Latest news with #microphone
Yahoo
5 days ago
- Entertainment
- Yahoo
BOYA Launches BOYA Magic--World's First AI Transformable Wireless Mic for Any Recording Scenario
NEW YORK, Aug. 6, 2025 /PRNewswire/ -- BOYA Audio, a leading audio equipment company dedicated to audio innovations since 2012, officially launches BOYA Magic for creators who juggle multiple scenarios. BOYA Magic can be used as a clip-on mic, an on-camera mic, an interview mic, and a desktop mic, allowing creators to tap their creativity across livestreams, podcasts, interviews, and mobile production. Seamless Transition with Four FormsOver the years, creators' expectations of a conventional lavalier microphone are growing out of what it's designed to do — They want to use it for street interviews, podcasts, online meetings, and more. So we decided to create something that can cover as many scenarios as possible. With BOYA Magic, creators can now seamlessly adapt to their needs without changing the gear. They can use the clip-on transmitters for audio transmission up to 100 meters, desktop mode for online meetings, handheld for street interviews, and on-camera for monologues. Next-Gen Noise Cancellation: BOYA AI Audio RevolutionBOYA introduces a breakthrough in audio technology with its AI-powered noise cancellation, capable of suppressing ambient noise by up to -40 dB. Driven by a deep neural network chip trained on over 700,000 real-world noise samples, the system delivers studio-grade voice isolation—ensuring crystal-clear audio in any environment. Pristine Audio from a Compact ProfileWith just 7 grams and 13 mm thick, the transmitter of BOYA Magic can stealthily capture pristine audio with an audio resolution of 48 kHz and 24-bit, 80 dB signal-to-noise ratio, and 144 dB dynamic range. So creators can preserve audio authenticity from soft whispers to soaring highs. To ensure pristine recordings, BOYA integrates Safety Track—a backup audio track recorded 12 dB quieter than the main track—along with an automatic limiter to prevent clipping. Creators can further tailor their sound via the BOYA Central app, which offers customizable EQ settings for personalized voice profiles. Ideal for audio experimentation, these features put studio-level control in users' hands. AvailabilityBOYA Magic is now officially available in the online shop and local distributors throughout the globe, with a recommended retail price starting at US$90. About BOYA AudioSince 2012, BOYA has been committed to inspiring creativity through innovative audio technologies. Upholding principles of user experience, innovation, and excellence, BOYA introduces unique audio products globally, reaching 150+ countries, connecting with 30M+ creators, and backed by 400+ innovations and 10+ design awards. View original content to download multimedia: SOURCE BOYA Sign in to access your portfolio
The Guardian
7 days ago
- Entertainment
- The Guardian
‘We can hear their saliva': why are so many actors suddenly using microphones?
Wig, robes and moves like Jagger. Rosamund Pike's star turn as a crown court judge, at the National Theatre in London, has proved that there's just one prop you need to turn even the most serious of subjects into a punk performance – a microphone. And Inter Alia is only the latest in a number of major openings to star the humble handheld: from Greek tragedy to Chekhov, the device seems to be increasingly common in West End productions. Microphones were integral to Thomas Ostermeier's meta-theatrical production of The Seagull at the Barbican, and Jamie Lloyd – having used handhelds to transform James McAvoy into a rapping Cyrano de Bergerac three years ago – has deployed them in both Shakespeare (Much Ado) and Lloyd Webber (Evita). And no production used them more controversially than Daniel Fish's Elektra, whose lead, Brie Larson, spoke her entire part into an on-stage amp, distorting her own voice with a range of effects pedals. Microphones have been a source of contention in the theatre ever since Trevor Nunn introduced radio mics to the National in 1999. But a handheld isn't something a director is trying to hide, unlike the miniature, hands-free microphones that audiences are now used to seeing actors wear. 'Personally I think those things that sit on the top of people's foreheads, like a bug, look silly,' says Fish. 