity and lower self-noise. The VideoMicro II delivers incredible sound quality never heard before in such a compact form factor, but it is just as simple to use as the original.

To aid in its simplicity,tith no batteries required to operate and no complicated controls.

One of the most striking new features of the VideoMicro II is the sleek red suspension mount. This is the HELIX™ isolation mount, a highly innovative shock mount system developed in-house at RØDE specifically for the VideoMicro II.

Featuring a groundbreaking design expertly crafted to the exact specifications of the microphone, it solves many of the issues that other shock mounts face when used with compact, lightweight microphones. Moulded from a single piece of advanced Hytrel® thermoplastic, it fully isolates the capsule from vibrations that occur from knocks, bumps and general handling, which can result in rumbles and other audio artefacts in a recording. It is designed to the exact size and weight of the microphone, ensuring optimal stabilisation and acoustic performance, while being super low-profile. It also features handy cable management slots and a standard mount for attaching to a camera cold shoe, plus a 3/8-inch thread for mounting onto a boompole and other accessories.

The VideoMicro II also comes with deluxe foam and furry windshields for protection from wind noise, making it suitable for recording in a wide range of environments, indoors or in the elements. Also included is a 3.5mm TRS to TRS cable for connecting to cameras and a 3.5mm TRS to TRRS cable for connecting to smartphones.

At just 39g, the VideoMicro II is compact and lightweight, making it ideal for use with DSLR and mirrorless cameras, compact and action cameras, and smartphones says RØDE. It is super portable, taking up minimal space in a creator kit, camera bag, or simply a backpack or handbag. It is also incredibly tough, designed and made in RØDE’s state-of-the-art manufacturing facilities in Sydney, Australia using premium components, including a rugged, all-metal body and broadcast-grade capsule.

The VideoMicro II is shipping worldwide now and is available for US$79. To find out more, head to rode.com/videomicro-ii.

Review: Hollyland Lark C1 Wireless Mic Kit

I’ve looked at a few Hollyland products in the past – the Solidcom M1 system, Lark M1 wireless mic package and the MARS T1000 Comms System. I have been impressed by the quality of the products and their overall usability in general.

Yesterday I received the newest addition to the stable, the Lark C1 Wireless Mic kit.

Housed in a small case that doubles as a charger and battery, the Lark C1 components consist of a receiver unit that plugs into your smartphone or tablet and a pair of small clip-on wireless mics that come pre-paired.

There are a few permutations of the Lark C1 kit; you can get either Android (USB-C) or iOS (Lightning) versions and these can be either twin mic like I received, or single mic. There is also a range of colour schemes if that sort of thing is important to you. Mine came in black with yellow highlighting.

The unit comes most fully charged, and to top it up, simply plug in the supplied USB-C cable to the charge unit and connect it to a suitable USB port.

The receiver has a pair of LEDs – one for each mic – showing the current status of each (constant blue for connected and flashing blue for disconnected), and a single push button for pairing if required – the mics are pre-paired out of the box but if for some reason that pairing is broken, it only takes a couple of seconds to get them back and operational again.

The mics themselves are a bit more generous with controls having an on/off switch, status LED, a pairing button that doubles as a noise cancellation button and a USB-C charging port. The LED status is the same as the receiver with added ability to flash red when the battery is getting low and show green when noise cancellation is on.

Operation

I admit to being initially tricked as for the life of me, in the documentation I could not find out where the Lark C1 stored files it has recorded. My error was due to thinking it would work along the same lines as the Sennheiser Memory Mic.

But in fact, Hollyland has made it a lot simpler than that.

You see, the Lark C1 is just a mic system; it needs host software to record with. Depending on your device (and this includes some tablets and even Action cams such as the DJI Action 2 and 3) these apps and devices include the built-in camera, Voice Recorder (Android) TikTok, Facebook, Instagram and YouTube.

On the Hollyland website there is a complete table listing of all compatible phones and the apps that will work. Click here to go there.

Therefore, in use, it’s simply plug the receiver into your phone and wait about 2 seconds for it to be recognised, turn on the mics, wait under second and then start talking. I used the native Voice Recorder app on my Samsung A71 without a hitch. I also successfully tested it on a Samsung A7 tablet.

