Point Source Audio

Point Source Audio Manufacturer of patented and award-winning miniature microphones and audio headsets for live sound

Point Source Audio is a solution based design, engineering, and manufacturing company in the audio industry. With over 60 years of combined professional audio industry experience, the PSA product designers approach every product detail with a depth of understanding that results in ease, convenience, and efficiency in design. Since 2004 Point Source Audio has developed, engineered and manufactured

transducer products for companies under a variety of brands. While continuing to do this, we're also focused on developing products under the Point Source Audio brand affording our customers a streamlined path for purchasing high value products. We sell our products exclusively through a network of high caliber resellers, contractors and distributors throughout the world. It is our goal to provide performance based products at great prices, with the very best customer service and support.

Omnioid?! A user came up with it, but we like it!An omni and cardioid element running in the same mic, at the same time....
08/29/2026

Omnioid?! A user came up with it, but we like it!

An omni and cardioid element running in the same mic, at the same time. Not switching between two patterns. Both, simultaneously, out of one headset or lavalier.

The two elements of the Point Source Audio CX2 mics are offset just enough that it reads as a single microphone, not two capsules stacked together. Each one runs its own dedicated wire path through a single cable, splitting off about nine inches before it reaches the packs, and each can be EQ'd independently.

In practice, that means the omni carries your live mix for open, natural tone for the room… while the cardioid runs a simultaneous broadcast feed, tighter and cleaner for anyone watching online. No second mic, no re-miking between the two.

And if feedback shows up mid-service? Switch from omni straight to cardioid on the fly. Instant fix, no scrambling.

We're curious: for the teams running hybrid services or events, how are you currently handling live sound and broadcast… one mic doing double duty, two separate mics, or something else entirely?

08/27/2026

Running live PA and a broadcast stream off the same mic? You're usually choosing between what works in the room and what works for the online feed, and often have to accept that as the cost of doing both.

A hybrid mic gives you and your team both omni and cardioid elements in one boom, so that trade-off goes away entirely.

Run omni for the room to get an open, natural tone for the people sitting in the seats. Switch to cardioid for the stream, and you get a tighter focus on the voice with less room noise bleeding into what online viewers hear. Run both at once for simultaneous PA and streaming, or run either independently as primary and backup depending on how the day's setup changes.

We built the Point Source Audio CX2 hybrid mic for presenters, pastors, worship leaders, public speakers, and anyone running live sound and broadcast at the same time without a second mic change to think about.

What's your current fix for balancing room sound against stream audio? A second mic, a compromise pattern, or just picking one and living with it?

08/25/2026

Colby and Kevin’s crew still runs two mics for backup, but only one headset. Here’s what changed for them.

He and the Compassion Christian production team switched to one dual-element headset for primary and backup. Two capsules, one boom. which means less cable to manage on a Sunday morning when nobody has time to manage extra cable.

What actually stood out watching him talk through it: he’s not just holding a backup mic in reserve in case something fails. He’s switching between capsules live, at FOH, depending on what that week’s service actually needs. And service after service it’s held up (that’s the 360 degree bendable boom design at work).

Worth asking your own team: if your primary mic dropped mid-service right now, how fast could you actually recover — and would anyone in the room even notice?

Thanks for walking us through how you run the Point Source Audio CO2-8WD week to week guys!

To any production team out there, you already know... your sound engineer is priceless.Troubleshooting the PA system, di...
08/22/2026

To any production team out there, you already know... your sound engineer is priceless.

Troubleshooting the PA system, dialing in that perfect mix, fixing channel signal problems before anyone else knew there was one to fix. Whether you work in live production, broadcast, or theatre... at your home venue or on the road... we know the work audio engineers are putting in to create great sound experiences.

We didn't write this audio engineer rate card, but what are your thoughts? Do the numbers add up? 😂

Tag the sound engineer who can relate.

You know mic shift when you hear it... that little dip and drop that means someone's mic just slipped mid-scene.If you'r...
08/20/2026

You know mic shift when you hear it... that little dip and drop that means someone's mic just slipped mid-scene.

If you're prepping for your next student theatre production while students are getting back to school this fall, here are a few tips to stop mic shift during your shows.

Tips like:
✅ Wig clips for placing lavalier mics in the hairline
✅ Taping mic cable techniques
✅ Headframe fit for dual-ear headsets
✅ Foam windscreens for plosives
✅ A mic log system for tracking gear across a full cast

Small details, but they're the ones that decide how smooth show day goes for you and your whole cast and crew.

Heading into final wardrobe fittings and dress rehearsals? Or working with new student actors wearing mics for the first time? 👉 This checklist will help keep mics secure from first scene to final curtain.

📌 Save this for the next time you're miking up your cast, and share it with a sound engineer or your department.

Follow Point Source Audio for more tips to get the most out of your wearable mics.