'But here the microphone becomes an instrument, right? It's something that the actor can play with so it becomes a very dynamic thing.' While it might not have been in use in Sophocles' time, Fish found it a fascinating proposition in the rehearsal room. 'Elektra is about a woman who refuses to be quiet, so the idea of amplifying and centring her voice felt important,' he says. 'This is a person for whom the only power that she has, the only chance of justice, is through the noise she makes.' One of the memorable elements of Larson's sonic performance was the way she sang, rather than spoke, the word 'no' – highlighting just how many times it appears in the play, although the punk sensibility did divide the critics. Or, as Fish puts it, 'the show pissed a lot of people off'. Ostermeier enjoys the 'attitude' that handheld mics can bring to a performance (put one in a rehearsal room, and every actor wants to be the one holding it). 'Of course, it's about who has the power to talk and who is excluded, about status and power,' says the German director, 'but it's also about pop culture.' Ostermeier enjoys placing theatre within the context of the entertainment industry it belongs to: his Seagull kicked off with an actor performing some Billy Bragg, then asking the audience if they were ready for 'a little bit of Chekhov'. In that deliberately meta production, on-stage microphones were employed throughout to help indicate when characters were speaking to each other or 'performing' for a wider audience. Cate Blanchett found it transformative for the part of Irina Arkadina, a famous actor and hopeless showoff: 'They helped the story we wanted to tell,' says Ostermeier, 'which is that Arkadina is completely lost in it. She doesn't have a real relationship with other human beings any more without some form of media in between.' There is nothing new about handheld mics on stage, as all these directors are keen to point out: pioneers from the Wooster Group to Pina Bausch to Marina Abramović were using them in the 1970s. 'It's a technique that's been around for a long time,' says Katie Mitchell, whose wordless, sonically driven work Cow | Deer arrives at the Royal Court in September. 'I've always been interested in how you can amplify the spoken voice without having to distort your body or your voice to make it sound louder,' says Mitchell, who has been working with microphones for decades now (in her own version of The Seagull in 2006, Hattie Morahan's Nina whispered her lines into one). It's a paradox of the microphone that while it presents as performative and even political, it can also bring us closer to the character's subjective experience. 'We're being invited into a more intimate relationship – we can hear their saliva, their breathing,' says Mitchell. That requires technicians as sensitive and responsive as the performers themselves, such as Laura Hammond, the sound engineer who live-mixed the scenes in Elektra. 'A lot of times everything just goes into the computer, everything is set,' says Fish, 'and that makes me want to pull my hair out.' For some theatre lovers, the current vogue for on-stage amplification is less welcome. One veteran actor in Ostermeier's own company, who like so many stage actors has trained his voice to fill large spaces, refuses to use microphones. 'He's annoyed because it's a theatrical fashion,' says the director, 'and he doesn't want to be part of this fashion any more.' Mitchell acknowledges the challenge microphones represent to the proud tradition of voice work in theatre: 'There's a sense if you're not allowing actors to use all their skill for vocal projection and you're just mediating it with technology, this undermines that tradition. But I'm always of the position that a healthy society should have a wide spectrum of performance modes.' As ever, there's a danger that a popular technique becomes a fad, used without a sense or purpose. 'It moves from innovation to convention to cliche awfully quickly,' admits Fish. But right now, Mitchell believes the age of the microphone is something to be enjoyed. 'All these practitioners have got good political or intellectual underpinnings – let's celebrate it, and not police each other. Let's just chill.'
The Guardian
04-08-2025
- Entertainment
- The Guardian
‘We can hear their saliva': why are so many actors suddenly using microphones?