With the noise cancelling system, again, a simple approach has been taken. Noise cancelling is either off, weak or strong. In technical terms, when set to weak, noise will be reduced by -1db and when strong by -14dB.

The range is excellent too. I tried it from every room in the house with the phone / receiver in my office and it stayed connected every time. I then ventured outside with the full house between me and the unit and then went back another 20 metres with still with no loss.

Hollyland say you can get up to 200 metres range with line of sight which is more than adequate for most circumstances this system will be placed in.

Power

Each of the mics is said to work for up to 8 hours before a re-charge is needed, but Hollyland has put some thought into the receiver side, as with a pass-through USB-C port on it, you can also charge the receiver when it is use by simply plugging a cable from it to the charging station. And then of course you can also top up the mics as needed, saying during a break in recording. The specs say that all up, you may get up to 32 hours’ worth of recording out of a charge.

LarkSound App

I found the companion app called LarkSound – which you have to download from Play Store – to be a valuable adjunct. With this running, you can tell at a glance how much juice is left in the mics, what level noise cancellation value is set, the volume levels via a meter (and you can increase or decrease the volume) and whether the audio is to played on the device’s speaker whilst recording.

You can also get the serial number of each component here, which you do need should you ever have to contact Hollyland Tech Support.

Conclusion

If you do a lot of smartphone audio recording and feel you need better quality audio as well as far more flexibility, then you are exactly the market the Hollyland Lark C1 aimed at.

Sound quality is excellent, you have the choice of your own app / device to record with, the wireless range is more than adequate for most uses and the price, at AUD$315 from Amazon Australia, is not a budget buster. If you want seriously good audio for your vlogging, podcast, small / short film production or other projects where a simple but very effective system is needed then the Hollyland Lark C1 is worth your consideration.

 

RØDE Releases the NT-USB+ Professional Mic

RØDE has today announced a new addition to its industry-leading range of USB microphones, the NT-USB+. Based on the legendary NT-USB, the NT-USB+ is a professional-grade USB microphone loaded with next-generation features. It is also compact, portable and versatile, making it say RØDE,the ideal microphone for musicians, podcasters, streamers and professionals who want to capture studio-quality sound with ease.

Key Features

• Studio-grade condenser capsule and tight cardioid polar pattern, delivering pristine audio ideal for recording vocals, speech and instruments
• Ultra-low-noise, high-gain Revolution Preamp™ and high-resolution 24-bit/48kHz analog-to-digital conversion for professional sound quality with stunning clarity
• Internal DSP for advanced audio processing powered by APHEX® – including a compressor, noise gate and legendary Aural Exciter™ and Big Bottom™ effects
• High-power headphone output for zero-latency monitoring, complete with level and mix controls
• USB-C output for plug-and-play connectivity with computers, smartphones and tablets
• Includes high-quality pop filter and desktop mount – an all-in-one solution for recording professional sound at home or on the go

Designed and made in RØDE’s state-of-the-art facilities in Sydney, Australia

The NT-USB+ is based on the original NT-USB, which was released in 2014. Featuring the same iconic form factor and studio-quality sound as the original, the NT-USB+ builds on this legacy with a number of next-generation enhancements and is set to become a modern classic.

The NT-USB+ retails for USD$169 (AUD$250 approx).
For more details, click here.

Review: PreSonus Studio One Digital Audio Workstation

Review by Graeme Hague

The holy grail of Digital Audio Workstations has always been a single program that can do everything you need. That may seem obvious, but it’s not as easy to find as you might expect. During the early years of DAW releases, different developers chose to focus on certain aspects of the recording process. Some DAWs were powerhouse MIDI software that allowed every conceivable MIDI parameter to be wrangled into doing anything, while the audio side of things was fairly straightforward. Other DAWs were the exact opposite, providing extensive audio recording facilities and hardly bothering with MIDI at all. Then you had the dedicated wave file editors that offered precise, almost surgical manipulation of the audio file down to the smallest sample size but couldn’t multi-track.