08/18/2026

Ever forget you’re wearing a headset mid-show? That’s a sign that your gear isn’t weighing you down.

No ear fatigue. No pressure points or constant adjusting. No fighting your headset while trying to nail your cues.

The cost of a long show day doesn’t have to be sore ears and a sore neck.

That’s why details like weight distribution, secure fit, and swappable IEM options matter in live production.

Our CM-i series was designed so the weight sits behind the head instead of pressing down on it, helping reduce fatigue during long rehearsals, broadcasts, and show days.

Small design decisions. Big difference over a 10-hour show day.

What actually makes or breaks a long show for you? Comfort, weight, stability, or intelligibility?

We’re curious what you’re experiencing living in comms headsets all day.

Miking talent for signal redundancy? There's a faster way to do it than most engineers realize.There are two ways to run...
08/15/2026

Miking talent for signal redundancy? There's a faster way to do it than most engineers realize.

There are two ways to run Point Source Audio lavalier mics for dual-element redundancy. Both give you independent signal paths feeding two separate transmitters. The difference is setup time.

Traditional double miking uses two lavaliers, two cable runs, twice the routing, taping, and concealment. It's a proven approach with complete flexibility.

Our patented dual-element design gives you two independent capsules inside a single cable jacket, each with its own dedicated wire path — same redundancy, half the time, half the footprint.

When you're wiring a small cast with time to spare, either approach works fine. But when you're turning over conference presenters, wiring 40 cast members, or racing the clock before curtain, built-in redundancy means less cable to route and one less thing to manage under pressure.

Worth noting: redundancy isn't only about mic failures. A dual-element setup also keeps you covered when RF decides to cause problems mid-show — which, as anyone in live production knows, doesn't always wait for a convenient moment.

Available across SERIES8 and SERIES9, lavaliers and headsets:

SERIES8
👉 CO2-8WL — Lapel lavalier
👉 CO2-8WLp — Petite lavalier for concealment
👉 CO2-8WD — Headset
SERIES9
👉 GO2-9WLp — Petite lavalier for concealment
👉 GO2-9WD — Headset

Sound engineers and production pros: how are you currently handling redundancy on a fast turnover — double-miking, or something else?

Great visuals. Audio dropout. You just lost the viewer. 😤 And most sound designers find out once the audio hits post.The...
08/13/2026

Great visuals. Audio dropout. You just lost the viewer. 😤 And most sound designers find out once the audio hits post.

The reality is... Sound is half of your video,

Audio that drifts, or sounds inconsistent from one moment to the next is hours of additional editing, and risks distracting the viewer.

A lot of that inconsistency can trace back to mic placement.

Traditional clip-on lavs shift as you move. Arm stand boom mics used most often on podcasts are fixed in one position, which means if talent shifts or adjusts in their seat, levels change.

Every shift changes the audio pickup just enough to cause extra work, which means more time chasing levels in post instead of publishing.

The Point Source Audio EMBRACE mics hold their placement through any movement by securing on-ear… Which means no adjusting mid-take, and no dropout or inconsistent levels taking extra time to fix later.

Podcasters, streamers, filmmakers: how much time does inconsistent audio actually cost you in post?

Still chasing feedback? Your polar pattern might be the culprit. Omni vs. cardioid isn't preference, it's physics.Omnidi...
08/11/2026

Still chasing feedback? Your polar pattern might be the culprit. Omni vs. cardioid isn't preference, it's physics.

Omnidirectional headsets pick up sound from all directions. They give you consistent tone even with head movement, a natural and open vocal sound, and forgiving placement with low handling noise. The tradeoff? More ambient pickup and less gain before feedback on louder stages.

Cardioid headsets focus on sound from the front, giving you stronger voice isolation, improved gain before feedback, and reduced stage bleed. The tradeoff? They’re less forgiving if talent drifts off-axis.

👉 Rule of thumb to remember: run omni whenever the stage allows it. Switch to cardioid when the room requires it, like in high-feedback environments, heavy on-stage bleed, or broadcast and film work that needs tighter isolation.

Point Source Audio’s hybrid headsets run both polar patterns in one mic, so you can switch on-site instead of committing to one beforehand.

Sound engineers: What are your experiences dealing with Omni vs, cardioid? Any pain points you’ve gotten stuck on?👇

08/08/2026

One mic element drops mid-service. With the CO2, you switch to the second instantly. No re-miking, no scramble to side stage.

Ben Clark, Tech Director at TrueNorth Church: "We all have higher confidence with the built-in redundancy."

Two independent mic elements, one boom, separate signal paths and wiring. Fewer cables to manage, less to store, one less point of failure during a live mix.

Worth building into your rig before you need it, not after a mic fails on you while you’re live.

How is your team currently handling mic redundancy? 👇

📌 Save this for your next gear upgrade, and share with an engineer that might want to do the same.

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1304 Southpoint Boulevard #260
Petaluma, CA
94954

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+14152261122

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