Tuesday, 13 March 2012 Written by Tim Goodyer
Wednesday, 24 October 2012 Written by Tim Goodyer
Algorithms to Measure Audio Programme Loudness and True-Peak Audio Level
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Thursday, 08 May 2014 Written by Tim Goodyer
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.’
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.
Thursday, 10 July 2014 Written by Tim Goodyer
Allen & Heath has announced new firmware for its Qu Series of compact digital mixers, adding support for the newly launched Qu-32 mixer and AB168 Audio Rack, and introducing DCA Groups, custom channel naming, flexible dSnake output patching, improved routing for studio recording applications, and additional Midi control soft keys.
Version 1.5 brings four DCA groups, which can be assigned to fader strips in the custom layer on Qu-16 and Qu-24, while the Qu-32 has four dedicated DCA master strips in the upper layer. All input channels, FX returns, mixes, DCA and mute groups now have custom naming functionality, which can be shared with the QuPad remote app and with any connected ME-1 personal mixers. Also, dSnake outputs to remote Audio Racks and monitor sends to ME-1 mixers have full user configurability, providing flexibility on output routing.
There is also improved functionality for studio recording applications. The input channel source point for Qu-Drive and USB can be set to either Insert Send or Direct Out to facilitate both live and studio workflows. Also, the Midi screen now has Midi Machine Control (MMC) transport buttons for control of DAW software or remote equipment. Additionally, the MMC controls and new DAW Bank controls can be assigned to Soft Keys for use in conjunction with the DAW Control driver.
Qu v1.5 is compatible with all Qu mixer models, and can be downloaded now from the A&H website.
Monday, 08 April 2013 Written by Tim Goodyer
Calrec Networking Primer
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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, 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.
Thursday, 29 May 2014 Written by Tim Goodyer
Audinate has released Dante HC, the industry’s highest-capacity networked audio solution for professional A/V systems.
Dante HC expands Audinate’s audio networking portfolio, supporting up to 512 x 512 redundant bi-directional uncompressed audio channels on a single Xilinx FPGA, and is intended to provide a platform on which OEMs can create cost-effective A/V products. The Dante HC reference design is for use with A/V equipment requiring high channel capacity, such as audio matrix routers, large-format consoles, public address and evacuation systems, and large-scale DSPs.
‘Audinate is the only company that offers OEMs simple-to-deploy audio networking solutions to cover their complete product range, beginning from 2 x 2 channel Dante Ultimo chips, through mid-range Dante Brooklyn modules which operate up to 64 x 64 channels, to 128 x 128 channel Dante PCIe Cards’, says Audinate VP of Product Management, Gary Southwell. ‘The launch of Dante HC, which quadruples the maximum channel count for a single device to 512 x 512 channels, enables our OEMs to design a new generation of highly-scalable networked products.’
Dante HC offers a wide selection of interface options including SPI, I2C, RS232 and configurable GPIO. An onboard microprocessor allows local control and management without the need for any additional CPU. Dante HC also promises future support for the AES67 standard.
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.
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