In the 12th chapter of his treatise on professional loudspeakers, John Watkinson examines loudspeaker efficiency and the sometimes required trade offs.
Anyone who has watched television knows that audio loudness is an issue. Oftentimes, commercials are louder than the regular programming, causing viewer complaints. In addition, variations in loudness frequently occur across multiple language versions of the same program and across multiple programs.
SMPTE announces the approval of the first standards within SMPTE ST 2110, Professional Media Over Managed IP Networks.
How many SMPTE standards does it actually take to make, post-produce, distribute, broadcast and stream a movie? In this Bruce’s Short, Bruce Devlin takes a wry look at the sheer number of standards that are needed to get from the camera to the viewer.
Live TV is a like a magic act. It works best when the audience can’t see what’s really happening.
The business case for migrating to IP is compelling and driven by the needs of business owners. Broadcast engineers must rise to the challenge and if they are to deliver reliable IP infrastructures they must understand not only the technology, but the differences in how IT-Network and Broadcast engineers think.
Few devices in professional audio evoke as much emotional attachment as microphones. Many of us grow up (and older) with favorite mics and refuse to give them up — even after they are past their useful lives. So the question is often asked, can a microphone’s magic be revived with a modern clone of the original?
As well as providing functionality, tangible products present the opportunity of adding worth through their aesthetic appearance, cost of manufacture and development expenditure adds to the perceived barrier to entry for other vendors, and combined with low volumes, the cost to broadcasters has been traditionally very high.