Over time, all these programs consolidated the various standard DAW functions into their software to become capable across the board of most studio requirements. However, a lot of the legacy menu functions—outdated processes and plugins that had to be kept available for existing long-time users—meant these DAWs were chockful with a bunch of obsolete options hardly anyone used anymore. The GUIs could be seriously daunting.

As a relative newcomer to the industry, first launching Studio One back in 2009, PreSonus had the opportunity to study DAW technology and develop a studio recording application that focused on what musicians and engineers really needed in a DAW, and to avoid the more esoteric functions that were mostly gathering dust on the menu bars.

That’s been PreSonus’ mantra ever since, carefully evolving Studio One over the next decade with improvements that had real uses and addressed modern workflows that recording studios were adopting. Yes, there have been plenty of functions added, catering for “power users”, that will have the rest of us scratching our heads, but on the whole, Studio One remains a straightforward, intuitive DAW that anyone can quickly understand, and at the same time has all the bases covered.

The release of Studio One 6.0 brings some innovative advances to several existing features—this version has an emphasis on refining some functions with well-thought-out enhancements—and one new capability that should definitely interest readers here, and caps off that concept of an all-in-one DAW.

The latter is the introduction of a true video track. Studio One has supported video for quite some time, but only with a video player interface. Now there’s an actual track with progressive thumbnails along the timeline the same as NLE video software such as MAGIX’s Vegas. Basic editing is possible, like cut-and-paste or delete, and you can bring in as many clips as you like onto that one track. PreSonus is quick to point out it’s not a full-featured video editor, but there are no limits to composing music or voice-overs perfectly in sync with any mish-mash of film that’s thrown at you, and at the end you can export a finished video in several popular codecs. For me, this feature is like the last piece of the puzzle that makes Studio One a complete DAW.

“Along with enhancing some of the existing plugins, the new video track is the last piece of the puzzle to make Studio One 6.0 a true, fully featured DAW for videographers looking to sync music or voice-overs.”

The improvements to existing functions are across a range of plug-ins and work spaces, and listing them all here is likely just going to make your eyes glaze over. Suffice to say that PreSonus has come up with clever ways to make these functions work even better—it’s not about fixing things that were broken. Of note is the Pro EQ3, which adds dynamic controls to the EQ bands. Simply put, you can adjust the EQ bands as per normal but add a threshold setting similar to a compressor that determines when the EQ kicks in—it’s a bit like a multiband compressor in reverse, and it’s going to be everyone’s go-to EQ over a master buss. There’s a new De-Esser plug-in which is simple, yet impressive with its results. Some De-Essers can be daunting in operation and still not get the job done. Studio One’s De-Esser can be practically left on the default settings and you’ll hear a difference. The Mixer Section now has a “fader flip” function. This possibly doesn’t make much sense unless you’re familiar with live, digital mixing consoles and the ability to switch through layers on a desk—the concept is to switch or “flip” the channel faders into controlling the send levels to any buss or FX channel. It allows for more precise settings with the long throw of the faders giving smaller incremental values. However, I use it for a slightly different purpose—the fader flip provides a much clearer visual on what signal is being sent where. If you have a “Where the hell is that coming from?” moment, switching to fader flip will instantly reveal the culprit.

“The introduction of a Lyrics track is more than just displaying words on the screen. And the new De-Esser can achieve a lot more than its simple GUI suggests.”

A Customize option allows you pare down menus to only what you need to see, and likewise a new Smart Template takes the concept of pre-defining a Song further, allowing you to build a default layout, channel configuration, included VST instruments … you name it, saving time spent reloading all your favourite settings every occasion you start something new.

Studio One Professional is the top-level version you can buy with a perpetual license, and it’s worth the extra money for the added functions, in particular the Project Page which provides everything you need to bring a collection of tunes or files together and create a final, digital release that’s consistent across all the included tracks. Mind you, the entry-level Studio One Artist is surprisingly very well featured for a cost-effective version, and the free Studio One Prime is no slouch although the expected limitations of a freebie version might soon be apparent.

