The splash-proof iXM microphone from Yellowtec is a combination of handheld microphone and audio recorder. The device was developed at the suggestion of public broadcasters who wanted a reliable and easy-to-use recording device for interviews.

A standard SD card, as used in DSLR cameras, is inserted at the bottom as a recording medium. It is operated with large buttons, which are also completely silent. Operation is almost self-explanatory. However, the device must first be switched on by pressing the REC and STOP buttons simultaneously. Depending on the size of the memory card, the boot process takes a few seconds – in my case around 24 seconds – but as the internal battery lasts for 18 hours, you can do this in advance. And if the battery is empty, the device automatically switches to the additional battery compartment with three standard AA batteries without interruption or cracking.

When the boot process is complete, this is indicated by the flashing red LED. Then press the REC button and the recording starts. This is indicated by the permanently lit red LED. Press the REC button again to set a marker. In addition, a pre-roll time of up to 30 seconds can be set via the software so that the beginning of an interview cannot be missed.

The device has a 3.5 millimetre yellow line-in socket on the underside, which can also be used to record line signals – but only in mono. You should make sure that the level is set correctly via the software. On delivery, it was far too low for me, so that the sound from the headphone output of my ThinkPad was barely audible. But to check this, there is a 3.5 millimetre headphone socket marked in green right next to it, which can be used to listen to the sound during both recording and playback. Playback and volume are controlled using the buttons on the back of the device. A voice announcement tells you which file is being played. This is very practical and replaces the missing display. The markers can also be started using the control buttons.

The solid metal housing has an edge to prevent the microphone from rolling away so easily. The microphone capsule from Beyerdynamic is screwed on and is available in three characteristics – omnidirectional, cardioid and supercardioid, each with premium electret condenser capsules, which we received with our test set
received with our test set. There is also a slightly cheaper dynamic version of the two cardioids from Yellowtec.

And how does the microphone sound?

The integrated LEA levelling technology ensures distortion-free levelling and the suppression of interference signals. Even if you shout into the microphone and it already sounds distorted on the headphones, the recording itself is distortion-free because the LEA technology is bypassed in the monitoring path to avoid latency problems. The level control is rather slow. Technically, this is realised by two differently levelled preamplifiers, between whose signals the best levelled signal is always written to the memory card, depending on the level. This means that there is no pumping as with automatic levelling or compression from other devices and the volume can be subsequently adjusted in audio software. This creates a homogeneous sound image. Adjustments are only made in the event of extreme level fluctuations anyway. Even with the omnidirectional capsule and strong background noise from a trade fair, speech intelligibility is still very good.

Software

To make further settings, you must first install the software. There is user and admin software. After starting the user software, you should first click on the Help button. The help window will then open, in which you can find out what is possible and how you can connect the iXM Micro in the first place. To do this, you first have to find out which com port the microphone is connected to in the Windows Device Manager. Unfortunately, this is not particularly intuitive and should at least be mentioned in the briefing book supplied. After that, you can also fine-tune the LEA Engine via the software and save the settings in the nine different presets, which you can then call up with the user software.

To get a good comparison, my friend Jan Kalt set up two classics next to the iXM in the recording room of his Schraubfabrik recording studio in Musikpark Mannheim and recorded them. A Neumann U87 and a Shure SMB7. I also plugged in a DJI and a Hollyland Lark MAX wireless microphone. While the two wireless microphones are easy to understand but sound quite mid-range, just like the SMB7, which is at least a little more brilliant, the iXM sounds full and transparent. Not quite as brilliant as the U87, of course, but a little fuller in the bass – but that’s my subjective listening impression. If you want to see for yourself, you can watch the video on my postproduction-tutorials.net website.

Conclusion

The iXM from Yellowtec really is a very good microphone, especially for voice recordings, even in difficult environments. It is optimised to work intuitively in every situation, which is invaluable, especially for non-repeatable events and interviews. However, this also comes at a price. It costs 899 euros with a dynamic capsule and 1099 euros with a premium capsule. You should definitely order a microphone holder, as the microphone is really very thick and does not fit into a standard holder. You shouldn’t skimp on pop protection either, as the supercardioid is particularly sensitive to pop sounds. It is a pity that the microphone cannot be used as an audio interface via USB. Perhaps there will be a firmware update in the future. After all, you can already see the level change in the iXM User software. If you want something a little cheaper, the iXM Podcaster with dynamic cardioid capsule is an alternative for 639 euros. However, you will then have to do without the internal battery and the interchangeable microphone capsules. Otherwise, the functions are the same.

