As broadcasting moves from its artisan cottage industry to highly efficient production lines of the future, understanding business needs is key for engineers, and recognizing the commercial motivations of CEO’s and business owners is crucial to building a successful media platform.
Recording multi-track immersive audio is no longer difficult. Yet, many broadcasters and video producers prefer to stick with plain old mono sound. They are missing the opportunity to add major impact to their productions.
Since the world’s first audio recording in 1860, there have been legendary technical disputes in the field that are never settled. One more recent one is the question of which is better: digital plugins or hardware components? Debate is fiery on both sides. Here are some thoughts on the argument.
The seed of the idea for the audio “lunchbox” began in 1966, when Saul Walker started designing modular console components at his company, API. The concept became so popular that some engineers began building homemade racks to house their personal API modules. Out of this, the 500-series lunchbox movement was born.
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.
