Tuesday, 13 March 2012 Written by Tim Goodyer
Friday, 04 April 2014 Written by Tim Goodyer
The RTW Masterclass PlugIns range offers the company’s metering tools as plug-ins for Windows and Mac OS-X platforms. The RTW Loudness Tools will be the first plug-in in the new range.
The Loudness Tools Masterclass PlugIn visually represents audio with relevant level and loudness values as specified by international standards. It conforms to the EBU R128 loudness standard, as well as SPL, ITU-R BS.1770-3/1771-1, ATSC A/85, ARIB and custom (to set OP-59, AGCOM) – aiming it at audio and video engineers, radio producers and musicians. It is also intended for quality control.
The plug-in supports all standard sampling rates up to 96kHz, and operates in mono, stereo and surround (eight channels maximum). It includes RTW’s Peak Program Meter, TruePeak and Spot Correlator instruments, and also offers all common loudness formats plus MagicLRA and an SPL view.
The user interface is based on the RTW TouchMonitor TM7 and TM9 units, and offers the same functionality and clarity as the hardware models. The instruments provide graphical/numerical, as well as bargraph views, and can be freely rearranged and scaled. Various function parameters, such as integration time, operational range and tolerance, along with a number of viewing options for metering data and scales, offer extra flexibility. The plug-in window dimensions can be set to the native resolution of RTW TouchMonitor display screens, including 480x272, 800x480, 1024x800 (landscape) or 272x480, 480x800, 800x1024 (portrait). Users can store set-ups and layouts as presets in a DAW.
The software requires Windows 7/8 (32-bit or 64-bit) or Mac OS-X 10.6 or higher. RTW will first make them available in the VST 2.4 format for Windows systems and the RTAS format for Mac OS-X. VST, RTAS and native AAX64 support on the two platforms will follow. PACE anti-piracy and iLok USB copy-protection dongle are used for handling license management and plug-in activation. On an authorised computer, users can use unlimited RTW Loudness Tools instances.
Friday, 04 April 2014 Written by Tim Goodyer
Prism Sound has added Atlas to its Orpheus, Lyra and Titan series of audio interfaces
Designed with Prism Sound’s CleverClox clocking technology and incorporating eight of the company’s mic preamplifiers, the Atlas interface is aimed at multitrack recording applications. It offers professional recording quality analogue and digital I/O for Mac OS-X or Windows at sample rates up to 192kHz via a simple USB interface.
In addition to the USB host interface, Atlas features Prism Sound’s new MDIO interface expansion slot, which was first incorporated into Titan. Using this miniature expansion slot users can, for example, directly connect to Pro Tools|HDX systems. A range of other MDIO interfaces is planned for later introduction. Atlas will also run with Apple and Windows native applications over USB.
Atlas, Titan and Lyra are all capable of aggregated operation in both Mac and Windows PC environments. This makes it possible to link up a number of different units for multichannel applications while retaining a USB connection for each unit. In the Windows environment, Prism Sound offers a new driver that aggregates the units and presents a single multitrack interface to DAW applications for I/O routing.
Wednesday, 24 October 2012 Written by Tim Goodyer
Algorithms to Measure Audio Programme Loudness and True-Peak Audio Level
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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, 28 March 2014 Written by Tim Goodyer
Following Dolby’s discontinuatio of the DP570 Multichannel Audio Tool, dynamics specialist Jünger Audio has the only loudness processor capable of offering real-time metadata emulation as standard in the D*AP8 MAP Monitoring Audio Processor.
Jünger Audio’s D*AP8 MAP Monitoring Audio Processor combines an audio monitor controller and a loudness measurement device in one unit, thus providing comprehensive quality control and loudness monitoring for anyone working in a production or broadcast environment.
Designed for quality checking surround (5.1) and/or stereo programmes, D*AP8 MAP features a built-in Dolby® Metadata generator and an optional Dolby decoder that allows users to decode Dolby-E, Dolby-D (AC-3) and Dolby Digital plus (E-AC-3). It can also be used for live monitoring and to ensure compliance with today’s standards and regulations (ITU 1770-3, ATSC A/85 or EBU R128).