The post That’s not a microphone. THAT is a MICROPHONE first appeared on DIGITAL PRODUCTION and was written by Nils Calles.

In a nutshell, the Yellowtec Mika system is a set of columns, clamps, arms and brackets that mount microphones and other heavy equipment to a desk, wall or wherever and position everything as it should be in use.

What is it actually? It’s called “m!ka”, but internal punctuation… we call it Mika. You can find the overview at is.gd/yellowtec_mika – but that’s not all, because the accessories are where it gets really exciting – mounts, various arms and all kinds of accessories. Brackets are rods, clamps and rails that can be used to attach everything in the system, from the ceiling to the wall to the table (with and without holes) and so on. The arms are mounts for microphones, screens, cameras and tablets. And then there are on-air systems, monitor mounts, tablet clamps and much more.

The arm

Available in a wide range of sizes and designs, the microphone arms can support loads of up to 1.5 kg (there are probably few microphones out there that can go that far). There are also monitor arms in the range that can support up to 8 kg with VESA-compatible mounts – that’s easily enough for normal screens, and no-one hangs broadcast monitors from FSI, Eizo, Sony etc. on an arm anyway. The arm itself is made of sturdy aluminium and finished with a 5/8-inch steel thread – that’s “audio” standard. If you want to attach something else, you can find thread converters in all sizes – or probably already have some lying around somewhere.

The joints are made of solid plastic and can be locked securely, or, if the system is balanced
the system is balanced (counterweight screws are in the base of the respective arm), they can also be left open in order to have a movable arm – for example, if you want to reposition the microphone frequently for different people. The arm is not all “fully” rotatable, but the radius is sufficient and is described precisely in the documentation.

The built-in LEDs on the microphone arms are a delicacy – the indicators are directly above the microphone and switch with the “On Air” lights – each microphone shows whether it is live, communicates with the various mixing consoles (of which Yellowtec also has some in its range, but that would go too far for us VFXers) and thus provides built-in feedback.

In the test, we set up a column, the cam stud and three arms. The entire system is very stable and contains a complete set, from the cable holder to the shim disc. Everything is designed for “hard” use and is made of high-quality materials such as aluminium, solid plastic and stainless steel screws. Nothing wobbles, squeaks or rattles.

In our test version, we had several extension variants available. The system can be attached to the ceiling, wall, table or floor as required. The large columns in particular can be used to create flexible work areas that offer monitors and storage space without everything standing on the table and transmitting vibrations to the microphone or camera.

Another advantage is that you can order and extend everything individually. If you need another monitor, that’s no problem. You can simply add a bracket and an arm and attach it
to the column. Markers, screws, brackets and other elements can be exchanged, extended or personalised.

Enough praise, now for the grumbles! The first point is that it is relatively expensive compared to gaming/streaming accessories. Although it is more stable and flexible, it is not a bargain. If you can’t afford it as essential equipment, you might want to recalculate.

The second point of criticism concerns the selection. There is currently only one USB-C arm, while the rest of the range is supplied with a 5-pin XLR or XLR-compatible cable. However, this is probably only a matter of time. It would be desirable if the range were expanded.

And there is another point to criticise: Three different Allen key sizes are required for the table column mount, the mounting screws on the column and the settings to achieve a “normal” setup. You should therefore be careful not to throw any of the spanners away during assembly, as all of them are required.

If you browse the Yellowtec website, you will also see the “iXm” series – microphone-shaped recorders with built-in autolevelling. If you’re thinking: That can’t be right, you always have to level audio recordings! Nils Calles is already testing the device and will let you know how it works on page 128 of this issue.

Conclusion

If you want to set up a “professional studio”, there’s no getting around them – it’s not for nothing that the arms are used by all the well-known broadcasting companies. The interaction between the arms, the mixing consoles and the mounting options in all directions, including stands, brackets and the like, is perfectly coordinated – and stable enough that the broadcasting station is more likely to collapse than the brackets.

The post The icing on the cake first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

As the highest-priced device in the Seiren V2 series, the Seiren V2 Pro has the most built-in controls – three in total. The functionality of the microphone mute button is self-explanatory: once pressed, the microphone is muted and ignores all sounds – press it a second time and the device resumes audio operation.

