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Killing unwanted noises when using a microphone requires the knowledge and skill to know the type of noise and have the available tools to suppress it. Here’s a guide to the basics of removing noise when using microphones for recording.
In Part 2, of John Watkinson’s series of articles on loudspeakers, the critical time-domain operation of human hearing was considered. In Part 3, he explains how the frequency domain interacts with the time domain and why they are a crucial concern in any accurate loudspeaker design.
In the last article, we looked at Quality of Service in IT networks. 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 the benefits of sending audio over IP.
Copyright infringement is a big problem for broadcasters transmitting Hollywood block buster films. Compromising film revenues, unscrupulous staff can easily copy films to USB disc drives and distribute them illegally on BitTorents and other public distribution systems.
For the past two and a half years Belgian broadcaster VRT—in partnership with the European Broadcasting Union (EBU), and iMinds (a digital research and incubation center)— has hosted an in-house R&D testing lab called VRT Sandbox. The project allows broadcast engineers and product vendors to test new IP-centric ideas and workflows.
Arena TV, a UK-based broadcast production company, has upgraded its entire fleet of OB vans with Lawo’s VSM control system. The VSM system creates a familiar workflow for users, and is the only control system on the market that is able to work in a fully IP-based environment as well as with other third-party equipment.
The broadcast and production industry is at the beginning of a historic shift to IP environments. The real benefits of an IP environment come from virtualizing live production technology—video production servers, switchers and camera processing. That is where we reap IP’s true benefits.
The microphone preamplifier in a recording chain has a very basic function — to boost a low-level audio signal to the point where it can comfortably be processed by other equipment in the audio chain. But how the preamp accomplishes this and the range of choices available to the user can be mind boggling. How do you choose which preamp is best for your application?