Which brings us to PreSonus Sphere, which is the monthly or annual subscription version of Studio One and includes a lot of tasty extra plug-ins, access to extensive loop libraries, cloud storage and collaborative tools to work with other producers … there’s a lot to tempt people across to the “dark side” of subscription software. Rather than just a subscription, PreSonus has created a real sense of community with Sphere where you can swap ideas and discussions with other members, work jointly on songs, and you get access to expert chat lines and video tutorials.  If this is your first foray into DAWs, or even Studio One, then Sphere is a no-brainer. First of all, subscription software is completely reliable now—the chance of losing access due to some licensing glitch is very slight. Sphere gives you everything, and at a cost of US$164.95 for a year (at the time of writing) or US$14.95 per month, it’s almost on a par with several premium streaming services—and we don’t blink at paying those. Hell, at the moment I’m paying that in diesel just to check the mailbox. An internet connection once every thirty days keeps you up and running—you don’t need a constant link with the PreSonus server.

So, is Studio One 6.0 the holy grail of DAWs? If you get into a bar room brawl with other DAW users, without doubt you’ll hear loud arguments about how “this software does that” while “that software doesn’t” and rusted-on users are generally faithful to their preferred DAW. But that’s always about those esoteric and digging-deep functions I mentioned before that many people simply won’t use. Most important, the core workflow and GUI of Studio One makes sense quickly, isn’t overwhelming, and you can get a lot achieved before bothering with learning the more expert features. The Studio One community is large and always helpful, and PreSonus (and others) has produced a huge collection of video tutorials and masterclasses—help is never far away.

Studio One 6.0 has become a complete DAW package with that new video track ticking the final box. And Sphere gives you full access to it all at a minimum of cost. Like I said, it’s a no-brainer.

Caption: Studio One 6 Picture 1 “Along with enhancing some of the existing plugins, the new video track is the last piece of the puzzle to make Studio One 6.0 a true, fully featured DAW for videographers looking to sync music or voice-overs.”

Caption: Studio One 6 Picture 2 Standard promo splash screen

Caption: Studio One 6 Picture 3 “The introduction of a Lyrics track is more than just displaying words on the screen. And the new De-Esser can achieve a lot more than its simple GUI suggests.”

Update to Sennheiser MOMENTUM True Wireless 3

The new firmware update, available via the Smart Control App (iOS, Android) enables multipoint device connectivity and a high-resolution sound mode for convenience and quality.
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​“Our latest update reflects the dynamic ways people want to use MOMENTUM True Wireless 3, including our most requested feature – multipoint. For example, one can switch from their favourite music streaming app to join an incoming conference call from their laptop – and back again – without having to reconnect manually,” says Frank Foppe, Sennheiser True Wireless Product Manager. “And our new high-resolution sound mode enhances the listening experience even further, letting customers enjoy wireless audio that rivals the rich and lively detail found in a wired connection.” 

The power of connection 
​Now, the premium MOMENTUM True Wireless 3 sound experience is available on multiple devices with a simple tap. The latest update allows users to instantly switch between two paired devices for dynamic management of active connections. Examples include streaming a podcast on a smartphone before switching over to an incoming video call, shifting from a television series on your tablet to a mobile voice call, and balancing voice calls between work and personal phones. Multipoint also switches back to the original audio source device if a call is answered mid-stream, and otherwise allows for effortless switching between two Bluetooth audio devices. Lastly, the multipoint update allows for seamless switching through all mutually supported codecs, such as aptX Adaptive, and SBC – even across mobile operating system platforms from various manufacturers.  
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​Next level performance 
​Bringing listeners even closer to the details in their music, the MOMENTUM True Wireless 3 update also introduces a high-resolution sound mode featuring 24-bit depth and 96 kHz sample rate capability, unlocking sound quality comparable to a wired headphone. By connecting MOMENTUM True Wireless 3 to an audio source also using the aptX Adaptive codec, this mode increases the Bluetooth bitrate up to 420 kilobits per second for optimum sound. In RF-challenged environments such as bustling public transportation, the MOMENTUM True Wireless 3 may utilise the codec’s data scaling capabilities to seamlessly adapt the connection integrity at any given moment. Users can enable the high-resolution sound mode via Sennheiser’s Smart Control App, making MOMENTUM True Wireless 3 the ideal companion for all popular music streaming services and their highest quality subscription tiers.
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​Availability 
​Multipoint and high-resolution mode are available after updating the MOMENTUM True Wireless 3 to the latest firmware (Release 2.10.19 or higher) and updating the Smart Control App (App Store, Google Play; release 4.1.5 or higher).  The release also contains numerous optimisations and enhancements for Bluetooth and touch control features.

