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.
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.
With the advent of immersive audio mixing using codecs like Dolby Atmos and DTS:X (the successor to DTS HD) professionals now have the ability to create interactive, personalized, scalable and immersive content by representing it as a set of individual assets together with metadata describing their relationships and associations.
It was on December 13, 2011 that the Federal Communications Committee (FCC, the governmental body that oversees TV broadcasting in the U.S.), along with many irritated consumers, had had enough and decided to do something about the often times huge disparity in the audio level of commercials versus program content. This…
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.
The subjects of timing, synchronizing and broadcasting are inseparable and in this new series John Watkinson will look at the fundamentals of timing, areas in which fundamental progress was made, how we got where we are and where we might be going.
PTP - as a precise network timing technology has been available for nearly two decades. It is already widely used in Telecommunication networks, Finance and Trading platforms, substation automation networks and many more industries. Every industry has its own demands such as target accuracy on the end nodes, or whether…