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As the wider broadcast industry picks up the pace with virtualized, cloud-native production systems we take a look at what audio vendors currently have available and what may be on the horizon.
One cannot get very far with electricity without the topic of batteries arising. Broadcasters in particular have become heavily dependent on batteries to power portable equipment such as cameras and lights.
Information theory can also be applied to loudspeakers, which are among the most difficult of transducers to design. Measuring the information capacity of loudspeakers is a useful tool.
Here we look at some practical results of transform theory that show up in a large number of audio and visual applications.
Italy’s state broadcaster RAI has upgraded the music studio at its Fabrizio Frizzi television studios in Rome. The project has seen the studio add new 5.1 surround and stereo systems, based around Genelec’s ‘The Ones’ three-way coaxial Smart Active Monitors.
We continue our series on Broadcast Audio Systems with a discussion about workflow with multi-award winner Robert Edwards. We look at general purpose workflows, and some considerations for different types of production across news, sports and chat shows. As the degree of complexity and stress ramps up as soon as a live audience is introduced, part two will look at more expansive light entertainment shows which have audiences, multiple presenters, bands and egos.
Responding to broadcasters’ requirements for cost-effective, networked audio monitoring, TSL will showcase its complete portfolio of audio solutions at IBC. Ranging from its MPA1 line to its SAM-Q and PAM offerings, TSL provides its customers with audio monitoring options that will fit varying workflows and budgets.
It’s been over 40 years since Genelec started life as a manufacturer of professional monitor loudspeakers, and I felt the urge to reflect on how much has changed in the broadcast world in that time, and yet how much the role of a good studio monitor has remained largely unchanged. After all, you’ve always used monitors to make judgements about the audio you’re working on, and to guide your actions to reach a point where you’re happy with the resulting mix – haven’t you?
