Introducing the Holophone H2Pro microphone. Now sound engineers can leave behind their well padded mic cases, and set up only one, instead of 5 or more, mics to capture surround sound audio. The H2-Pro terminates in eight XLR microphone cable-ends (left, right, center, low frequency, left surround, right surround, top, and center-rear) directly into your mixer, and in theory, the channels should not require in additional audio processing. These channels co-relate to the standard 5.1-channels and add a top channel for formats such as IMAX, and a center rear channel for extended surround formats such as Dolby EX and DTS ES.

It kinda looks like someones head, and acts like it too. According to Holophone, the “sound waves bend around the H2-PRO as they do around the head providing the most accurate spatiality, audio imaging, and natural directionality of any audio capture device. Capturing the directionality of these soundwaves translates into a very realistic surround sound experience.”

If you’re into bootlegging live rock concerts (this is a techimoto “no-no”!), you could probably put a hat and some sun glasses on this thing and nobody would know the difference. You’d probably have to buy it it’s own ticket though. We heard it up-close-and-personal at the Vegas NAB show. Very impressive! But with a retail price of around $6k, this is definitely for the big-boy pro shops. They do, however also carry a more affordable, portable surround mic, called the PortaMic 5.1 for around $599. Check it out at www.holophone.com.

It’s like having your own personal composer, i.e., Hans Zimmer-in-a-Can; and you don’t have to be a Beethoven to use it. Its a new software product, called “Abaltat Muse”, from the Ireland based company, Abaltat (www.abaltat.com). They call it the “worlds first video-driven soundtrack composer”.

First, you import your video segment into the program. Muse can use several methods for formulating your composition; In the demo we were given at the NAB convention, Siun Ni Raghallaigh, the companies CEO, chose “color” as the key for the program to use in constructing it’s unique composition. Neuronets can also be used by the software to construct melodies (one primary, and one secondary melody), and other musical decisions needed to complete the composition. Using either of these techniques, in theory, will never give you two compositions that are exactly alike. We selected the color “red”, since the video’s main visual topic is a red sportscar. The software is also “smart enough” to take the time length of your video, and will adjust the composition to fit exactly in the video’s time frame.

You then select a number of other parameters, such as compositional “complexity”. The user has the flexibility to zero in on a particular time segment for the increased/decreased intensity, or use the same intensity for the entire composition.

Next, one selects a musical style, such as “classical”, “rock”, or “atmospheric”, the beats-per-minute (BPM), and the time signature (3/4 for a waltz feel, or the more typical 4/4 rock style).

Finally you set a parameter called “jingle”. This is slider that controls the degree to which the melody will repeat: set the slider to a low value, and the melody will repeat often, set it high, and it will will repeat rarely, if ever.

You are now ready to hit the “compose” button. With your selections made, Muse chooses the appropriate instruments with 4 “players” in all, 2 playing melodies, a bass instrument, and a rhythm player. The user can mute out, reduce the volume of, or add various “players” at any point during the video.

I was impressed by the results. The demo produced a composition that went well with the video, and would certainly compare favorably with any “off the shelf” soundtrack. And best of all, no royalties or other contractual paperwork to worry about - ii’s YOUR composition!

Once your are happy with your composition, you can export the project as a MIDI file, or AIFF sound file. This is a good feature, since, in my opinion, the sound samples used weren’t of the best quality.  In the demo, the “flute” sounded like a violin to me.  However, the MIDI export would allow you to enhance or otherwise change your composition further by using some of the pro-audio software tools, such as Cubase or Apple’s Logic Pro, as well some the high-end sound sample libraries available. The Abaltat Muse playout works with Mac’s own soundcard or with the standard editing third party cards such as Blackmagic.

The Muse software retails for around $480, is available on Apple, and will be available for Windows this year. Their “Express” version sells for around $220 (Apple only), and has fewer features than Muse but can still take you from A-Z resulting in a decent sounding track. For more information about the two versions, and other offerings from Abaltat, go to www.abaltat.com.

We have just the technology for you (that is, if your team is well funded and can afford gear designed for, and sold to, NBA teams). They call it the QTR-1000 PlayerMic”, manufactured by Quantum5x Systems ( www.q5x.com ). It is also harolded as both the worlds tiniest transmitter, and simultaneously, the worlds “first and only rubber transmitter”. In case you’re wondering, the flexibility is there in order to absorb body-checks from 300 pound tackles (if used in football), or the impact of a hockey-puck traveling at 106 miles per hour (as clocked on December 3rd, 2006, at a Toronto MapleLeaf game). It is basically a very small wireless microphone bodypack (.35 inches thick, 1.4 inches wide, and 3.8 inches long, weighing only 1 ounce), waterproof (for sweat-resistance, and other unexpected activities). It’s Lithium batteries will last up to 12 hours, with a power output ranging from 50-250mW. The QTR-1000 has no external connectors!

The remote “programming” hand-held PDA is also pretty amazing. The device will scan an environment, and display “recommended” open frequencies to be used by your team. You can choose a frequency for each player. Not only that, but the “controller” can adjust volume, or reassign a frequency to the player’s device remotely, without touching the player’s device.

Now, when you, the coach, scream “bunt” into your transmitter, no excuses, the little sh-t better bunt!

They work with a custom Sennheiser receiver and a future model will work with existing Sennheiser receivers including the G2 Evolution kit.

The MSRP is around $1499 and is currently available.