|
|
|
Live audio contribution over wireless networks
|
 |
Wireless “live” contribution from anywhere at any time, this is the ultimate goal for most news reporters. The old favorite of using ISDN is becoming harder and much more expensive to access easily. Today most of us use wireless daily, in particular Wifi and HSPA/LTE 4G networks. These are now mature technologies and widely used for many applications in the home and whilst out and about. However there are still some professionals who prefer to persevere with the traditional, costly and limited ISDN communication technology before jumping into the wireless era. |
| Tags: iss133
| adrl
| wireless audio
| isdn
| cellular audio
| Pablo Rodrigues Altmann
|
|
|
|
|
|
|
|
|
Out of the box: Sennheiser Ambeo VR microphone
|
 |
The use of 360 video, especially on platforms like Facebook and YouTube is really starting to take off. Gone are the days when you needed to buy multiple GoPros and rigs in order to get something decent looking. Now players like Insta360 and even GoPro with their fusion 360 camera are providing single camera, high quality solutions, enabling the masses to put out reasonable quality, certainly watchable, 360 video. |
| Tags: iss130
| vr
| virtual reality
| audio
| ambiosonic
| Jon Pratchett
|
|
|
|
|
Immersive Audio
|
 |
In 2012, the Oculus Rift Kickstarter campaign burst onto the scene, initiating a new wave of public interest in sense-enveloping immersive experiences. 5 years later, the consumer reality is mixed with some very public let-downs like Google Glass (which is coincidentally enjoying a re-birth at the time of writing, now as a technical tool in the workplace), and other technologies such as Dolby Atmos® becoming almost commonplace experiences. What does this mean for the audio professional and how is the near future shaping up in 2018? |
| Tags: iss127
| immersive audio
| dolby atmos
| dts-s
| auro-3d
| oculus rift
| nugen
| Jon Schorah - new
|
|
|
|
|
Object Based Audio - The first steps
|
 |
The world of broadcast audio is about to reach new levels as we embrace the future in terms of Next Generation Audio (NGA). Although at this stage we can't be precise about what this will bring, we do know that some 3D Immersive formats are already under development and will find their way into broadcast production and distribution very soon. Unlike the world of relatively constrained channel based coding that we are accustomed to, these new codec systems will support more channels and/or object based audio coding. For the end consumer, there will be two major benefits - a greater sense of involvement or immersion and a degree of personalisation. That's what the promises are. |
| Tags: iss125
| immersive audio
| junger
| nga
| oba
| Peter Poers
|
|
|
|
|
|
|
|
|
|
|
Streaming and the need for continued innovation
|
|
In a fast-changing world, audio producers need to adapt quickly in order to keep up.
Media consumption is changing - fast. Almost without anyone noticing, we have passed the tipping point. Only a few years ago we were discussing streaming as an emerging technology; yet now, according to a recent Deloitte survey, streaming has overtaken live TV as the preferred viewing method in the U.S. YouTube viewing figures continue to surge. |
| Tags: iss123
| nugen
| audio
| streaming
| youtube
| Jon Schorah - new
|
|
|
|
|
|
|
Class: Multi - Channel Audio
|
 |
If you're given a media file and it has 16 channels of audio then life can quickly become the opposite of boring, especially if it has to go to air quickly and the supplier is new. Put simply there are many ways in which the different channels can be laid out in the file, but there isn't a single overall standard for labelling them. Enter SMPTE ST 377-4 - the Multi-Channel Audio Labelling specification (MCA). It's really boring and this is a good thing. |
| Tags: iss113
| Audio
| Media
| Multi-Channel Audio
| MCA
| MXF
| GUI
| Bruce Devlin
|
|
|
|
|
TV Futures
|
 |
I used to hate audio. Every time we recorded audio on a location shoot, something seemed to go wrong. It was a nightmare. And because I didn't understand it, I avoided it and would do anything to not be responsible for recording sound. However, eventually it got to a point where I hated how much I hated audio more than I hated audio itself! It became frustrating that I couldn't get it right, and I didn't want to have to avoid it anymore; I wanted to become a master of audio. That may have been slightly ambitious, but still, I was going to try. |
| Tags: iss113
| Audio
| TV
| CCI TV
| Radio
| Student
| Gemma Frith
|
|
|
|
|
|
|
Sound Devices: My Choice For Everything Audio
|
 |
Ever since I can remember, I have had a passion and curiosity for sound and sound recording. For the past thirty years, I have had the good fortune of turning that desire into a career as a production sound mixer working on incredible projects, including three of The Twilight Saga films. During my three decades in the industry, I have always prided myself on using the best equipment available, in order to capture the best sound possible. Equipment selection is critical to success, and the game was forever changed when Sound Devices entered the mix. |
| Tags: iss113
| Sound Devices
| Audio
| 744T Recorder
| SL-6
| 688
| 664
| Comtek BST 216-75
| Sennheiser
| Sanken
| MixAssist
| Darren Brisker
|
|
|
|
|
VR and 3D Audio - Ask The Experts
|
 |
What's the difference between 2D & 3D audio?
