We casually speak of digital audio, often referring to it as AES audio, perhaps AES3 (for the number of the AES standard), or by an older term AES/EBU. But what exactly is this AES3 signal?
Creating a next-generation EAS system involves not only technology but operational workflows, cross-agency cooperation, and not a small amount of politics. Nevertheless, the process has begun.
Once analog TV transmissions cease, it’s going to be a different spectrum landscape for the makers and users of wireless microphones and intercoms.
When designing and building an HD facility, the video part can be relatively simple compared to audio.
With NAB2007 fast approaching, here are some tips to help in your search for a surround sound mixing system.
Last time we looked at some general characteristics of digital consoles. Now we will look more closely at those specifically needed for surround sound mixing.
Just as a new generation of video coders is finding its way into the market, audio is keeping up the pace. Audio coders handle both ends of the bit-rate spectrum (and in the middle as well).
It is consistent with what I've learned, taught and lived with through the years: slits behind the microphone diaphragm allow the sound to enter and create acoustic cancellations.
As much as I like test and measurement equipment, sometimes the best troubleshooting tools for a job are two good ears and the gray matter between them.
An Audio By Design reader named "Bro Duke," writes in about his microphone pet peeve, "their lack of internal filters.
Accurately monitoring 5.1 surround sound involves more than just adding four more loudspeakers to a stereo system.
As audio systems designers, we rely on manufacturers' specifications not only for a list of features, but for how a piece of equipment can be integrated into a system.
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