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In the last article, we looked at the monitoring packet delay in real-time. In this article, we continue the theme of looking at a network from a broadcast engineers’ point of view so they can better communicate with the IT department, and look at FEC (Forward Error Correction).
The difference between using a wired and wireless microphone for a specific job is no longer about sound quality. It’s about a group of other factors, many of which users should consider before making the choice.
Virtually every editing or audio mixing set-up uses audio monitor speakers — most often sitting on the either side of a computer monitor on the desktop. In these scenarios, the physical transfer of vibrations from the speakers to the desk’s hard surface can create a boost of mid and low frequencies. This is called vibration-loading.
In Part 3 of this series on speaker technology, we saw that accurate loudspeakers need to consider the time, space and frequency domains. Now it is useful to consider what that means in terms of arriving at some kind of specification for a real loudspeaker.
The EBU (European Broadcasting Union) has acknowledged that public service media (PSM) face a major challenge staying competitive or even remaining relevant under the onslaught from competitors from all directions, including new sources of TV series and other content. The EBU has called for substantial regulatory reform to help PSMs meet these challenges.
While some cloud-first post services are developing a solid business, many conventional facilities remain reluctant to remote host some or all of a client project. Leading facilities share their input into whether cloud is having an impact on their investments and workflow.
Dolby Laboratories said that its Atmos immersive audio technology is now installed in 2,000 suitably equipped cinema screens and that more than 500 titles have been mixed in Dolby Atmos. In addition, Dolby Atmos multi-channel mixing technology is now deployed in more than 60 countries and more than 150 post-production facilities.
For most people working in pro audio, phantom power is fed through a mic cable from a mixer to bring electricity to condenser microphones. That’s what they know — period. However, working pros in the audio field know there is much, much more to this “phantom” power flow. It pays to know the subject to avoid the “gotchas.”
