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Shotgun microphones have long been the staples of live recording. In the 1970s and 80s, virtually all professional shotguns used for location sound were “true” condensers costing over $1,000. Now, a new breed of electret condenser shotguns have appeared. Many wonder, what are the differences and how much does it matter?
Before computers — when the audio for television commercials was edited with razor blades — sound mixers typically created premixed tracks at the beginning of the spot-making process. Then, after computers, the mixer’s role was reversed — with many relegated to simply polishing the final commercial after editing. Now, sound mixers want that to change.
Since 2012 many moviegoers have been captivated by the nearly two thousand theaters throughout the world that have installed Dolby’s 3D immersive sound system called Dolby Atmos. Since then Dolby has worked to also make the technology available for live broadcasts, home theater systems and even stereo headphones.
Fairlight is collaborating with DTS and the University of Salford, located in Manchester, UK, to develop a new approach to assist sound engineers with live sports productions.
I was due to write another terminology article and thought doing one that explains the terms, alliances, and standards might be helpful. There is no shortage of new terms, so let’s get started.
Beginning with IBC 2015, the broadcast and production industries have seen an increasingly large investment in IP-centric solutions being offered by vendors. While that is encouraging, customers need to be sure that the performance of a centralized solution is not compromised by a low-bandwidth network.
A slide used at the HPA conference in February said that Dolby AC-4 will be recommended as the ATSC 3.0 audio standard for the United States.
The standards committee for the Audio Engineering Society (AES) has created AES70, a new standard for the open control and monitoring of professional audio and AV media network devices.