History of audio signals, the microphone, and their windshields

The history of the microphone is closely connected to the invention of the telephone. All began with Italian engineer Antonio Meucci, who developed a telephone based on an electromagnetic converter he invented in 1860. However, he was not granted a patent. Scottish deaf-mute teacher Alexander Graham Bell was working in the laboratory where Meucci's invention was stored, and filed a patent for a similarly technical device on 14th February 1876.

In the development of what he called the “Telephone”, Philipp Reis was the first to build a contact microphone, which he publicly presented as part of his telephone prototype in 1861. Based on the model of an earpiece, the German inventor recognized that a sound funnel covered with a membrane could be used instead of an eardrum. This sound funnel then led to a housing box.

He equipped the membrane with a platinum contact that barely touched another contact attached to the housing when at rest. Direct current was conducted through this contact and an external resistor. If there was now a sound exchange pressure on the membrane, it vibrated, causing the contacts to be pressed together more or less depending on the course of the sound waves.

With this experimental arrangement, Reis invented the contact microphone, from whose principle the carbon microphone was later developed and used in the early days of the radio for recordings.

Georg Neumann, a colleague of Reis, further developed the carbon microphone in 1923, which greatly improved the sound quality, particularly at low frequencies. However, he made a breakthrough with the development of the low-frequency (LF) capacitor microphone. The membrane and counter electrode from a capacitor that is charged with a DC voltage. The capacitor capacity changes with the movement of the membrane, from which the signal is obtained.

This transducer principle was far superior in quality to the sound recording technology of the time, and is still the standard for top-quality microphones today.

In 1928, Georg Neumann founded a company, Georg Neumann & Co KG in Berlin, to market his capacitor microphone, which is still one of the leading microphone manufacturers today. In an attempt to make sound recording better, the first windshields were developed and designed.
The first functional serial model, the Neumann CMV3, also known as the “Neumann bottle”, can be seen in many contemporary film recordings.
The first microphone with electrically switchable directional characteristics, the Neumann U47 of 1949, is also legendary and is still one of the most sought-after and expensive microphones today: a functional, well-preserved U47 is traded for around 5000 euros.
At first, stage actors and cabaret artists who now appeared on the radio found the microphone irritating. It was unusual to speak to a microphone instead of an audience. However, by the late 1920s, microphones were already sensitive enough that you didn't have to shout into them anymore.
In 1962, Gerhard M. Sessler and James Edward Maceo West invented the elected microphone, a variant of the capacitor microphone that is currently the most common microphone type with a 90% market share. Gerhard M. Sessler and Dietmar Hohm also invented the silicon microphone at TH Darmstadt in the 1980s.

Everything is hand-made: an employee marks a microphone cover with a marker, cuts a foam block to size with a blade, and then shapes it on a model.
The company produces about 350,000 windshields per year. The price for a windshield is about three euros.

The high-quality models for outside broadcasting cost up to 20 euros. In the production hall, there are foam blocks in every color of the rainbow. The Schulze-Brakel employees work with the precision of surgeons.
In addition to the foam windshields, the company also produces microphone covers made of artificial leather and neoprene, which are used in rain or snow.

Schulze-Brakel is proud of the fact that they have the world's largest selection of windshields.
The company has about 400 models in stock. There are windshields in the shape of a heart, a star, a UFO, or a submarine. There are even windshields with a national Flag design.
Some broadcasters even commission special models for certain programs or correspondents.

In future, Schulze-Brakel would like to see a windshield with a built-in LED light on the market.

That would be a real innovation. Until then, the foam windshields will continue to be the stars in front of the camera.

​ Neumann

The TLM 102 microphone is a great choice for small studios. It offers Neumann quality at an affordable price, and it sounds great on vocals, guitars, and drums. The cardioid pattern and integrated pop screen make it easy to use, even for beginners.

The is designed and manufactured in Germany with attention to detail, and while it doesn't have all the features of more expensive models, the sound quality is brilliant.

The TLM 102 also has a very attractive look, with a gleaming chrome ring between a classic tapered head grille and the famous Neumann diamond.

The TLM 102 produces a clear and focused sound with superb definition, thanks to its newly developed large diaphragm condenser capsule. This allows it to capture the authentic character of any voice or instrument with enhanced silky highs around 10 kHz.

The TLM 102's technical capabilities are extremely impressive. Its self-noise is so low that it can scarcely be heard even in complete silence. It can also manage prolonged exposure to high decibel levels up to 144 dB without any distortion. The TLM 102 is one of the models in the TLM range, which means it has a transformerless output stage. This delivers rich bass tones and direct sound without any signal loss.