New Plug to Record iPhone and Android Wireless Microphone: Hollyland’s Lark C1

Hollyland Technology has announced the Lark C1, an ultra-compact, feature-packed wireless microphone system that can be plugged into mobile phones and offers a range of up to 650ft (200m). The Lark C1 lets you simply plug the receiver into the phone to record audio, and playback without unplugging. You can record audio without interruption, because the transmitter (TX) and receiver (RX) are usable while charging, and the receiver can be connected to a power source to charge your phone during operation. This product is available in an iOS version with Lightning connector on the receiver (with one or two transmitters) and an Android version with USB-C connector on the receiver (with two transmitters).

Android wireless microphone, iPhone wireless microphone

The transmitters can be clipped onto clothing like a wireless lavalier microphone, for professional vocal recording. The system’s 48 kHz/16 bit sound capture gives incredibly rich details from all directions, delivering Hi-Fi sound quality from 20 Hz right up to 20 kHz. In the iOS version, the MFi-certified Lightning interface ensures uncompromising sound quality and reliability. The advanced audio processing algorithms and Active Noise Cancellation let the Lark C1 deliver crystal-clear digital audio with background noise removed. The product is available in either black or white.

As well as mobile phones, the Lark C1’s Android version can add wireless microphone capability to some other products, such as the DJI Action 3 and Action 2, making it a perfect vlogging microphone.

Ultra-long recording duration, usable while charging

With two transmitter units in use, the Lark C1 Duo features an ultra-long duration of 32 hours from a fully-charged charging case, with each transmitter operating for 8 hours each time for a full day of uninterrupted audio recording. The entire system is usable while charging, including the smartphone.

Advanced in-app controls

Hollyland’s LarkSound app offers advanced controls and features to enhance your recording experience. The mic status is clear at a glance. You can view the transmitter battery level, adjust the noise cancellation level, or control volume and real-time playback through the phone and Bluetooth devices.

 

 

 

 

 

 

 

Like to create your own music? PRESONUS Releases STUDIO ONE™ 6

PreSonus Audio Electronics, Inc. today announced the global launch of Studio One™ 6, the latest version of the company’s award-winning music production software for macOS and Windows. Studio One™ 6 is the most recent chapter in the evolution of one of the bestselling digital audio workstations in the world, featuring industry-leading innovations, mixing improvements and the most advanced user interface customization options available. Version 6 makes audio content creation fast and easy, with everything you need to record, produce, mix, master and perform in a single intuitive application. Studio One 6 is available for purchase as a perpetual one-time license, or as an annual or monthly subscription to PreSonus Sphere via PreSonus.com and participating dealers. In addition to the latest two versions of Studio One™ Professional, PreSonus Sphere™ members get access to expanded collaboration tools in Studio One™ and online, Community, exclusive educational content, all PreSonus software and add-ons giving the best value to creators and the ultimate Studio One™ experience. With additional landmark innovations in the works for future iterations, Studio One™ 6 is just the start of the rollout of a new and improved feature set to support recording professionals.

“In this latest iteration, the team stayed focused on listening to loyal users’ needs, creating innovative solutions to boost productivity in the professional audio production space,” said Arnd Kaiser, General Manager, Software at PreSonus. “We want engineers, producers, recording musicians and creators around the world to feel supported and inspired to build their best work yet. Studio One™ has evolved over the past 12 years and is now an established major player in the audio production space known for unique features and a fast, intuitive workflow. We continue to push the boundaries of what’s possible in recording and are now the first digital audio workstation in the industry to feature end-to-end lyric support for both audio and MIDI, from songwriting to recording and live performance.”