Wig, robes and moves like Jagger. Rosamund Pike's star turn as a crown court judge, at the National Theatre in London, has proved that there's just one prop you need to turn even the most serious of subjects into a punk performance – a microphone. And Inter Alia is only the latest in a number of major openings to star the humble handheld: from Greek tragedy to Chekhov, the device seems to be increasingly common in West End productions. Microphones were integral to Thomas Ostermeier's meta-theatrical production of The Seagull at the Barbican, and Jamie Lloyd – having used handhelds to transform James McAvoy into a rapping Cyrano de Bergerac three years ago – has deployed them in both Shakespeare (Much Ado) and Lloyd Webber (Evita). And no production used them more controversially than Daniel Fish's Elektra, whose lead, Brie Larson, spoke her entire part into an on-stage amp, distorting her own voice with a range of effects pedals. Microphones have been a source of contention in the theatre ever since Trevor Nunn introduced radio mics to the National in 1999. But a handheld isn't something a director is trying to hide, unlike the miniature, hands-free microphones that audiences are now used to seeing actors wear. 'Personally I think those things that sit on the top of people's foreheads, like a bug, look silly,' says Fish. 'But here the microphone becomes an instrument, right? It's something that the actor can play with so it becomes a very dynamic thing.' While it might not have been in use in Sophocles' time, Fish found it a fascinating proposition in the rehearsal room. 'Elektra is about a woman who refuses to be quiet, so the idea of amplifying and centring her voice felt important,' he says. 'This is a person for whom the only power that she has, the only chance of justice, is through the noise she makes.' One of the memorable elements of Larson's sonic performance was the way she sang, rather than spoke, the word 'no' – highlighting just how many times it appears in the play, although the punk sensibility did divide the critics. Or, as Fish puts it, 'the show pissed a lot of people off'. Ostermeier enjoys the 'attitude' that handheld mics can bring to a performance (put one in a rehearsal room, and every actor wants to be the one holding it). 'Of course, it's about who has the power to talk and who is excluded, about status and power,' says the German director, 'but it's also about pop culture.' Ostermeier enjoys placing theatre within the context of the entertainment industry it belongs to: his Seagull kicked off with an actor performing some Billy Bragg, then asking the audience if they were ready for 'a little bit of Chekhov'. In that deliberately meta production, on-stage microphones were employed throughout to help indicate when characters were speaking to each other or 'performing' for a wider audience. Cate Blanchett found it transformative for the part of Irina Arkadina, a famous actor and hopeless showoff: 'They helped the story we wanted to tell,' says Ostermeier, 'which is that Arkadina is completely lost in it. She doesn't have a real relationship with other human beings any more without some form of media in between.' There is nothing new about handheld mics on stage, as all these directors are keen to point out: pioneers from the Wooster Group to Pina Bausch to Marina Abramović were using them in the 1970s. 'It's a technique that's been around for a long time,' says Katie Mitchell, whose wordless, sonically driven work Cow | Deer arrives at the Royal Court in September. 'I've always been interested in how you can amplify the spoken voice without having to distort your body or your voice to make it sound louder,' says Mitchell, who has been working with microphones for decades now (in her own version of The Seagull in 2006, Hattie Morahan's Nina whispered her lines into one). It's a paradox of the microphone that while it presents as performative and even political, it can also bring us closer to the character's subjective experience. 'We're being invited into a more intimate relationship – we can hear their saliva, their breathing,' says Mitchell. That requires technicians as sensitive and responsive as the performers themselves, such as Laura Hammond, the sound engineer who live-mixed the scenes in Elektra. 'A lot of times everything just goes into the computer, everything is set,' says Fish, 'and that makes me want to pull my hair out.' For some theatre lovers, the current vogue for on-stage amplification is less welcome. One veteran actor in Ostermeier's own company, who like so many stage actors has trained his voice to fill large spaces, refuses to use microphones. 'He's annoyed because it's a theatrical fashion,' says the director, 'and he doesn't want to be part of this fashion any more.' Mitchell acknowledges the challenge microphones represent to the proud tradition of voice work in theatre: 'There's a sense if you're not allowing actors to use all their skill for vocal projection and you're just mediating it with technology, this undermines that tradition. But I'm always of the position that a healthy society should have a wide spectrum of performance modes.' As ever, there's a danger that a popular technique becomes a fad, used without a sense or purpose. 'It moves from innovation to convention to cliche awfully quickly,' admits Fish. But right now, Mitchell believes the age of the microphone is something to be enjoyed. 'All these practitioners have got good political or intellectual underpinnings – let's celebrate it, and not police each other. Let's just chill.'