The TLM 102 is the perfect microphone for small studios! With its enormous dynamic range of 132 dB and uniform cardioid pickup pattern, it's easy to use for a variety of applications.

The Neumann KM 184 MT Compact Microphone has a genuine large diaphragm capsule that enables it to handle high SPLs without distortion. Additionally, its transformerless circuitry allows for gentle treble lift and silky highs while still maintaining very low self-noise levels.

The windscreen for Neumann microphone TLM 102 WS 7891 C is a specially designed round SchulzFoam© windscreen with best sound quality even for higher frequencies and has the best industry standard. The foam windscreen can be colored with strong colors and every slogan you want. Neumann won the Tec Award 2010.

Sennheiser

The AVX-835 SET is the perfect wireless digital microphone set for your film projects. The system is self-configuring and ready to go in seconds. Its ultra-compact receiver can be directly connected to your camera or recorder's XLR audio input.

The rugged handheld transmitter is ideal for street interviews. The AVX-835 SET comes with the handheld microphone, plug-on receiver, and all necessary accessories to be up and running immediately—for camcorders as well as DSLR cameras.

Its digital signal transmission self-configures completely. This makes setting the transmission frequency a thing of the past. The ultraminiature receiver can rotate freely around its XLR connector so as not to obstruct other devices connected to the camera. The AVX automatically turns on and off with your camera to save battery power.

The AVX adapts its input sensitivity perfectly to that of your camera, so you don't have to separately adjust the audio level at the microphone. Whether you're shooting a professional wedding video or a company documentary, from street interviews to product videos – the AVX does its job well while allowing you to focus on being creative.

Schulze-Brakel offers a round SchulzFoam© Windscreen solution for Sennheiser AVX-835 WS 7033ö3 C.

Yellowtec

This recording microphone is perfect for interviews. Its cardioid characteristic ensures a great recording level without any artifacts. The integrated LEA engine guarantees that the recordings will be free of levels or buffer issues. This product also has an AA battery life of up to 16 hours, making it super easy and fast to use!

Making your work a lot easier and letting your workplace design shine a little more – that's what Yellowtec stands for. Schulze-Brakel Windscreens for Yellowtec iXm and Yellowtec iXm WS 8423 are made out of SchulzFoam© and benefit the best quality recordings.

But how to conduct a good interview as a journalist?

Conduct research on the topic and the subject you are covering.
To ensure a successful interview, it is vital to conduct research on the topic and the person you will be interviewing. Before securing the interview, familiarize yourself with the topic to make sure the interviewee is a suitable source.
It's not necessary to become an expert on the topic, but having a basic understanding allows you to ask informed questions to get better answers.
Additionally, researching your interviewee by looking at their online presence and past interviews can provide valuable information and help you tailor your questions accordingly.
Decide on the format for a successful interview.
In journalism school, it is generally taught that in-person interviews are the most ideal. However, in some cases, this may not be feasible or practical. Alternative options include video, phone or email interviews.
However, email interviews should be avoided when possible, as they can hinder the ability to develop a natural rapport with the interviewee and make it harder to ask follow-up questions.
When reaching out to the source, it's best to establish the method of interview, and if you don't have a preference, give the interviewee the choice. Once the method is decided, provide any necessary information such as an address, phone number or Zoom link.
If the interview is scheduled several days in advance, you can also send a calendar invite to ensure it's added to both your and their calendars. If the interview is conducted via Zoom, it's a good idea to include your phone number in case of any technical difficulties.

Establish clear expectations

When reaching out to a potential interviewee, it is important to set clear expectations by providing information about the purpose and focus of the interview. This will give the source an opportunity to consider the topic before the interview takes place.
However, it is not common practice to provide a list of questions in advance. Additionally, it is a good idea to give an estimated time for the interview, for example, “the interview should not take more than 45 minutes.” This will help prevent the interview from being cut short.
Finally, inform the source of any follow-up steps, such as a fact-checking process to ensure accuracy.
Think about the interview questions you will ask during the interview.
When conducting an interview, it is significant to have a list of key questions prepared in advance to ensure that you are able to gather all the necessary information for your story.
However, it is not ideal to read off a set list of questions during the interview. Here are some tips to keep in mind when formulating your questions:
● Ask open-ended questions rather than closed-ended questions, as they tend to elicit more detailed and informative responses. For example, instead of asking “Did you feel disappointed when you lost the election?” ask “How did you feel when you lost the election?”
● Request specific examples or numbers, as it helps to provide concrete evidence and make the story more engaging.
● End the interview by asking “Is there anything else important that we haven't covered?” as it allows the source to share any additional information or insights. Also, you can ask “Is there anyone else I should speak with about this?” which may lead you to your next interviewee.