“We are excited for the launch of Studio One 6 and are fully invested in supporting the continued expansion and adoption of Studio One as the total solution for professional and committed at-home creators,” said Evan Jones, CMO, FMIC. “The global adoption of digital creative and productivity tools continues to grow and expand across all forms of musical expression, in the hands of an even wider audience of creators, producers, mix engineers, and artists. Together with PreSonus hardware and Studio One™ we’re providing the total solution for professional and committed at-home creators, and we can’t wait to hear the music they’ll make.”

Studio One™ 6 offers major new features and enhancements to boost creativity for seasoned professionals; moreover, the redesigned and customizable user interface helps creators focus on the task at hand. Studio One™ 6 is available in both perpetual (priced at $399.95 USD for Professional) or as part of the PreSonus Sphere™ subscription, which gives members every upgrade for free. Going forward, PreSonus Sphere™ members ($14.95/month or $164.95 annual) will always have access to the current version of Studio One™ Professional as well as one version back, giving them the freedom to upgrade whenever it works best with their projects.

Studio One™ 6’s top new features include:

1. Smart Templates: New Smart Templates combine preconfigured tracks and channels with a customized user interface and automatic download of required content to get started recording and producing right away. Smart Templates provide essential tool sets for the tasks at hand, including basic recording, beat making, mixing stems, mastering an album, setting up for a live show and more. Smart Templates include a convenient drop zone to easily import needed content like audio, video and MIDI files as well as interactive tutorials with instructions and links to related video content.
2. Customization Editor: The new Customization Editor provides a convenient and easy way to show or hide nearly all tools and functions, customizing the user interface to create a streamlined, focused workflow for the task at hand.  First-time users, seasoned professionals and everyone in between can create a Studio One™ interface customized for their needs. Best of all, customizations can be saved to recall at will — a few for essential workflows are provided as jumping-off points.
3. Industry-leading Lyrics Support: Studio One™ 6 now provides powerful, industry-leading lyric support. Lyrics can be added to scores, MIDI productions, audio sessions – even live performances! Use the all-new Lyrics Display as an editor, a teleprompter or a quick, innovative way to navigate a lyric-laden production. When working with Score or Piano view, lyrics can be attached to notes word by word or by syllable. Lyrics can also be transferred to the Show Page to use during rehearsals or performances.
4. Global Video Track: Content creators and sound-to-picture professionals alike will appreciate the all-new Global Video Track and its intuitive workflow. Add video clips by simply dragging video files onto the timeline. The Video Track can hold an unlimited number of video clips, making it easy to work on multiple reels of a feature film in a single session. Video thumbnails are generated automatically to provide a preview for easy navigation. A dedicated sub-track is provided for embedded audio to use as reference, complete with mixer channel, full plug-in processing and output routing options.
5. Advanced PreSonus Sphere™ Collaboration: Studio One™ 6 deepens the integration with the PreSonus Sphere™ fully loaded with powerful, cloud-based collaboration Workspaces, using convenient sharing options and built-in sync options right from the main menu. An all-new comprehensive installation window lets members quickly explore, download and install exclusive PreSonus Sphere™ content, with a variety of display, search and filter options.
6. New Plugins: It wouldn’t be a Studio One™ upgrade without new and improved Native plug-ins and version 6 is no exception. The Studio One™ new De-Esser is an efficient and intuitive tool for taming vocal sibilance and other high-frequency sounds. The new Vocoder is a creative playground that lets users turn a voice or any audio source into a unique synth or effect. Finally, the ever-popular ProEQ, Autofilter, Mai Tai, Sample One XT and Presence XT have all been significantly enhanced and improved.

“From 2017 on, Studio One™ has been the official DAW here at Studio DMI, in every room, for every purpose,” said Luca Pretolesi, Grammy Nominated Mixing and Mastering Engineer at Studio DMI Las Vegas. “Every record I’ve worked on so far, from big album projects like Drake to dance records for Diplo, has been done in Studio One™. PreSonus Studio One™ 6 is out and it’s great. There are so many improvements and I think everyone at PreSonus read my mind. They elevated certain functionality and features that are very important for my workflow, especially the Channel Overview. Staying on one channel and being able to access everything on the channel is a key element for me. I love the additional function on the sidechain; it was already crazy before. The ProEQ³ is even better. The dynamic functionality and the solo make it the ultimate EQ in a plugin format.”