Nice: A red or green light, in the form of a microphone symbol, indicates whether the recording function is switched on or off. Below this is the volume control for the headphones. Finally, the microphone amplifier control (gain) can be used to regulate how sensitively the microphone records; it is advisable to adjust the gain here to keep unwanted background noise out of the audio recording or to avoid audio clipping and peaking.

Setup & basics

As mentioned, the Seiren V2 Pro is advertised as a professional USB microphone for streamers. According to the product description, the device has a dynamic 30 mm capsule and captures a frequency range from 20 Hz up to and including 20 kHz. For further information on the technical specifications, it is worth taking a look at the Razer website.

The microphone can be set up in a matter of seconds. Once the device has been removed from the outer packaging, the microphone is screwed into the stand supplied. The actual microphone sits in a U-shaped holder, with locking screws on the left and right of the microphone housing; these are used to lock the device in place. As the Seiren V2 Pro has a cardioid polar pattern, it is advisable to orientate it so that the upper part of the microphone points directly at the speaker. This ensures that the speaker’s voice is optimally recorded.

The microphone is connected to the computer via a standard type C to type A USB cable. With our test setup, a Windows PC, the microphone was automatically recognised by the system once plugged in. Only a pop-up message prompted us to restart the PC. If you have defined the microphone as a playback device, you will need to plug in your headphones via the 3.5 mm connection – assuming you still want to hear what sound your device is emitting; this is located on the back of the device, i.e. on the opposite side of the device to the built-in rotary controls and the mute button.

The Razer Synapse app

As we pointed out in our last Razer device tests for the Razer Orochi mouse (p. 51) and Razer Productivity (p. 61) in DP 04:22, any Razer hardware can be paired with the company’s own Synapse software. This is convenient for those users who already have a whole fleet of Razer devices and want to keep track of the different devices and save device settings in the cloud.

There are several selection options in the Synapse header bar – including the item: Streaming. If you select this, you will find the options “Micro” and “Stream Mixer”.
In the Micro menu item, the input and output volume can be adjusted – but different sampling rates can also be set up: 44.1 kHz, 48 kHz and 96 kHz. In addition, the high-pass filter and analogue amplifier limiter can be switched on and off.

The high-pass filter ensures that low-frequency noises (e.g. your caretaker’s leaf blower making green spaces unsafe outside your home office or the humming of your computer cooling system) are filtered out. Clipping, peaking or speech distortion can be controlled by using the “Analogue gain limiter” slider to prevent distortion when screeching into the microphone, for example.

Synapse app in practice

To be honest, it has to be said: With the Razer Orochi, which I use for my editorial setup, I have so far deliberately avoided Synapse. However, the stream mixer built into Synapse offers useful convenience functions, especially for streamers; here, several input and output levels of different sources can be regulated independently of each other (output side: stream, playback; input side: headphones, system, music, game, voice chat, browser, sound effects, microphone. Other applications can be set up individually for the separate input). In practical terms, this means that the sound output can be set up so that viewers of your stream only hear what you want them to hear.

For example, you can play background music for your viewers but mute it on your own headphones. Or you can listen to gangster metal or your favourite podcast during a low-tension video call, while your colleagues are already spilling unasked gossip from their private lives. YouTuber Senpai Gaming compares the Stream Mixer with the Wavelink software from competitor Elgato. The comparison is worthwhile here.

Conclusion

The foolproof cabling via USB, the high-quality looking device casing, the satisfying audio recordings during our test and the streaming software included: all on the plus side. On the downside, the recorded typing noises (whether on the keyboard or tabletop), which the Seiren V2 Pro picks up no matter how much I tweak the knobs and software settings, are emblazoned thick and bold. In other words, I was pleasantly surprised by the Seiren V2 Pro during my first microphone test drive; it remains to be seen whether the flagship model of the Seiren V2 series can hold its own against competing devices in future microphone tests. By the way: If any audio experts can offer me tips and tricks on how to filter keyboard clatter from audio recordings, please send an e-mail to info@digitalproduction.com!

