In today’s broadcast world where content is monetized through international sales and television signals often cross geographic boundaries, controlling audio levels is just as important for TV broadcasters in countries with no Loudness legislation as it is for those in countries that do.

TVN in Chile is just such a broadcaster. Although Chile has no Loudness legislation, TVN has an international channel – TV Chile – that is broadcast around the world via satellite and therefore needs to comply with the regulations in place in various countries including the USA. The same applies for us in Australia & New Zealand in relation to not only complying locally; but also internationally.

Mauricio Rojo, TVN’s Deputy Manager of Engineering, was charged with the task of finding a loudness control solution that would meet this challenge and, after carrying out tests with several manufacturer’s products, he chose T*AP Television Audio Processors from German Loudness Control specialist Jünger Audio.

“We already had a loudness processor from another manufacture but we wanted something that was more flexible in the final audio chain and has a sophisticated algorithm that could deliver very high quality audio,” Rojo explains. “The Jünger Audio T*AP processor won the test hands down because it was so simple to use and, thanks to Junger Audio’s LEVEL MAGIC™ II algorithm, was able to deliver the audio quality we were looking for.

Rojo adds that price was also a consideration.

“There are entry level products available from other manufacturers that are cheaper but they didn’t offer the same audio quality,” he says. “Considering their performance, the T*AP units were very cost-effective and we had no hesitation in ordering two of them.”

Founded in 1969 as a public channel, TVN is Chile’s main broadcaster with a reach that extends to 98% of the country. With its main facilities in Santiago, TVN also broadcasts a news channel, 24 Horas, and an international channel, TV Chile, which is received via satellite around the world.

“Our international channel is available in Europe, all the Americas and Oceania so it was important that our broadcasts complied with the legislation in place in those territories,” Rojo says. “T*AP’s compliance with all international standards and regulations (ITU 1770/1/2/3, ATSC A85 or EBU R128) was a key point in our final decision making.”

When it comes to selecting equipment capable of deliver high quality audio and a high level of flexibility, Junger has a wide range of products that can put any loudness issue at rest.

You might gasp or laugh at home. But imagine the sharp intake of breath or cheering delight of 3,000 people around you. Dolby has long been a part of the Academy Awards broadcast, and this year the plan is to make it a richer sound experience—as though you’re there, in the middle of the Dolby® Theatre(SM).

Gary Epstein, Product Marketing Manager at Dolby and a Grammys® broadcast veteran, consults on the Academy Awards broadcast. He pointed out some of the differences audiences will experience with this year’sOscars broadcast.

Dolby: More than 39 million people watched the Academy Awards on TV last year. What are the mixing challenges that you face during a live broadcast of this magnitude?

Gary Epstein (GE): During a live broadcast like this, the mixing challenges can be amazingly difficult. You’ve got a podium microphone, and you might have a presenter who’s very short, or very tall, with a strong voice, or a weak voice, standing far from the podium, or close to it.

You want to get the enthusiasm from the room, because you want the people watching at home to feel like they’re a part of this show—but you don’t want the sound of the live audience to overwhelm the presenter’s microphone. All of those variables affect how you capture the sound of the show versus the sound of the hall.

Dolby: What makes this year’s Oscars broadcast so special for you?

GE: This year, the Oscars are being broadcast from the Dolby Theatre, and we have an even bigger stake in making sure it’s the best possible audio experience from inside the theatre all the way out to the viewers at home.

Dolby has been involved in the surround sound broadcast of the Academy Awards since day one, but that doesn't mean that every show is the same. The broadcast sound signal starts with the stage, the podium, the audience, the voiceover introductions, and the film clips, which may have quiet dialogue, or bombastic orchestral music, or heavy artillery fire. This year’s production will feature more live musical presentations, too.

Dolby: What are some of Dolby’s responsibilities at the Oscars?

GE: Prior to the live broadcast of the show, Dolby personnel are helping the show mixer and crew make sure that everything is calibrated properly and equipment is working right. The show is rehearsed and rehearsed, and we listen to it in every possible way a viewer at home can listen to it.

On the day of the show, we make sure that things are stable and stay that way through the live broadcast. My responsibility during the broadcast is to listen.

The show’s mixer, Paul Sandweiss, has to split his listening attention between the show he’s creating and what the director is asking for, and know what’s coming up next. So he wants us to give him valuable information about what we’re hearing in Dolby’s calibrated listening room in Los Angeles, to compare with what he’s hearing from his speakers in the mixing truck.

