About Audio Engineering
Audio Engineering is based in North London, with offices in a period house,
adjoining large purpose-built manufacturing facilities.
The company has a 40-year history of developing high performance wireless microphone technology,
pioneering many of the advances seen by the professional audio and broadcast industries.
The company is also highly instrumental in the continuing negotiations with the regulatory bodies,
regarding radio spectrum usage and frequency allocation.
Audio Engineering benefits from a highly qualified and experienced Research and Development team,
supported by an abundance of leading-edge research technology.
Automated manufacturing capabilities are complemented by CAD systems and a series of screened rooms,
which provide RF-secure environments for equipment testing.
Surface-mount technology combines with best-practice engineering standards,
to ensure long-lasting products with exemplary performance.
A brief history
Founded in 1965 by ex-BBC Engineers including the legendary Nevil Druce, the company has a long pedigree as a
specialist supplier to the film and broadcast industries, launching The Blimp - a lightweight sound-proof
jacket for film cameras - as its first product. Crystal sync systems for film cameras, the Crystamatic and Miniloc, soon followed,
accompanied by Peak Program Meters and microphone phantom power supplies.
The development of Micron radio microphone systems commenced in 1970,
with the first units being launched in 1972.The initial range included a high-quality wireless
microphone with a previously-unheard degree of acoustic transparency, setting the industry
Audio Engineering pioneered space diversity radio reception for wireless microphones with
the Micron Diversity Unit MDU101 in 1979. It was the first commercially available system.
Diversity reception virtually eliminates the "Dead spots" which had limited the
acceptance of radiomics in professional applications.
In 1980, Audio Engineering became the first manufacturer to produce a
modular radio microphone rack system, with eight individual diversity receivers,
spearheading the use of multi-channel diversity systems in television studios, EFP and theatres.
These systems made possible new types of stage production, such as Andrew Lloyd Weber's
"Starlight Express" in 1984 which required the use of 24 radiomic. channels.
Development continued with the introduction of the Micron CNS compander-based diversity
system - first used on the 1985 Barbican production of 'Les Misérables'.
The Micron CNS (Complementary Noise Suppression) System is a key ingredient in the products'
long-standing reputation for sound quality and has been continually updated and enhanced.
Recent Micron developments include the introduction of frequency-synthesis technology across a
variety of wireless microphone and communications systems, with many featuring a particularly a
wide RF tuning range, plus further expansion of the multi-channel diversity receiver
options for location sound recording and ENG/EFP.