Studio One™ 6 introduces a long list of additional new features and enhancements, including improvements to the Console, the Browser, the Start Page and much more. In addition, the Studio One™ 6 Console is also packed with new features developed at the request of the loyal Studio One™ community. Fader Flip lets users control FX/Bus sends, sidechains and Cue Mix sends all from the main faders. Stereo channels now feature a choice between balance, dual or binaural panning as well as a new panner pop-up editor. The new Channel Overview provides a single, consolidated view of all channel parameters, including input controls, inserts, sends and Cue Mix sends for the selected channel that can be pinned to keep a critical eye on individual channels. Finally, Studio One™ 6 takes workflow efficiency to a new level with Track Presets, storing every aspect of a given track or channel for instant recall, even for multiple selected tracks/channels.

There are various pricing options available and they can be seen here (in USD$)

 

Wireless Lav Mics… which one?

There has been a surfeit of wireless mic systems of late and therefore we are spoiled for choice these days. So I thought I’d take a quick look and compare spec for spec the ones I have access to at the moment. These are:

• DJI Mic
• Hollyland Lark M1 Duo
• Sennheiser XSW Digital Lavalier

And for good measure and comparison, throw in the RØDE Wireless Go II (which I don’t have but the specs are easily obtainable).

Whilst there are many other options, these four should give a reasonable benchmark to work from and allow a choice to be made – depending on record quality of course!

	DJI Mic	Sennheiser XSW Lav Set	Hollyland Lark M1 Duo	RØDE GO II (Twin set)
Transmitter
Dimensions	47.32 x 30.43 x 20.1mm	102 x 24 x 28 mm	48 x 21.5 x10mm	44 x 45.3 x 18.3mm
Weight	30g	Not given	11.8g	30g
Battery Capacity	320mAh	850mAh	140mAh	Not given
Operating Time	5.5 hrs	5 hrs	8 hrs	7 hrs
Charge Time	70 mins	3 Hrs	1.5Hrs	Not given
Receiver
Dimensions	47.44 x 32.21 x 17.35mm	109 x 24 x 28 mm	48.3 x 27,6 x 11mm	44 x 45.5 x 18.3mm
Weight	24.9g	Not given	17.5g	32g
Operating Time	5 Hrs	5 Hrs	8 hrs	7 hrs
Battery Capacity	320mAh	850mAh	200mAh	Not given
Charge Time	70 mins	3 Hrs	1.5Hrs	Not given
General
Audio Output	Not given	Max 12dBu	Not given	100 dB SPL (1kHz @ 1m) dBu
Frequency Range	2400-2483.5MHz	2400-2483.5MHz	Varies based on regulations of different countries	50Hz – 20kHz
Latency	Not given	<4 ms	Not given	Not given
Max Range	Not given	75m	200m	200 m
Other	Records in TX as well as RX connected device Comes with 2 x TX units	Has no case charging system requiring USB-C charging Can switch between multiple TX on single RX Only comes with single TC unit	Separate USB-C on RX and TX for charging outside case Comes with 2 x TX units	Available as dual or single TX system 40 hours internal recording
Price	AUD$509	AUD$499	AUD$230	AUD$429

In Use

There is no doubt having a twin mic and single receiver system is a distinct advantage and here the Sennheiser dips out initially although you can add extra transmitters / mics later if you wish.

The ability of the DJI mics to also record internally in addition to the receiver system recording to the host device is a ripper idea and a major selling point. Specification wise you can see the RØDE and DJI systems are almost identical so this one thing might give the DJI Mic an edge over RØDE to some buyers.

The price point of the Hollyland system is extremely attractive, and if you are on a budget, then this would definitely fit your needs.

Audio Quality

If you ignore technical specifications and go by your ears, well my ears anyway, the long experience of Sennheiser in the audio world has the distinct edge in recording quality with I’d suggest, the RØDE in second place. The DJI Mic comes in 3^rd and the Hollyland Lark M1, whilst being very capable and eminently suitable for vlogging, YouTube and TikTok etc, doesn’t exhibit the quality of the Sennheiser and RØDE offerings that broadcast audio would demand.