The year in sound was generally one of continuing trends in all its applications — particularly in spectrum reallocation, live sound, immersive audio. One exception was esports, which become a […] More
Fox Sports has redefined the notion of immersive sound for baseball, covering the field (and sometimes the players) with a small army of microphones, from lavs buried at the edge […] More
When it comes to remote production, size matters, although, with speakers, the preference tends toward smaller rather than larger. The constrained spaces of audio compartments in remote-production trucks determine the […] More
As broadcast audio moves into three dimensions, the infrastructure for it will take some unusual forms. One of those is a work in progress by Sennheiser, which has developed a […] More
2018 will be looked back on as a pivotal year: IP production techniques and technology became more firmly and deeply embedded in broadcast audio, and immersive sound moved from novelty […] More
Immersive sound has been moving along dual tracks in recent years. Formats like Dolby’s Atmos and Fraunhofer Institute’s MPEG-H have made deep strides into broadcasting, and music-touring artists are taking […] More
As immersive sound goes increasingly live, the means by which it can be captured is also stepping up. Some of the microphones made for applications beyond two-channel stereo are intended […] More
With 5.1 surround the default monitoring configuration for broadcast audio, remote-production environments are crowded with speakers, and immersive sound is threatening to make them even more so. But not tomorrow. More
If it seems as though much of the broadcast-audio workforce is still learning some of the ins and outs of 5.1 surround sound — and a quick search reveals no […] More
The history of television audio is paradoxically coming full circle: with immersive sound looming, some home devices have a single transducer. More
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