The unit generates alarm signals to alert an operator when preset loudness thresholds are exceeded, and these signals can be delivered by simple GPOs and/or SNMP traps, which carry actual loudness values. Loudness measurements can be performed over a long run or over a fraction of a programme, or both. These measurements can be triggered by automation systems via GPIs or via the network - or even manually by buttons on a remote panel.
Alongside loudness measurements, D*AP8 MAP also offers functionality for acoustical QA. It has eight speaker outputs that allow for A/B checking of stereo compatibility of a surround downmix through alternative speakers, as well as via L/R front speakers.
By incorporating 3G, HD and SD auto detection, D*AP8 MAP gives users the option of dealing with all 16 channels of SDI embedded audio at the same time. This means the engineer can listen to one programme while permanently logging the loudness of two (5.1 +2 mode) or four (4x2 mode) programmes. It is also possible to send further embedded programmes to D*AP8 MAP-s AES outputs to feed a third-party instrument for analysis and/or display.
Real-time metadata emulation allows broadcast engineers in postproduction, DVD and DTV facilities to check the quality of Dolby Digital AC3-encoded audio prior to transmission so that they can monitor exactly what the consumer will ultimately hear.
‘Metadata emulation is very important to the broadcast community, especially those working in the US where the ATSC has specified that all audio must be Dolby AC3 encoded prior to transmission,’ says Jünger Audio CEO, Peter Pörs. ‘Every set-top box in the US – and in many other countries – has a Dolby Digital decoder installed as standard. These decoders receive audio metadata, which is the unique “data about data’” delivered by Dolby Digital bitstreams.
‘Metadata is important because it ensures that television audiences at home hear their programmes the way producers and content creators intended them to be. All kinds of audio parameters, including loudness levels, are controlled this way. In countries where you can be fined if you get audio loudness wrong, it’s vital that broadcasters can check exactly what consumers will hear before material leaves their facilities.’
The D*AP8 MAP SDI board also acts as an embedder, and provides video delay to compensate for any kind of audio delay. This feature is well suited to maintaining lip sync in QA suites and control rooms.
Monday, 08 April 2013 Written by Tim Goodyer
Calrec Networking Primer
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Friday, 18 April 2014 Written by Tim Goodyer
Recent expansion of the facilities at the Ulsan Galilee Church in South Korea have seen the opening of a new building housing an 800-capacity main worship area, seminar rooms, library and café, for church members and the local community. Supplied by local distributor Sama ProSound and installed by Daiyoung Sound, the church requested a separate monitor system for singers and band members, so Daiyoung Sound Director Joon-ho Choi selected Allen & Heath’s GLD digital mixing system, ME-1 personal monitor mixer and Qu-16 compact digital mixer for the task.
‘The combination of GLD and ME was the most attractive option,’ he confirms. ‘The GLD’s I/O remote audio racks mean the system is scalable to manage all requirements. The mixer also has great audio quality, an intuitive interface, and a wonderful custom layout design. ME-1 has the most monitor channels in the personal monitor market, and the group option, ambient mic, dedicated monitor output port, which means an option card is not needed, are the reasons why I chose the system for the church, whilst also saving budget.’
It took a year to complete the project, five months of which were dedicated to installing the broadcast, audio and cabling. At first, the church had doubts about installing a digital system since it had not used one before and does has few experienced audio engineers on staff, but the GLD Remote iPad app and GLD Editor control software, exceeded expectations.
The system is set up to enable control at FOH position and in the control room at the same time. The GLD-80 mixer is installed at FOH with the AR audio racks at the side of the stage connected via single Cat5 cable, reducing the wiring budget. ‘The musicians were very happy with the monitor system, especially the ME-1 personal mixers, which they say deliver excellent audibility and allow them to focus on their playing,’ says Mr Choi.
A Qu-16 compact digital mixer is installed in the control room to manage all recording, playback and broadcasting. It was selected because of its motorised faders, scene recall, and it has the most I/O in its price range. ‘Qu-16 has both a Touchscreen and motorised faders, which most other competitive mixers don’t have. It was the main reason that the church accepted it. Of course, USB recording functionality and high audio quality were very attractive points as well,’ he adds.