  Excessive background noise can detract from the listening experience and add to post-production difficulties. You may already be aware of this problem, either from a previous recording with unwanted background noise, or because you are concerned about future recordings. Whatever the reason, you've been looking for information on how to reduce background noise, and you've come to the right place.

It's important to note that when you use Schulze-Brakel windscreens, background noise is less of an issue when recording. Schulze-Brakel windscreens has the ability to enhance any recording, even those made in noisy environments, to sound like it was recorded in a professional podcasting studio.

Despite the benefits of studio sound, it's still useful to know how to reduce background noise when recording with a microphone. This will improve the overall audio quality, which will be appreciated during the editing process.

  Reducing background noise during recording: 8 tips

Preventing unwanted background noise starts with blocking it during the recording process. While noise-cancelling software can be useful in post-production, a clean, noise-free recording is ideal in the first place. Here are six techniques for using audio hardware and recording techniques to achieve noise-free audio:

●     Move the microphone closer. In podcasting, a recording where the speaker speaks directly into the microphone is called a “high speech-to-noise ratio”. To achieve this in your own podcasts, position the microphone close to the speaker's mouth – about a hand's length away. If the speaker is too far from the microphone, the sensitivity of the microphone will need to be increased, which will increase the noise level. On the other hand, a microphone with a lower sensitivity will pick up less background noise and reduce unwanted line noise.

●     Find a stable microphone stand. Unwanted impulse noises may be coming from your old, wobbly microphone stand. To avoid this, use well-maintained stands and replace them if they start to produce unwanted noise. A shock mount clip for condenser microphones can also be used to hold the microphone off the stand and eliminate certain squeaks that may occur without the clip.

●     Use a pop filter to eliminate plosives. A pop filter is a fabric screen that blocks the air puffs caused by certain consonants, particularly the “p” sound. Attach it to your microphone stand and position it between you and the microphone.

●     In noisy environments, choose dynamic microphones. Both dynamic and condenser microphones have their advantages, but the typical dynamic microphone has a lower sensitivity than a typical condenser microphone. This makes dynamic microphones more suitable for noisy environments. By using a dynamic microphone and speaking close to it, you can improve your speech-to-noise ratio.

●     Use clean electrical sources to avoid narrowband noise. Narrowband noise can be caused by electrical circuits and can cause hum in your audio recordings. This is particularly common in buildings with outdated electrical wiring and poor grounding, overloaded circuits, or odd wiring paths that create ground loop antennas. Avoid plugging audio equipment into the same outlet as high-powered lights, especially those with dimmer switches. You can solve this problem by using a power conditioner, which eliminates the AC ground loops that create narrowband noise.

●     Record in the least noisy room available. To minimize background noise when recording, try to find the quietest room possible. For some people, this might be a closet, where clothes can help absorb sound. If you prefer to record from the comfort of your own home, minimize background noise by closing windows and doors, and use carpets to absorb sound.

●     Check your plugs for possible problems. Faulty connections are often the cause of noise in your headphones. Check that all headphone jacks are securely plugged in. Repeat this procedure for your microphone inputs.

●     Check the gain levels of your audio signal. The audio signal can be amplified in several stages to increase its volume. However, excessive gain applied near the beginning of the signal path can cause distortion. If your audio tracks sound noisy and distorted, reduce the volume, especially on the preamplifier if you're using one.

​ 9+ Things to look for in a quality microphone windscreen

Recording high-quality audio is essential for podcasters, YouTubers, musicians, sound technicians, and filmmakers. A critical component of achieving this is having a quality microphone windscreen.
A windscreen acts as a barrier against wind noise and handling noise, ensuring that your recording is clear and free of unwanted sounds. However, with so many windscreens on the market, it can be difficult to know which one is right for you.
In this blog post, we'll be taking a closer look at the things you should be looking for when choosing a microphone windscreen, to help you make an informed decision and achieve professional-quality recordings every time.

Wind can be a relentless foe when it comes to recording quality audio or video. Whether you're capturing an outdoor show, streaming on Facebook Live from your backyard, conducting phone calls in blustery conditions or even driving with the windows down – wind interference will always leave its mark. The resulting noise and distortion can quickly ruin any project if left unchecked!

To ensure a clear audio quality both when recording and conversing on the phone, the most sensible solution is to use multi-layered windscreens that protect your smartphone's mic from gusts of wind.

Windscreens of this type are widely used to filter or reduce wind noise and protect audio recording machines and studio-grade microphones from wind interference.

Schulze-Brakel has just unveiled a revolutionary product that gives you access to the highest quality audio recordings for outdoor or adverse environmental conditions from your smartphone. Now, you can experience ideal sound on the go!

