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This year’s IBC press conference featured four eloquent and notable speakers: Micheal Crimp (IBC CEO), Roger Thornton (IBC Convention Chairman), Jessica Lapsiwaia (Head of Content for IBC) and Kim Jackson (Co-Founder and President of Entertainment at Singular DTV). However, Jackson stole the spotlight with her talk on the emerging uses for blockchain and its potential applications within the broadcast and media industry.
Before we entered the world of file-based digital recording, planning storage needs for audio was simple. We’d simply buy enough audio tape to cover the recording time and then record the sound. In the world of analog, we knew a seven-inch tape reel at 7-1/2 ips lasted 33 minutes, while a 120 minute DAT tape lasted 120 minutes. Simple enough.
The IEEE Standards Association (IEEE-SA) has adopted the OpenFog Consortium’s reference architecture for fog computing. This may prove significant to broadcasters in the OTT era.
In the 1980s, it was easy to define a recording studio. For major studios, most of us would name the Record Plant, the Hit Factory, Criteria or Electric Lady among the premiere American studios. There were also some private studios, mainly owned by artists for making their own music. Today, however, the concept of the recording studio has been turned on it’s head.
Microphones — depending on the owner — either are treated gently or with abuse. This treatment often extends to how the microphone is used. There is a big difference between shouting mindlessly into a dynamic mic in a small club and recording pristine audio in a studio. Here are some tips on how to use microphones to their fullest potential.
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