Our Audio Engineers make sure the sound quality is at the best level your budget can afford. We collaborate with experienced personnel from smaller private and major sound studios. We strive for full broadcast quality. We are experienced with music programs, DVDs, and interactive video and with capturing live performances. Our engineers make sure we use the correct microphones, record on a number of channels to allow us to manipulate the sound quality later or we choose pre-recorded media. The audio engineers operate the sound board and design the sound with the distribution channel in mind. They operate and maintain the audio consoles, faders and microphones. We will advise you on how to achieve the best sound quality.

We recommend to budget to have audio experts handle this part of productions. Here are some considerations for those of you that are interested in some important details:

Mic Sensitivity.

This is a measure of how much electrical output is produced by a given sound. This is a vital specification if you are trying to record very tiny sounds, such as snapping your fingers. If you put an insensitive mic on a quiet instrument, such as an acoustic guitar, you will have to increase the gain of the mixing console, adding noise to the mix so it isn't drowned out by the bass. A very sensitive mic on vocals might overload the input electronics of the mixer or tape deck, producing distortions.

Overload characteristics.

Any microphone will produce distortion when it is overdriven by loud sounds. You usually need to choose between high sensitivity and high overload points, although occasionally there is a switch on the microphone for different situations.The distortion is caused by a variety of factors. The coil may be pulled out of the magnetic field; in a condenser, the internal amplifier might clip. Sustained overdriving or extremely loud sounds can permanently distort the diaphragm, degrading performance at ordinary sound levels.

Linearity, or Distortion.

This is the feature that runs up the price of microphones. The distortion characteristics of a mic are determined mostly by the care with which the diaphragm is made and mounted.

Frequency response.

A flat frequency response has been the main goal of microphone companies. Equalizers compensate for each input. When the sound comes from the front there usually isn't any problem today. Problems in frequency response are mostly encountered with sounds originating behind the mic - sometimes referred to as "noise".

Noise.

Dynamic microphones are essentially noise free as long as the electronic circuit is carefully designed. To be useful for recording or other electronic processes, a signal must be amplified by a factor of over a thousand. Any electrical noise produced by the microphone will also be amplified, so even slight amounts are intolerable.

Noise can also come from unwanted pickup of mechanical vibration through the body of the microphone. This can be avoided through the use of elastic shock mountings. Hand-held mics need to have this mounting inside the shell.

A mic preamp is very similar to a radio receiver. Radio energy is deflected by the flexible metallic shield that surrounds the wire connecting the mic to the console. This way the cable is prevented from functioning like an antenna. The line has to be balanced to avoid the low frequency electric hum. When a sound is amplified by more than a thousand, a sound even as faint as the electric hum you can hear when an electric component is switched on can ruin a production.

To raise the quality of a production from "home-made" to "broadcast quality" we prefer to have our audio experts use great equipment on your productions. We will educate you so you know how best to budget for 'broadcast quality" productions.