Always at the inventive forefront of broadcasting, sports demand highly optimized delivery systems that maintain the maximum quality of experience possible. Keep up to date and up to speed with the industry innovators.
Without intercom, a live broadcast production would soon degenerate into chaos. A whole industry has been built on the protocols intercom users have adopted and everybody involved in the production must be able to hear the director’s instructions, clearly and concisely.
In this new series John Watkinson looks at all aspects of microphones, including how they work and how they don’t work.
Gain control in digital audio is essentially a numerical model of the same process in the analog domain.
Video, audio and metadata monitoring in the IP domain requires different parameter checking than is typically available from the mainstream monitoring tools found in IT. The contents of the data payload are less predictable and packet distribution more tightly defined leading to the need to use specialist media stream centric monitoring tools.
A recent Lawo remote activities case study notes, “It should be obvious by now that remote operation has been seriously underrated. For some, it allows to save substantial amounts of money, while others will appreciate the time gained from not having to travel.”
The advantages of digital audio for recording purposes are clear, but once in the digital domain, productions steps also need to be carried out. Recorders don’t care about the encoding method, which is instead optimized for production purposes.
KVM (keyboard, video, mouse) switching and KVM extension provide access to critical IT assets. They might be deployed to give desktop users access to multiple computers from a single console, keyboard, and mouse, or implemented by facilities to enable distribution of high-quality video, audio, and peripheral signals across networks and through hybrid physical and virtualized server infrastructures.
The best sampling rate for digital audio is easily established by considering the requirements of the human auditory system (HAS), which is the only meaningful arbiter. Provided that the bandwidth of a digital audio system somewhat exceeds the bandwidth of the HAS, that should be enough.