when it comes to Mike's. Um, I mentioned the zoom H two n that comes with the GoPro Odyssey, the Google Odyssey camera. Um, there's also the Sennheiser Ambi. Oh, this is a brand new microphone that Sennheiser has had in beta for a while now it's available at B NH on its $ and it connects very well with the Zoom H six, which just has a lot of XLR inputs. Uhm so this is a nice little set up for a more intense shoot, and that zoom H doing is a great little field recorder. So one reason we add Mike's to these set ups at all. Of course, GoPro's have their own microphones and each camera in that sort of ring of cameras. Whether it's six cameras, eight cameras or 16 cameras, they all have their own microphone and they are all recording. Um, but that microphone is kind of terrible and not to be trusted. Eso what we do and you know, they say, like when you make films, that audio is half of the experience, right? Audio? Is Justus important as the visuals? Eso bringing sort of that richer, warmer...
, more true audio capture to the space is really important. And we do that a few ways. Um, one way and sort of early way is you can set up a little audio recorders like those zoom H four ins. It's not none of these on the images, but those Ooh, matrons. You could set them up around a space so you could label them northwest, northeast, southeast, southwest and have one in the center. And all of a sudden you've created that 5.1, right? So you have the front left front, right back, left back, right, and a center channel and then a subwoofer. And so So that is, you know, that sort of like the ah poor man's way to get Teoh spatial audio because of all of a sudden, you know, the audio is gonna map to that sphere. So as people look around, they see, you know, someone's walking from over there over here, they hear that walk, you know, because we've recorded with spatial audio. Now, if you just have a regular left and right recording of that, you would just hear it over there in general and over here in general. And you wouldn't be able to distinguish between people moving from the back of the room to the front of the room. Right? And so, um, these sort of Mike's you can see in the Sennheiser and vio just in that cut out where they cut off the top. That's actually four microphones, just like the one I pointed out in the office. Um, it allows you to have that front right front, left back, right back, left, and on top of that, actually, you're getting, um, not just that you actually are able to get 9.1 out of this microphone because each of those microphones has a left and right to it and its position so that the front right is actually front, right, bottom and front, right top. The front left is actually front left, bottom in front, left top, back right back, left bottom and back. Great top. So each of their our of our directions has is a stereo pair, and so that gives you 9.1, and all of a sudden, when a plane goes overhead or you're standing on top of a waterfall looking down, you look down. As an audience member, it gets louder when you look at the waterfall. When you look up at the plane, the plane gets louder, right? So it allows you to both have this sort of spread around you in audio so that flat for the 5.1 flat surround. And then there's also the 9.1 Dolby Atmos on Dobie, and most allows you to have that sort of high up and down and left and right.