Tag:audio

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.

Bel-BM-AV2-E16SHD

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.

More: www.beldigital.com

 

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.

More: www.sounddevices.com/download/release-candidate

 
Grammy Audio Network Schematic

Return to Sound for the 2012 Grammys feature...
 
Algorithms to Measure Audio Programme Loudness and True-Peak Audio Level

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Tascam DR-60D MkIITascam 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.
· Stereo/Dual Stereo mode for shooting with a stereo or mid-side (MS) microphone.
· Internal MS decoding can be added during monitoring or before recording.
· 4CH mode records all four microphone inputs to their own tracks.
· Dual Mono/Dual Stereo mode records a safety track from -6dB to -12dB below the initial take.
· Remote Jack accepts either the RC-3F footswitch-type remote control or RC-10 wired remote control.

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.

More: http://tascam.com 

 

Since its founding, Dallas Audio Post has proven a versatile and adept postproduction firm, handling projects ranging from TV and film to corporate, live event, political, video game and sports. Recently, the facility became the first US facility to install Genelec’s new 1237A Tri-Amplified Smart Active Monitor (SAM) system, featuring proprietary AutoCal and GLM technologies and class-D amplification.

Dallas Audio PostThe company’s current facility was built from the ground up and it is the fourth home the firm has had since its founding. ‘It has five audio studios,’ says Roy Machado, President & Creative Director. ‘Four are traditional TV mixing stages with adjoining recording areas, and the fifth is a theatrical film mixing stage – the only one of its kind in Texas and probably the only one of its kind between New York and LA – and all five rooms have their own Pro Tools HD rigs.

‘If you go back through our history, Dallas Audio Post has been a Genelec user since its inception 20 years ago. We started out using 1030As in our first incarnation, and as time moved along we started using 1032s for one of our rooms in an LCR format with an array of 1031As for surround. We also had another room that was using 8050s. So we’ve always had a lot of trust in Genelec monitoring, and the quality of our mixes was very solid and would transport well to broadcast or live environments. Moving forward to this facility we still have one room that is outfitted with 1032s in LCR and a 1031 array for surround mixing.

‘In our current facility, we have a medium- to large-sized room, and we had been using the 8050s but wanted something a big larger. So when we heard that Genelec was coming out with a 1237A, we were very interested in those because we knew not only that the speaker would sound great, but that the integration of onboard DSP and GLM software would deliver something great for us. As soon as we could, we called our dealer and started the ball rolling to be one of the first, if not the first, 1237A facility. We sourced them through Sweetwater Sound and Senior Sales Engineer Robert Williams. I think we ended up getting S/N 2 and S/N 4.

‘Once we put the 1237As in the room and then shot the room with the GLM software, we were absolutely in love. The room tuning software is spot-on – we double-checked it against other room tuning tools that we look at and use, and we confirmed that the GLM software is exactly on-point, both in the frequency domain and the time domain. The quality of the sound is outstanding. This is the first time that we have had a three-way speaker at Dallas Audio Post. Typically all the other Genelecs that we have had been two-way speakers. The extra definition that you get from having a three-way speaker is fantastic. We already are making plans to upgrade our A room, which has the 1032s and 1031 arrays, to use the 1237As as well, because they are that good.’

More: www.genelec.com
 

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
Firmware developer
Linux developer
Sales Support Engineer, Germany

More information and application details are available from Alcons Audio.

More: info@alconsaudio.de

 

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.

Clear-Com LinqBased 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.

More: www.clearcom.com

 
Calrec Networking Primer

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Nugen Audio Visualizer Nugen Audio has released a ‘significant’ update to its Visualizer audio analysis suite, adding support for Avid’s AAX 64-bit format for both PC and Mac, as well as the VST3 standard for digital audio plug-ins.

Visualizer provides audio analysis for recording, mixing and mastering through a reference tools. With the latest upgrade, Visualizer is among the first to gain compatibility with Avid Pro Tools 11.

For recording, Visualizer offers tools for calibration, setting levels, signal path checking, noise minimisation, and many other audio tasks. At the mixing desk, engineers can use Visualizer for tasks such as low-end control, masking, hidden frequencies, and stereo placement, among many others. For mastering, Visualizer supports a wide range of views such as stereo spread, phase relationships, and EQ distribution.

‘When we launched Visualizer in 2005, it quickly gained the attention of producers and helped Nugen Audio build its brand in the audio production industry,’ says Creative Director, Jon Schorah. ‘The new update is the latest example of how we’re continually adapting our products to meet our customers’ evolving requirements; for instance, 64-bit AAX compatibility provides future-proofing for our many customers who rely on Avid’s editing software.’

More: www.nugenaudio.com

 
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