Wednesday, 24 October 2012 Written by Tim Goodyer
Algorithms to Measure Audio Programme Loudness and True-Peak Audio Level
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Tuesday, 13 March 2012 Written by Tim Goodyer
Monday, 05 November 2012 Written by Tim Goodyer
Building commercial and technical support for its growing base and realisation of our expansion plans, Netherlands-based loudspeaker manufacturing specialist Alcons Audio is invinting applications for the following positions:
Audio DSP developer
Sales Support Engineer, Germany
More information and application details are available from Alcons Audio.
Friday, 12 September 2014 Written by Tim Goodyer
Clear-Com has released the Linq series of comms interfaces, enabling connection of two-wire partyline with call signalling and four-wire audio over LAN, WAN or Internet IP infrastructures.
Based on Clear-Com’s IV-Core technology, Linq is available in two-wire (Linq-2W2) or four-wire (Linq-4W2) options. The Linq-2W2 is both Clear-Com and RTS TW compatible. The Linq-4W2 can interconnect with devices, such as analogue ports of any matrix intercom system, analog telephone circuits, two-way radio gateways and audio consoles. A maximum of six Linq IP interfaces can be linked together in any 2-wire or 4-wire combination.
Linq uses the Opus high-quality audio codec, allowing bitrate, bandwidth and delay to be changed quickly without introducing distortion or discontinuity in the audio. As a low audio latency communication link, Linq can be used for natural intercom conversation, networked music performances and for audio signals that are transported via different facilities (transmission sync).
The creation of virtual partylines within a linked group is an exclusive feature. Channels from any of the six devices in the network can be linked to create common virtual partylines. At least two channels must be associated to each other. Linq uses a touch-friendly web-based user interface to configure, control and monitor any device within a linked group.
‘Linq is a simple yet significant development that enables users to expand their remote communications quickly and easily,’ says Clear-Com Product Manager, Stephen Sandford.
Friday, 24 October 2014 Written by Tim Goodyer
Sound Devices has released Firmware 2.10 software for its 970 audio rack-mounted and PIX 250i, PIX 260i and PIX 270i video rack-mounted recorders.
New features and upgrades include enhanced metadata functionality, sound report creation and improved file/folder formats. In addition, Sound Devices now offers a Release Candidate Screening Program, which gives existing users of its rack-mounted recorders a preview of features and changes under development in the firmware.
Firmware 2.10 features a new Metadata screen that allows users recording audio to access and edit the Scene, Notes, Take and Circle status of Previous, Current and Next takes. It also provides the same metadata editing functionality from PIXNet, the Web browser interface. Additionally, the PIXNet clips tab now display information about recordings, including start time code, fps, user-bits, duration, codec and audio format.
With regard to reel folder formats, in previous iterations of the firmware, a Custom option enabled users to edit reel folder names with any alphanumeric value, whereas the 2.10 firmware offers a second Daily option. If set to Daily, new reel folders will automatically be named with the current system date in the YYMMDD format. These daily reel folders, which are containers for the recordings, are helpful in organising deliverables for projects that span multiple days. This latest firmware also features a new Phrase List Manager, which lets end users create a list of commonly used phrases and then use them to quickly edit the Notes field of recorded WAV files. Users can also now enter notes from either the File list or the new Metadata screen, for the next recording.
For those devices operating in Audio Only Mono mode, it is now possible to have the system append the actual audio track name to the end of the file name. While recording, track names can now be edited from the audio screen and from PIXNet. This assists those in postproduction in determining which audio file is associated with which member of the cast, a feature that is particularly useful in high-track-count reality shows. In addition, the new Sound Reports feature creates CSV files based on WAV-file metadata.
The Release Candidate Screening Program provides the company with direct customer input on the usability of its updates, ensuring the stability of firmware updates in real-world applications. Initially, the programme will target the Video Devices and Sound Devices rackmount products, with the company planning to expand it to other product lines over time.
‘The goal of our new screening program is to work together with end-users to identify and resolve any potential stability issues and get feedback on product performance in real-life workflows, so the best possible firmware makes it into upcoming official releases,’ says Dan Desjardins, Manager of Software Development & Quality Assurance ‘Sound Devices enjoys a highly regarded, open-door relationship with its customers worldwide, and this programme promises to expand on that bond.’
Each Release Candidate will come with a pre-determined expiration date and limited technical support. Firmware 2.10 is available as a free download for all existing rack-mount products.
Monday, 08 April 2013 Written by Tim Goodyer
Calrec Networking Primer
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Thursday, 02 October 2014 Written by Tim Goodyer
Tascam has announced the DR-60D MkII four-track recorder for video production.
Designed to be mounted to a camera, the updated recorder is equipped with new microphone preamps with up to 64dB of gain, and its two XLR mic inputs and two stereo inputs can be recorded individually. A Dual Recording mode captures an additional safety track.
The HDDA mic preamplifiers (High Definition Discrete Architecture) employ discrete circuitry and premium parts, and achieve a high EIN (-120dBu) using Cirrus Logic AD converters. It can record up to four tracks simultaneously, allowing multiple microphones to be used while filming. Inputs 1/L & 2/R can be selected for mono or stereo link operation.