SAFE MATERIALS

To ensure the utmost safety, all materials used in this range of windscreens were sourced from within the EU. The synthetic leather material has even been certified to meet toy safety standards for infants and young children – yet, we strongly advise keeping these windscreens out of reach of both kids and pets.

MANUFACTURE

Schulze-Brakel prides themselves on producing outstanding windscreens, crafted with both technical precision and artisan skill. Every piece is created by hand using only the highest quality materials sourced from throughout Europe.

Note:

The stretchable, synthetic windscreen clings to the smartphone's body and acts as a barrier that soundproofs it from outside gusts.

​If you are trying to record videos or audio clips outdoors on a windy day, you have probably experienced the issue of distorted sound due to the noise caused by gusts. Even light breezes can make for some pretty terrible recordings, especially when using a microphone without windshield. If you ask a professional in videography or sound editing, they will tell you that it is tough or maybe even impossible to remove wind noise after recording. The most practical and straightforward solution is therefore to use a windscreen.

There are many different types of windscreens, or wind muffs, available on the market today. They come in all shapes and sizes to fit different kinds of microphones. Although iPhone and GoPro have tiny muffs made specifically for their microphones, there are many bigger ones available for professional sound recording. Let's have a look at the various types of bigger windscreens for professional recording.

What Types of Deadcat microphone covers are there?

An advantage of using a dead cat as a microphone windscreen is that it features fake “fur.” By doing this, there is less wind noise pickup in the microphone than with other types of plain windscreens. Recording outdoors can be difficult because of frequently changing conditions, but these furry microphones are perfect for capturing clean audio in any environment.

There are two common types of "dead cats" that you might come across when recording audio. These two types are generally referred to as "dead cat" and "dead kitten". The dead cat, or furry sock, is a removable windscreen that helps to reduce noise.

When shooting film, there is the preference to use the zeppelin-style Blimp windscreen with microphone whenever possible.

Unlike foam windscreens, Deadcats provide excellent protection against the wind while remaining versatile to fit over many types of microphones. Fur windshields fit over different kinds of foam windshields or on wind cages for boom pole microphones. The strands of fur act as a wind baffle, which redirects the air flow. This method creates even less friction than stiff foam, and adds up to its effects, resulting in more noise being neutralised on its surface. Fur wind guards are significantly more effective than foam windscreens, in neutralizing wind noise, which are only offering 25dB-40dB of attenuation. By layering a deadcat over the top of the windscreen, up to 50dB of attenuation can be offered. It's crucial to only use high-quality products though, as low-quality fur windscreens can lead to adverse effects on sound quality. Typically, windscreens are designed to fit a specific model of microphone windscreen, but you can find some that will work with a range of microphone types.

Deadcats have two layers, which help shield the microphone from unintentional noises. The inner layer is out of thin foam, which is covered by an outside layer of synthetic fur. This shall help to disperse the wind moving around the microphone, wich would cause noise on its surface, which can also lead to heavily distorted audio.

As longer the fur material is, as lesser air friction will be heard on the audio clip because the wind is allowed to move freely through the fur which neutralizes its kinetic energy. In contrast, shorter fur material will have a lesser reducing noise effect because there will be more wind friction around the microphone. Longer fur fibres allow winds to freely pass through and over the microphone with lesser resistance, because of the additional provided layer of noise protection, but without sacrificing a bit of high-frequencies in the signal. Usually, this will provide an air noise reduction of 25 dB with winds up to 6 meters per second.

Blimp windscreens are great at reducing wind noise for many reasons

Blimp windscreens are essentially made from plastic mesh material, with a thin layer of foam inside the mesh. These will have a significantly larger circumference than the typical foam windscreen of a dead kitten-windjammer. Microphone grills are usually pill shaped, since they are construced as a cylinder with half ball ends. By encasing the microphone in a grill blimp, there is additional room for open-air movement which ultimately decreases wind noise. It protects the mic from wind of all directions. Most blimp windscreens have a shock mount to keep vibrations from reaching the microphone. The air in the oval space between the turbulent surfaces and the microphone reduces sound interference.

Conclusion

Windscreens are necessary to protect microphones from wind noise. They should be replaced every few years and cleaned as needed. Windscreens help reduce wind noise by creating micro-turbulence and dispersing sound waves. They also prevent dust and other particles from getting inside the microphone and harming its performance. Overall, windscreens are an important part of protecting your microphone and ensuring optimal performance. Be sure to check the specifications of any windscreen before you purchase to ensure it is acoustically transparent and made of high-quality materials. There are two types of microphone windscreens for windy weather. The Deadcat, which is made for long shotgun microphones and the smaller dead kittens or windjammers, which are just the smaller version of the Deadcat.