CNET
16-07-2025
- Business
- CNET
This JLab Talk Pro USB Microphone Is Down to $35 for Just 2 More Days at Woot
Whether you participate in a lot of work or personal video calls, enjoy creating content or have your own podcast, a decent microphone can come at a cost. If you add in a mixer, software and other accoutrements needed to take advantage of a high-end phone, you could end up spending hundreds. However, there are plenty of USB microphones that offer high quality sound recordings that are perfect for musicians, meetings and simple recording. Right now, we've spotted this JLab Talk Pro USB-C microphone at Woot for just $35 until July 18 or supplies run dry, whichever comes first. Woot's deal saves you $25 over the usual cost of $60. The same microphone currently costs $37 at Amazon, but you must be a Prime member to take advantage of the discount. This JLab Talk Pro USB-C microphone is equipped with 192kHz/24BIT resolution for high-quality recordings and easy to use volume and gain controls. It also includes an intuitive mute button. The microphone is also equipped with 4 directional pattern modes that provide you with various audio options: stereo, omni, cardioid and bidirectional. Hey, did you know? CNET Deals texts are free, easy and save you money. To use the JLab Talk Pro, just plug it into your device using this 10-foot long cord and start recording right away without the use of complicated audio accessories. If you need to listen during recording, just plug in a pair of headphones into the 3.5mm AUX input and you're good to go. We also have a list of the best microphones in case you want to look through more options. Why this deal matters The JLab Talk Pro USB microphone is easy to use and offers exceptional quality for the price. Even at its regular cost of $60, it's well under the average price you'd pay for microphone of its caliber. That's why this $35 Woot deal is excellent for anyone who has been looking for a way to sound better on video calls, music recording and even when doing voiceovers or podcasts. Keep in mind that this deal is live for only two more days. As an added boost: Amazon Prime members can get free shipping from Woot, which could save you a few extra bucks.
Android Authority
11-07-2025
- Android Authority
DJI Mic 2 plummets to new record-low price, saving you $100!
Are you a content creator, or are you looking to become one? Finding the right equipment can be daunting. If you want a microphone that offers good quality, excellent portability, and ease of use, the DJI Mic 2 is among our favorites. Deals on this product are very uncommon, so we can't ignore today's sale. Buy the DJI Mic 2 for just $249 ($100 off) This offer is available from Woot, an Amazon-owned deals-focused website. It's in new condition and comes with a 90-day Woot warranty. That said, there is a sense of urgency here, as the sale is scheduled to end after today! You only have some hours to sign up. DJI Mic 2 DJI Mic 2 Triple-redundant recording, wireless convenience Equipped with 32-bit float internal recording, wireless transmission up to 820ft, and several hours of battery life, the transmitters included with the DJI Mic 2 wireless audio recording platform are instant favorites. Redundantly record in your pocket and on your receiving camera with one of the best affordable mobile mics. See price at Woot! Save $100.00 The DJI Mic 2 quickly became one of the most popular microphones around. We can see why. This is an all-in-one mic package with everything you need. These are convenient, easy to use, very portable, and offer really good quality for the size and price. Let's start with the receiver. This little gadget attaches to your camera's shoe, and can connect to your camera using a small cable. It will control connectivity with your transmitters and handle all the hard work to integrate your audio to the camera. It has a convenient touchscreen and simple menu, making it easy to change settings and get things running in no time. And if you're more of a mobile creator, the case stores attachments for USB-C and Lightning ports, so you can easily use it with smartphones. We love that the transmitters are small and offer a magnetic design. This makes it easy to attach them anywhere. The magnet is really strong, and even the windscreen magnet is improved. I've never felt like anything will fall off. That said, there's also a clip if you prefer that. Added features include 32-bit float internal recording, noise canceling (which does surprisingly well), mono/stereo recording, about six hours of battery life, and more. This is still a go-to for content creators, mainly because they work so well without messing too much with the settings. They are easy to set up and operate. If you feel like $349 is a bit too steep a retail price, this $100 discount will feel golden. Especially considering the record-low price of a device that is rarely on sale. We've only seen it discounted once before, for a hot second, and it was $269. Hurry up! This deal will be gone tomorrow.
