It should constantly be borne in mind that although digital audio is a form of data, those data represent an audio waveform and there are therefore some constraints on what can and cannot be done to the data without causing audible impairment.
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.
The year 2020 was a big milestone for the broadcast industry. All major events were cancelled, but media operations still needed to produce shows and events even during the crisis. More than ever, broadcasters turned to the remote production and IP production; in fact, according to Omdia, 37% of media enterprises are now set to embrace remote production on IP.
Many people and cultures celebrate special New Year dates. Organizations designate fiscal years. Broadcasters traditionally mark their new technology year mid-April, at annual NAB Shows. Old habits die hard.
Digital technology is changing how and where some mission-critical TV RF engineering work can be performed.
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.