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 to create a technical reference resource for professional broadcast audio engineers.
There is a school of thought that suggests increasing the brightness through the contrast control on a television will give a higher dynamic range. However, this doesn’t necessarily increase the contrast ratio. Quantization noise is the enemy of dynamic range and increasing brightness in a system with a low b
HDR is taking the broadcasting world by storm. The combination of a greater dynamic range and wider color gamut is delivering images that truly bring the immersive experience to home viewers. Vibrant colors and detailed specular highlights build a kind of realism into broadcast productions that our predecessors could only
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.
As company mergers, acquisitions and extensive rights management agreements have become part of the new media landscape, it has created large multi-national conglomerates that span the globe. This in turn has revealed the need for IT networking technology and complex software orchestration that tie all of the disparate locations together
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.
