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Before we entered the world of file-based digital recording, planning storage needs for audio was simple. We’d simply buy enough audio tape to cover the recording time and then record the sound. In the world of analog, we knew a seven-inch tape reel at 7-1/2 ips lasted 33 minutes, while a 120 minute DAT tape lasted 120 minutes. Simple enough.
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Low latency networks and non-blocking switches are terms now appearing in mainstream broadcasting. But what do they mean? Why are they relevant? And how do we make Video over IP work?
Quality Control is one of the many areas where IT and broadcast use similar terms, but the meaning is quite different. Whereas IT focuses on guaranteeing bit rates and packet delivery to improve quality of service and hence quality of experience, video and audio quality is based on satisfying the demands of the human visual and auditory systems. In this article, we investigate how we quantify and measure video and audio streams.
Podcasts are taking the world by storm. It is hard to believe that when audio-over-internet technology was revealed at NAB, 1995, that it would grow so fast and become so profitable to such a wide range of people.
A few months ago, I switched my main landline phone number to my iPhone. In doing this, I did not consider the issue of recording interviews from incoming and outgoing calls — something that’s easier said than done with an iPhone. This is how I mastered the issue.
Certain high-end professional audio recorders have options for either WAV, WAV Mono and WAV Poly (polyphonic) files. What’s the difference and what should your choice be?
The bewildering number of video and audio compression formats available is difficult for those new to the industry to come to terms with. For broadcast engineers and IT engineers to work effectively together, IT engineers must understand the formats used, the legacy systems still in place, and the reasoning behind their existence. In this article, from the series Broadcast for IT, we investigate compression formats.
Phantom power is normally described as electrical current running over the same cable that carries the mic’s audio signal. All non-battery powered professional microphones with active circuitry need this power to operate. But as with most pro audio topics, it’s a bit more complicated. Here is a description of phantom power and how to stay out trouble when using it.
