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Audio-Technica Stereo Shotgun Microphone: AT835ST ambient and audience miking
After extensive use by broadcasters during the coverage of last year's Olympics in Sydney, Audio-Technica's new AT815ST and AT835ST Stereo Shotgun Microphones are showing up in a multitude of high-profile sports broadcasts. Recent uses include: World Cup ski events at Park City, under the rim at Continental Basketball Association games, at center ice for figure skating broadcasts by Turner Sports, on handheld cameras for Showtime's championship boxing events, and by MTV Networks in the production of Rock 'N Jock Superbowl. Also using them for ambient and audience miking applications, broadcasters have found that the versatile AT815ST and AT835ST Stereo Shotgun Microphones excel in nearly any situation.
{2230.jpgrDesigned to capture high-quality stereo field audio in the most demanding situations, both models are compact, rugged and lightweight, and feature independent Line-cardioid and Figure-of-eight condenser elements. A three-position mode switch allows selection of a non-matrixed M-S mode and two internally-matrixed left/right stereo modes. In M-S mode, each microphone provides independent Mid and Side signals. This allows the desired stereo image to be created at the recording desk or mixing electronics. The two internally-matrixed modes provide traditional "left-right" stereo. To accommodate varying acoustic environments, the user may select between a "wide" pattern (LR-W) with increased ambient pickup, and a "narrow" pattern (LR-N) which offers more rejection and less ambience.
The AT815ST has a frequency response of 30-20,000 Hz and a length of 14.96". The shorter AT835ST (9.29") has a frequency response of 40-20,000 Hz. Both models have switchable low-frequency roll-off (80 Hz, 12 dB/octave), require 11-52V phantom power, and come with a foam windscreen, stand clamp and 24" stereo cable that terminates in two standard XLR connectors.
Veteran mixer Michael Abbott has used these new microphones on everything from MTV and VH1 award shows, to reality TV-type on-location shoots and ENG field audio. "These mics have pretty phenomenal stereo imaging," Abbott states, "They're perfect for capturing the full stereo image needed for today's high-quality broadcasts," he adds. Abbott was also impressed with the mics' transient response and uncolored audio translation, stating, "The ability of the mics to handle peak transients is also really impressive. We used them with tremendous success to capture everything from subtle ambience to explosions and pyro effects."
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