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It is well known in music recording that great records have a unique signature sound. Engineers acquire a variety of classic audio gear and select the right combination to create a unique sounding recording. But any audio recording can have a signature sound — from simple voiceovers, news reports, podcasts to documentaries. This is a look at how to achieve that sound.
Moving to IP opens a whole plethora of options for broadcasters. Engineers often speak of the advantages of scalability and flexibility in IP systems. But IP systems take on many flavors, from on-prem to off-prem, private and public cloud. And then there is virtualization.
Podcasts are extraordinarily popular these days because so many people see a huge profit potential from programming that’s considered cheap and easy to produce. Of course, that’s just an uneducated and false perception. To create a successful podcast requires a level of sustained preparation and creativity that few are willing or able to contribute.
Two years ago, I put a complete iPhone video production package into a single shoulder bag. This week, I eliminated the shoulder bag, creating an even better 4K shooting package that is virtually weightless. We are indeed in a new golden age of miniaturization.
Part one of this four-part series introduces immersive audio, the terminology used, the standards adopted, and the key principles that make it work.
At the 2019 NAB Show, a consortium of world leading satellite operators, device manufacturers, broadcasters and service providers called The SAT>IP Alliance updated attendees on the capabilities of the SAT>IP protocol in many of its members’ exhibit booths at the NAB convention.
Once they are purchased, most audio engineers don’t think much about microphone preamps. However, mic preamps are a crucial link in the audio chain. The device’s main job is to keep input noise to a minimum and to amplify the microphone without distortion. But there is far more to it than that.
As the myriad of live competition television shows continue to attract new and ever larger audiences for TV networks, producing them live has become so complicated that a second technical director (TD), often called a “screens TD,” is now often being employed in concert with the lighting department’s graphics server operator and create the look of the LED video tile-intensive sets. Most stages feature literally millions of LED pixels and lighting rig configurations that adorn the brilliantly lit sets so it takes a “screens team” along with the LED tech responsible to manage the actual LED tiles.
