| Read Kieran Horgan on radio mics, 2 times BAFTA award winner. He’s worked on 15 Oscar nominated films too. | |
“Who Likes using Radio Mics? A necessary evil on location to get out of trouble? Well we do! And more so than ever now even with ever increasing noisy background levels”. Read on... |
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| How Simon Bishop eliminated the “Splats”. | “The most common gripe with radio mics is that the microphone scratches against the clothing it has been mounted on. The second most common is that the "radio" part of the system makes various "splat" or "shushing" type noises, spoiling an unrepeatable take”. Read on... | |
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| Andrew Vale | “...sixty
hours of actual shooting, during which time the Audio systems were
providing the main sound...not once were there any 'pops' 'bangs'
or loss of signal of any sort”. Read more... |
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| John Taylor | “I've been working recently using you your Audio DK2000 4 way radio mic rack system. They have worked brilliantly with exceptional range and quality in some very difficult locations and demanding scenes”. Read on... | |
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| Leo Dickinson | Everest
Expedition: “We had a very successful expedition. The two Audio Radio and Tram Mics performed flawlessly in what can only be described as hostile and desolate terrain...I have now fallen in love with having the two radio mics which were so easy to use and gave us such useful material that I now can't see how I could do without them”. Read more... |
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| William Sarokin | “As
every sound team knows, working a weekly TV episodic gives new meaning
to the word "pace". Add in cost-conscious producers,
outdoor location work in New York City-known as "RF hell"...you've
got a recipe for burnout. We couldn't have done it without Audio
Limited". Read more... |
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| Robert Gravenor | “I
have recently completed filming a series of thirty nine commercials
for IBM. We travelled for a year and a half all over the world.
I used your UHF diversity quad pack. From the rain forests of
Brazil to the mountains of Fiji, (with all of Europe and Asia in between)
all of the units performed perfectly. Even the agency types
commented on how good they sounded, and the superb range gave
the director more creative freedom in the way he designed his dialogue
shots. I am sold on your product”. |
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| Mark Ulano | Mark
Ulano, sound mixer on the epic “Titanic”, commented at the NAB convention,
“This job would have been impossible to do without the UHF Dx2000
true diversity rack system. A 900 ft ship is an extreme environment
for RF but the performance of the Dx2000 wireless system was truly
remarkable”. Read More... |
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| Jeff Wexler | I was astounded by the sound quality of Audio’s diversity systems, having used my quad on “Old Friends”, said Wexler. “They have worked flawlessly ever since I started to use them last year. Even in the (Holland) tunnel the performance was terrific, which I had been warned would be terrible for RF.” | |
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| Ronald Judkins | Using Audio wireless mics for the first time on Spileberg’s “The Lost World”, Ronald Judkins was delighted. “Without the range of Audio’s mics we would have been in serious trouble. And they don’t have that compressed, radio-ey sound associated with radio mics, even at high volume.” | |
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| Peter Glossop | Peter
recently wrote to Audio with some of his experiences in Russia: “What I especially like about the RMS2000 (and now the RMS2020) system are the following...the 4 way receiver unit which although quite compact, gives me at a glance, all the information about the system I require...The long usable time on one alkaline battery (for the Tx) and the excellent usable range with just the small dipole antennae. With the large Yagi array, which I have to say I now use all the time, the operating range is quite staggering. I have nothing but praise for the reliability (3 months on the road in Russia with Anna Karenina for example) and the excellent sound quality”. |
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| Mark McNabb | Read a feature article... by Location Sound Corps. on sound mixer, Mark McNabb and the equipment he used working on Deep Impact (a film by DreamWorks & Paramount). | |
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| Tim Fraser | “Audio’s mics have always been reliable. The new 2020 is improved to the extent that it’s practically faultless. I took it on a recent six month drama shoot knowing that it would be the one thing I could count on”. Tim uses four UHF channels of Dx2020 housed in the DK2000 4 way rack. | |