Key data

Price: 159.99 euros (RRP)
One-year limited product warranty

Included in the scope of delivery: Razer Seiren V2 Pro, stand, USB cable (type C to type A), windscreen

Technical specifications
Required power: 5V/350 mA
Sampling rate: 96 kHz
Bit rate: 24 bit
Capsule: 30 mm dynamic microphone
Polar pattern: Cardioid microphone
Frequency range: 20 Hz – 20 kHz
Sensitivity: -34 dB
Maximum sound pressure level: 120 dB
Signal-to-noise ratio: 105 dB (A-weighting)

The post Plug and Play and Palaver? first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

If you’re thinking: “But they said Hyper X Quadcast is the ultimate for speech and everyday life!” – Yes, that’s true. Unfortunately, it’s not quite so simple in the audio segment – because beyond the “everyday/productivity” land comes the deep valley of studio and audiophiles, and that’s where we’re now entering with this set from Beyerdynamic. The set consists of the Beyerdynamic Fox as a microphone and the DT990 Pro as headphones – Beyerdynamic offers these sets in different versions depending on the application.

Microphone: Beyerdynamic Fox

And so we start with the “Fox” – a massive USB microphone with cardioid characteristic (what happens in front of the microphone is recorded, what happens behind it is not), which was designed for speech, podcasts, vocals and instrument miking. The large-diaphragm condenser capsule with 24-bit/96 kHz recording is firmly established in the studio segment. The front panel features a latency-free headphone output, a mute button, a “mixer” between headphones and PC and a headphone volume control. And a gain switch for switching between vocals and instruments is located at the rear.
Otherwise, there are only the bare essentials in the box – a 2 metre long Beyerdynamic orange USB-C cable and a rudimentary but functional stand. There is a 3/8″ thread on the underside for the usual tripods and microphone arms – an adapter is recommended for 5/8″ threads. The controls are also kept simple: Headphone output volume, headphone/computer audio mix, that’s it.

What sounds relatively succinct now is actually everything – in contrast to other microphones that we have previously tested, the Fox is spartanly equipped and focusses on the recording – the quality. How good is it?
Well, let’s put it this way: you shouldn’t eat anything that makes your stomach bubble before a video conference. Alternatively, you can use Nvidia Broadcast or other tools with ambient noise filters to reduce the embarrassment to a tolerable level. So if you work in a noisy environment, you will also pass on the noise to the other side and have to turn it down or filter it.

What’s more, it has “specialised” in the basics – it is recognised by every computer, requires no special drivers and can be set up in Audition or similar with just one click. The supplied cable is also not vulnerable if you leave a mobile phone or similar next to it. The other technical specifications are listed in the box on the next page.

Headphones: DT 990 PRO

The DT 990 Pro is an open headphone for studio use – and if you’re thinking: “This thing looks familiar”: Yes, we had a picture of it in the last issue in 3D Audio Part 1. But with the horde of headphones, why this one of all things? First of all: No RGB, no frills: A robust headband made of spring steel (and therefore without plastic creaking) with high wearing comfort thanks to soft head and ear pads (ear pads are available in “leather” or “velvet”. We tested velvet, of course, because anything else would damage our reputation even more).
The DT990 is available in different versions, from 32 ohms to 80 to 250 and 600 ohms – so you can choose the right device depending on your amplifier. There are also different “editions” – silver, black, black with a red band (“Manufaktur”) and others – but the sound is always the same, so we won’t go into that in detail here. The device is designed for studio use – the sound reproduction is clean, with a wide stereo image and an open design that makes it possible to perceive the surroundings – and in our personal opinion provides a better sense of space.

The lack of complete isolation from the environment, as is the case with earbuds and most gaming headphones, for example, means that the sound can be reproduced very precisely and accurately, which means that previously undetected sounds can be heard in your favourite songs. Another advantage is that you are not cut off from your surroundings and can hear what is happening. But the first week of testing was constantly accompanied by the question: “Did someone say something?”. The distinction between “happening inside the headphones” and “happening outside” takes some getting used to. But of course 3D audio also works particularly well in this way. However, if something like this is very irritating, you should probably choose the closed design – Beyerdynamic has options for this, and we just wanted to warn you.

Of course, your colleagues will hear what you hear – but let’s be honest: if they don’t have good taste in music, it’s their problem. Single-sided cable routing, a weight of 340 grams and the smooth-running ear cups ensure that the thing sits firmly and comfortably on your head all day (single-sided cable routing so that nothing flies around in front of your body on both sides) and because it’s wired, you don’t have to pair Bluetooth or charge anything. It’s now the only device on my desk that’s always available and never needs charging!

