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In 1969, Sony shook up the microphone world with the debut of the tiny ECM-50, the smallest broadcast condenser microphone recording engineers had ever seen. Since then, thousands of super-compact lavalier mics have been released, complicating the choice of the right microphone for a specific application.
Unless you are a greenfield site, have one vendor to meet all your operational and creative needs, or are incredibly lucky, you will at some point need to integrate your Cloud Software-as-a-Service into the broadcast workflows. This is much easier said than done.
In its continuing quest to provide broadcasters with traditional and new media solutions, systems integrator Adore Technologies Singapore has selected Riedel’s Artist digital matrix intercom solution for Accenture’s webcast facility in Gurgaon, India.
John Watkinson calls for a break with tradition in speaker design. It is time to think out of the box.
What are the impacts of High Dynamic Range on the Quality Control process? Given the confusion in the industry surrounding the different formats, the impact is greater than you’d think and still being worked through. The Broadcast Bridge took the advice of leading QC tools developers.
In the not so distant past, the microphone stand was simply a support device to keep a microphone secure. When its quality was high, the stand just did its job and was forgotten. Today, microphone stands have evolved to include accessories that can actually improve audio performance.
Master once and use forever should strike fear in the heart of anyone why hasn’t got their quality pipeline correct. What does this mean for IMF?
As recording technology has migrated to personal computers, most users now have a recording interface in their studio. But what exactly does a recording interface do and what’s the difference between the many models available?