Three sets of stereo outputs are provided. A Camera Out sends a reference track recording to the camera. The Line Out can feed a mixer or recorder. A Headphone Out is available for direct monitoring. Each of these outputs has its own level control, and the Camera Out can be attenuated to microphone level without the need for an attenuating cable.
The DR-60D MkII has an internal digital mixer fowith pan and level control. It is also equipped with a limiter or high-pass filter (40/80/120Hz), and set individual channel delay.
A variety of recording modes are supported:
· Mono/Dual Mono mode for single source microphones.
The Channel 3/4 input connector supports a high-level maximum input – up to +10dBV. Many microphones designed for use with video cameras have a high-level output and a 3.5mm output connector. Plug-in power is also available for microphones.
The keys of the unit are designed for quiet operation to eliminate handling noise and the Slate feature is designed to mark tracks while in production.
Monday, 15 September 2014 Written by Tim Goodyer
Bel Digital Audio has added a loudness monitoring option to the latest standards on all eight variants of its 1U and 2U 16-channel HD monitor/de-embedder. Each of the monitors now has the ability to choose between monitoring loudness by momentary, 3s, 10s, integrated and dynamic ranges. As a consequence, all units comply with both ITU-R BS.1770-2 and ITU-R BS.1771-1.
Loudness metering can be displayed in four ways, chosen from the easily navigated menu, with each showing different combinations of loudness measures. This enables the user to choose which measurements they prefer to show more prominently. The units are configured quickly via a rotary control that scrolls through menu options and settings. The menu system need only be accessed once during set-up, and from that point forward all the required options will be displayed. Loudness metering is accessed through the same intuitive system and each of the four monitoring options can be displayed permanently or called up as required.
Visible monitoring of each channel of audio is by high-resolution bargraph meters, with adjustable colour transition points featuring a peak-hold facility. Four user assignable scales and ballistics are also available. Audible monitoring is via magnetically shielded speakers.
All units feature medical grade internal power supplies for reliability, whilst also removing the need for any external power adapters. There is also the facility for SDI re-clocking and loop-through on each device.
Thursday, 15 January 2015 Written by Tim Goodyer
RH Consulting has strengthened its team and services with the recruitment of Plasa Technical Resources Manager, Ron Bonner.
Having provided health and safety advice, regulatory compliance information, technical advice, and support in product compliance and environmental regulations for Plasa for 13 years, Bonner now additionally offers services exclusively through the London-based audio consulting firm.
‘Offering standards advice to clients is a key part of our business,’ says RHC Director, Roland Hemming. ‘The addition of Ron’s enormous experience in this domain will enable us to be even more detailed and comprehensive. Furthermore, his wide-ranging health and safety experience will assist us with the many projects that we manage for installers.’
Bonner has played a key liaison role for government and regulatory agencies along with managing representation for the drafting of international, European and national standards that affect the entertainment and architectural installation industries. He continues to provide technical resources to Plasa as a contracted supplier. He
Bonner is a chartered health and safety practitioner, a member of the Institute of Occupational Health & Safety (IOSH) for 18 years and was one of the first in the UK to gain chartered status. He also holds membership of the International Institute for Risk & Safety Management. He is currently active on safety committees at the HSE, and within entertainment-based safety groups. He has been a member of the British Industry Entertainment Radio Group for the past seven years in its efforts to protect access to radio spectrum and he is also a UK representative of newly formed Entertainment Technical Committee in Europe
Clients can engage Bonner on a daily basis or they can buy blocks of time in advance at a discounted rate to allow several members of staff to ask for advice as required.
Thursday, 22 January 2015 Written by Tim Goodyer
Slovak TV has adopted the full suite of Nugen Audio loudness tools, including the VisLM-H visual loudness meter, ISL inter-sample true-peak limiter, LM-Correct stand-alone loudness tool, and LMB batch-processing loudness correction tool. Part of Radio & Television of Slovakia (RTVS), Slovakia’s leading public television network, Slovak TV is now able to comply with the its government’s new loudness regulations.
‘Loudness regulation is sweeping Europe, and Slovakia is among the many countries that are adopting measures based on the European EBU-R128 standard,’ says Nugen Audio founder and Dreative Director, Jon Schorah.
G-tec recommended the Nugen Audio tools as part of a broader project designed to modify Slovak TV’s operation for loudness monitoring, correction, and compliance. The Loudness Toolkit, consisting of the VisLM-H, ISL and LM-Correct plug-ins for Pro Tools, enables Slovak TV’s audio engineers to produce loudness-normalised audio according to EBU-R128. In addition, LMB provides offline loudness and true-peak analysis and correction of audio files to meet the standard.
‘At G-tec we are committed to helping our broadcast clients prepare for the coming loudness regulation and understand how advanced loudness management tools can fit into their existing workflows,’ says G-tec Professional Product Manager, Boris Seitler. ‘Nugen Audio’s tools are an integral part of that effort. Their ease of use, highly intuitive operation, and seamless integration into audio production workflows make them an ideal match to Slovak TV’s requirements.’
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