Pros

The sound of the headphones makes you realise what the difference is between “consumer”, “gaming” and “studio” – the first two weeks were like discovering the old classics all over again, because many things on inferior headphones – or, to be fair, on headphones intended for other purposes – simply disappeared. In the mic and headphone combo, it’s depressing how much you miss – and more than once, thanks to the pass-through and comfortable design, we just left the headphones on all day (Pluralis Majestatis – I did it. You don’t have to do it that way!), and if someone was talking, or there was any noise, the mic in the combo is good enough that it basically passes right through, and you can balance music and the outside world beautifully – as much of the outside world as you can stand.

If you want to get even more surround sound out of the whole thing, you can use Dolby Access(bit.ly/dolbyaccess), for example, to get even better surround sound, or try out “Windows Sonic for headphones” – this is integrated into Win11 free of charge. But be careful: this is where you enter the realm of audiophiles, and that’s where it gets expensive.

The build quality is impeccable – stable, nothing squeaks or creaks, all connections are clean, it doesn’t smell of plastic, and it’s durable enough to be used every day for years. Another advantage of studio headphones is the accessories – if the ear pads are sticky after a hot summer, a replacement pack directly from the manufacturer costs just over 20 euros, and if several people are to use them – for example as an “audio booth” in the studio – there are replaceable hygienic pads in a pack of five.
And the advantage that we liked most, apart from the sound quality, is that there are no bells and whistles, no goodies and no unnecessary features – plug it in and you’re done. You don’t need any software,
no updates, no drivers, nothing – it’s a USB microphone and jack headphones. Windows and Mac even recognise it by name, and on four (!) test computers there was never even a need to plug it in a second time – USB in and you’re done. We’ve never seen it like this before.

Cons

No success without criticism – the package is functional and fulfils its purpose exactly, and that very well. However, we would like the headphones to have a replaceable cable in case the cat wants to make itself heard and gnaws through the cable – different cable lengths would also be practical.
So if you’re worried about such cases, you should go for the DT 900 PRO X from Beyerdynamic – with a replaceable cable. Otherwise there are no other complaints, the part is perfect. One of the “cons” of the microphone is the “mute” button – as soon as you press it, it flashes orange – you can’t miss it, but if you want to mute for longer, it’s a bit annoying. Perhaps a different solution for the Fox 2? In everyday use, we simply covered it with a piece of adhesive tape.
And the Fox is also quite heavy – with a weight of almost a pound, it is too heavy for the cheap microphone arms – but we already have something for the next issue in the everyday test (keyword: Yellowtec). If you have a proper microphone arm, you won’t have a problem here either – we just want to say it.

Conclusion

So is the package and its components worth it? Yes, we think so – otherwise we wouldn’t present it as the “best solution” – you get equipment from the professional sector. This means stable, no frills and wonderfully predictable results – so if you don’t just want to sound good in video calls and webinars, but also want to do voice overs and music, the bundle is a good choice. However, you also need to know exactly how to control it – and given the build quality, there are few other technology components that come as close to “future-proof”. And simply put, the headphones are the best we’ve ever had on our ears.

The post Beyer your ears! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

If we were a pure audio magazine, we would only have to say “Guys, there’s a Bluetooth Mobile Work speaker from Beyerdynamic” and everyone would know what we mean. Beyerdynamic has always been a fixture in the recording studio – legendary headphones and reference microphones for the stage, presentation and recording studio. But now also office products?

Space?

Beyerdynamic Space is a “personal speakerphone” for phone calls and meetings, i.e. a mobile hands-free solution for everyday use. It is connected via Bluetooth, USB or a USB-WL adapter. The 5-watt loudspeaker generates a maximum sound pressure level of 73.8 dBA (pink noise) or 81 dB at one kilohertz. The four built-in microphones work omnidirectionally in the range from 100 Hz to 10 kHz and communication is via Bluetooth 5.0.

Charging is via USB C, Beyerdynamic claims 20 hours of “operating time” with a charging time of 2.5 hours. The round “puck” is just under 4 centimetres high and has a diameter of 13 centimetres; there are “touch areas” on the top for volume up/down, answering and hanging up calls, microphone off, as well as a battery indicator and Bluetooth function. Everything is very clear and easy to use. If you press one of the buttons, either a voice output or a colour change of the LED provides information (LED can be switched off!). There is a tripod thread on the underside as well as a holder for the wireless adapter and four vibration-absorbing feet.

