Although the loudspeaker business is dominated by moving coil transducers, the electrostatic loudspeaker has some advantages if used wisely. John Watkinson looks at this alternative technology.
The AES67 standard is sometimes misunderstood as the specifications on how all professional digital audio gear is supposed to work and interconnect. Not exactly. In fact, AES67 simply defines the requirements for high-performance AoIP (Audio-over-IP) interoperability. A manufacturer can implement AES67 anyway it wants, and there’s the rub.
As audio and video technology becomes more mobile, the size of high-quality digital audio components get ever more smaller and compact. A good example of this trend is the Tascam DR-10L, a $199.99 combo digital audio recorder and lavalier mic that’s so small it almost disappears.
A professional level portable microphone mixer is not part of every audio pro’s field gear. But to get consistent audio from a range of microphones under a range of tough conditions, a portable mixer is a must-have tool.
In the last article on Cloud Broadcasting we looked at integration and how we communicate with SaaS and cloud services in the absence of GPI’s and serial connections. In this article, we introduce secure server access and issues around security.
With each new technology transition—from SD to HD to 4K— remote production truck companies in the U.S. have been at the forefront, providing clients with the latest production tools to expand their production capabilities and make live sports and entertainment telecasts the best they can be.
So you’re hanging out the shingle as a sound operator for video documentaries. You’ve spent some time on crews learning the craft and perhaps even studied audio production at a film school. You feel you are now ready to take the dive and become a sound operator for hire.
The dome tweeter is common in Hi-Fi speakers because it looks as though it ought to work. Here John Watkinson explains that appearances can be deceptive.
