On Febuary 12, when Alan Blumlein receives the Grammy’s Technical Award, few in the audience will grasp the profound implications of his life and work. But Blumlein, a visionary engineer whose greatest work happened in the 1930s, changed and still affects modern stereo recording to this day.
When purchasing a new studio condenser microphone, buyers are immediately faced with the choice of small and large diaphragm types. What are the sonic differences, and which type is best for a certain application?
Setting-up a microphone preamp may seem like a friviolous subject. But microphones have an extraordinary dynamic range and the configuration to match the pre-amp to the mic can be an important factor in getting good levels for recording or live sound. Here’s a guide to the correct set-up considerations.
Aesthetically pleasing 3D titles and graphics are integral to providing the wow factor that keeps today’s broadcast viewers glued to the screen. These visual elements—including 3D and 2D titles, animated graphics and real-time data-driven overlays—provide the vital contextual information that enables viewers to fully appreciate and understand the events they are watching.
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.