Pro

Enough data, what does it look like in everyday use? First of all: Here too, the focus is on “speaking” and not “making music”. Nevertheless, voices sound richer and with more bass than with the Poly 20, but it’s just a loudspeaker – so don’t expect studio quality!
Nevertheless, Beyerdynamic can’t deny its origins and has integrated a voice and music mode that switches automatically, turning the conference device into a roaring puck that sounds surprisingly good – if you just want to listen to a bit of music and don’t want to master something. Operation is child’s play and the device is as solidly built as you would expect from Beyerdynamic.
I reckon you can percussively silence the meeting pain in the arse without damaging the device. (Every meeting has a pain in the arse – if you don’t notice it, you’re one yourself)

Speaking of meetings: The microphones are arranged omnidirectionally – so several people can speak into the device and all are recorded at the same volume – this worked surprisingly well in the test – in a three-way conversation (and a cat), everyone was easy to understand and nobody had to shout. Beyerdynamic calls this feature “360° Smart Mic Technology”, which allows the Space to recognise whether the incoming sound is a voice or an interference signal. Reverberation, echoes and feedback are thus cancelled out. To summarise: the implemented echo cancellation works perfectly. Anyone who wants to use the device at trade fairs and in open-plan offices will appreciate the Kensington Lock. Wireless devices in particular tend to disappear, but not with a K-Lock.
Speaking of lots of people: There is the so-called “Business Mode”: A key combination of “Remove” and “Bluetooth” switches to Business Mode, which prevents the device from connecting undesirably via Bluetooth with a neighbouring device that was last paired with Space.

And a feature that sets the Space apart from the competition: There is a microphone thread on the underside – ¼ inch, absolutely standard size. So if you want to attach an “overhead” or to a microphone arm: simply screw it on and you’re done.
The orientation in the room doesn’t matter to the device and you can set it up/arrange it wonderfully at a fixed workstation to suit your personal aesthetics – and if you take it in the discreet grey version (there would also be a white and a blue version), you have a solid communication puck without disturbing the look.
A word about firmware and updates – one was released during the test period – you download the “Beyerdynamic Update Hub” and everything worked painlessly straight away. If you remove the software again for reasons of PC hygiene, nothing is left behind. A plus point! And another one: data sheets, software, guides and so on are available without registration. This shouldn’t be standard, but it’s becoming increasingly rare – and the Heilbronn-based company is doing it right. And something we haven’t tested: According to the manufacturer, two Spaces can also be paired and used as stereo speakers – if it’s ever the big conference room you want.

Cons

No sun without shade – Beyerdynamic can make studio microphones, but Space is intended for office use, so we have a different sound profile. If you want to know what it sounds like, you can listen to an uncompressed *flac file that I (hoarsely) read out: bit.ly/DP_space_test. And every now and then the Bluetooth connection was a bit “overzealous” – without the business mode it likes to jump back and forth. And that was the only thing we had to criticise – everything else always worked straight away.

Conclusion

Is the Space better or worse than the Poly 20 from the last issue? To be honest: I’m happy with both devices, but in a direct comparison I tended to use the Space when I wanted music and the Poly when I was in the office. Why?
Because I have the Space attached to a microphone arm – a USB cable for charging along the arm – and it is the ideal solution for the “fixed” mobile workplace. The bass is definitely “fatter” and the overall sound is better. However, those who are always on the move might miss the power bank function.
The price is also slightly higher than the Poly – we’ve seen it new for 160 to 180 euros – we haven’t seen it used yet. This could mean two things: Beyerdynamic is smaller as a company and hasn’t sold as many units, or: Those who have it don’t want to give it away. We suspect the latter.

Outlook

And because we were already in dialogue, the people at Beyerdynamic sent us two more devices that we will be testing in the next issue: The “Fox” USB studio microphone and the DT990 Pro – a microphone/headphone combo that makes the leap between “mobile office” and “content creator”. The speakers are already in the office and we’ll be unpacking them soon.

The post Beyerdynamic gets spacey first appeared on DIGITAL PRODUCTION and was written by Bela Beier.