Wednesday, 27 March 2013 Written by Tim Goodyer
Tascam has aimed its DR-60D at on-set filmmakers and videographers using DSLR cameras.
The DR-60D is a four-track solid-state recorder that is designed fit under any camera or into any rig, and record up to 96kHz, 24-bit audio in WAV/BWF formats to SD/SDHC media. The unit will handle simultaneouns four-track recording, includes M-S decoding, and has a slate for marking tracks, It also offers RC-10 Remote compatibility. The body structure, soft-touch keys and dials help to eliminate handling noise.
· Tascam HDDA microphone preamps
· Independent recording level adjustment
· Two XLR/TRS inputs
· +4dBu line level input
· Phantom power (24V/48V)
· High-output mic input on Input 3-4
· Camera out connector for DR-60D mixer
· Camera in connector for sound monitoring
· Independent line out and headphone output
· 50mW/ch headphone output
· Hold switch to prevent accidental operation
· Quick button for easy access to various functions
· 128x64 pixel LCD with backlight
· USB 2.0 audio transfer (Mini USB cable included)
· Internal mixer: pan and level controls
· Low-cut filter(40/80/120Hz)
· Limiter (1/L and 2/R can be selected for link-operation)
· Delay compensation for mic position (±150ms)
· Slate tone generator (auto/manual)
· Selectable duration of slate tone from four positions (0.5s/1s/2s/3s)
· Selectable slate tone generator (off/head/head+tail)
· File name format can be set to use a user-defined word or date
· Dual recording function allows two files to be recorded simultaneously at different levels
· Auto-record can automatically start and stop recording at set level
· Pre-recording (2s sound buffer before recording)
· Self timer for solo recording
· New file starts recording automatically without interruption when maximum file size is reached
· Track incrementing
· Jump back and play function
· Equalisers function for playback and level alignment
· Resume function to memorise the playback position before the unit is turned off
· Mark function up to 99 points per audio track
· Divide function
· Tripod mounting threads (bottom) and DSLR screw attachment (top)
· Dedicated jack for wired RC-10 remote control or RC-3F footswitch (sold separately)
· Operates on 4 AA batteries, an AC adapter (sold separately) or USB bus power
· Can extend battery life with BP-6AA battery pack (sold separately)
The DR-60D is expected to have a street price of US$399.
Monday, 02 December 2013 Written by Tim Goodyer
Sonifex has added a new audio distribution amplifier to its Redbox audio range.
‘We designed this product for a niche application of distributing a mono or stereo audio feed to multiple active speakers for an emergency audio distribution system,’ says Sonifex Sales Manager, Richard Butlin.
The RB-DA24MD was designed in response to a particular request before becoming a ‘standard’ Redbox: ‘The customer has a number of office desk clusters, each with a small speaker mounted underneath them, so that in the event of an emergency, everyone in the building gets a clear emergency signal,’ Butlin explains. ‘Because it has so many outputs, the system can cover 100 desks with only five units.’
The RB-DA24MD is a 24-way amplifier, with two inputs that can be individually routed to 12 outputs or mixed and routed to all 24 outputs. The inputs can be configured as either dual mono, Input 1 routed to Outputs 1-12 and Input 2 routed to Outputs 13-24, or mixed-mono, Inputs 1 & 2 mixed at a preset level and routed to all 24 outputs.
The XLR inputs and D-type outputs are electronically balanced and can be wired unbalanced. Each output is individually buffered so that a short circuit on one won’t affect the others. Each output is also protected against connection to both POE (power over Ethernet) and phantom power circuits.
The RB-DA24MD has master gain controls for Inputs 1 & input 2, which are preset potentiometers accessible through the rear panel. These controls allow the gain to be adjusted from -15dB to +15dB, useful for normalising consumer to professional signals and vice versa. An LED power indicator on the front panel shows that the unit is powered. Also a 125Hz 6dB/octave roll-off filter can be switched in.
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