There are two parts to this question when it comes to audio for VR. The key difference is that 2D is a single horizontal slice,so when we're thinking 5.1 or traditional surround sound in a cinema that would be looked at as 2D,whereas 3D adds height information to this both above and below you. The second part to this question relates to static versus dynamic audio,and this goes for both 2D and 3D audio. |
| Tags: iss113
| 2D Audio
| 3D Audio
| Object-Based Audio
| VR
| Virtual Reality
| Pieter Schillebeeckx
|
|
|
|
|
Audio
|
|
Audio monitoring has come a long way since its humble beginnings of a box with a speaker, a volume control and an analogue input. Today's high-end audio monitoring units boast an impressive array of I/O such as SDI, MADI, AES-3 and Analogue while offering a large amount of functionality such as accurate metering, loudness measurement, Dolby decoding, metadata analysis and video confidence monitoring. There is however a huge storm brewing in the world of broadcast in the form of video and audio over IP, which will turn everything upside down. |
| Tags: iss113
| Audio
| Audio Monitoring
| SDI
| MADI
| AES-3
| S2022-6
| TR-03
| TR-04
| IP
| AES67
| Dante
| Ravenna
| 3G-SDI
| TSL
| MADI
| PAM-IP
| Pieter Schillebeeckx
|
|
|
|
|
|
|
|
|
Authoring and Monitoring for the emerging 3D immersive Broadcast Audio formats
|
 |
The world of broadcast audio is on the verge of a major revolution. Numerous 3D Immersive formats are under development and will find their way into the mainstream of broadcast production and distribution in the near future. Unlike the world of relatively constrained channel based coding as we are accustomed to (most commonly Left / Right for Stereo and Left / Centre / Right / Surround Left / Surround Right + LFE or Low Frequency Effects for surround), these new codecs will support more channels and/or object based audio coding. For the end consumer, there will be two major benefits from this new approach, a greater sense of involvement or immersion, and a degree of personalisation. |
| Tags: iss107
| broadcast audio
| 3d immersive formats
| facilities
| equipment
| authoring
| monitoring
| Anthony Wilkins
|
|
|
|
|
|
|
|
|
|
|
The business case for media asset management
|
 |
You could argue that, so far, there have been two stages of commercial justification for asset management systems in broadcasting. First, it was a necessary evil: if broadcasters, production companies and other media organizations wanted to store content as filesat least some of the timethey needed a means of finding it again.
Once broadcasters had a comprehensive index to all of their content, and could find clips and programs again quickly, there existed the potential to earn new revenues from them, ushering in the second stage. Video and audio recordings are among the principal business assets of broadcasters and production companies, and making the best use of those assets, by re-using them whenever possible, is simply good commercial sense. |
| Tags: iss103
| media asset management
| systems
| broadcast
| video
| audio
| recording
| Kevin Usher
|
|
|
|
|
|
|
CALM - A crucial act to follow
|
 |
Sudden jumps in sound level between television programmes and commercials first came to the notice of legislators after a loud commercial interrupted a family dinner at the home of US House of Representatives member Anna Eshoo. The technical parameters adopted in the draft were based on an existing recommended practice document issued in November 2009 by the US Advanced Television Systems Committee. |
| Tags: iss101
| audio
| sound level
| technical parameter
| perceptual loudness
| Martin Moore
|
|
|
|
|
|
|
|
|
|
|
|
|
Audio basics
|
 |
It is an absolutely true statement that the best way to improve the quality of your image is to improve the quality of your sound. Viewers will happily watch grainy, black-and-white images and consider it "art." However, nothing you can say will keep them in their seats if the audio is too loud or unintelligible. |
| Tags: iss101
| audio
| science
| display
| levels
| decibels
| scale
| Larry Jordan#
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
UWP-D11 Review
|
 |
Ever since the new regulations in the UK on radio microphone frequencies were introduced in the UK at the end of 2012, the days were numbered for my trusty old Sony UWP series radio mic system (consisting of the URX-P1 UHF dual-diversity receiver and UTX-B1 transmitter). Whilst super-reliable and excellent quality, this combo is limited to channels 67-69 which the government sold off to expand the frequencies available for mobile phones (cheers!!). |
| Tags: iss091
| uwp d11
| review
| sony
| audio
| microphone
| Kevin Cook
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
YouTube
Twitter
Facebook
Linked In