Like Paul, we have the ability to listen [in 5.1 surround and] in stereo, as well, and listen in mono, to make sure that everything is working for backward compatibility to every possible way a listener could hear this show. We tell Paul how it sounds in real time in the listening room, and he then can make subtle changes that can improve the sound for everybody. Our critical listening-room feedback gives Paul further confidence in the audio that he has crafted.

Dolby: What is your ultimate goal when it comes to this kind of broadcast, and what does it take to pull it off?

GE: We want to help Paul deliver his concept from the theatre to the home, and ideally, make home viewers feel like they are actually in a seat in the audience.

The success of a broadcast like this relies upon a team that pulls together every year. It’s great that we have been invited to be a part of this, and it’s really great that it’s coming from the Dolby Theatre this year and we can contribute even more to the audio experience.

This being said it’s good to know that Rycote, the industry leader, continues to raise the bar in quality of its products.

Following the usual stringent and independently evaluated procedures, the quality management systems at Rycote's factory/headquarters have been certified as conforming to the ISO 9001:2008 certification. ISO 9001:2008 is the international 'gold standard' for company processes designed to maintain manufacturing quality and efficiency, clear procedures for obtaining customer feedback and complaints, and high standards of customer service.

All Rycote products are made in the company's factory, situated behind its headquarters in Stroud, in the west of England. The company has long prided itself on the quality of its microphone windshields, shockmounts and other microphone accessories, which derives from the care, skill and attention to detail exhibited by its two-dozen-strong workforce. To achieve its new certification, Rycote underwent a stringent evaluation process that included formal quality management system development, a documentation review, gap analysis, and internal audits.

Managing Director Simon Davies commented: "Rycote's founder created and improved his first products by listening to his customers and incorporating their feedback into his designs, and we've continued this philosophy throughout the company's 40-year history. As such, it's gratifying to see these principles and our high manufacturing standards formalised in the Rycote Quality Management System, and to know that this now meets the international ISO 9001:2008 standard. We will work to uphold this as we continue our fifth decade in manufacturing."

RYCOTE QUALITY SYSTEM

The Rycote Quality Management System is certified to the international quality system ISO 9001:2008.

QUALITY STATEMENT

It is Rycotes policy to achieve the highest standard of product quality and customer service possible. To continuously achieve these high standards Rycote has in place the internationally recognised ISO 9001:2008 Quality System. This quality system coupled with the dedicated commitment of everyone here at Rycote enables us to achieve high standards of quality and customer satisfaction, effectively and systematically.

ISO 9001:2008 CERTIFIED

Our commitment to quality is reflected in our ISO 9001:2008 certification. We have been assessed and certified as meeting the requirements of ISO 9001:2008, for the design, manufacture and distribution of microphone accessories. This certification validates the processes Rycote has in place and those processes we at Rycote have continued to improve throughout the 40 year history of the company.

4 Years after the first Golf was launched with a Dynaudio Sound System Volkswagen and Dynaudio designed an all new Excite Sound System. The Dynaudio Excite Sound System in the new Golf features 9 Dynaudio high end loudspeakers (incl. one subwoofer), amplified with a 10 channel 400 watt digital amplifier.

This new system is based on the new Volkswagen MIB (Modular Infotainment Baukasten) platform.

The advantage for the end-user is: more functions are accessible. Features like sound characteristics or sound focus have been available in Touareg and Phaeton. With this new generation of MIB it becomes available in the compact class.

Next to the new DSP functions the additional subwoofer is one of the biggest changes in comparison to the former system. Additional sound pressure level (SPL) and a frequency reproduction down to 25 Hz are the technical results. The subwoofer is located in the trunk. The clever thing: the space of the trunk is not limited by the subwoofer. Dynaudio designed the subwoofer box to fit into the spare wheel space of the trunk.

During the redesign of the sound system the positioning of the tweeters, (reproducing the highest frequencies up to 20 kHz) have been changed. The tweeters are now positioned in the A column - close to the front window. This allows a sound stage in the centre of the dash board - bigger and more accurate than before.

Please note that the Dynaudio Sound System option may not be available in every market. Please refer to your local Volkswagen dealer for further information regarding availability.

To find out more information on the Dynaudio Automotive range, click here.

When Dynaudio designed the Xeo speaker range, they had this in mind; they wanted to produce a speaker capable of reproducing high quality audio, but at the same time be flexible enough to work in conjunction with numerous devices including but not limited to, PC’s, iPods/iPads, Tablets and other streaming capable devices.

The Xeo 3 has just been reviewed by online magazine computeraudiophile.com.

Upon the review they gave the Xeo 3 a “CASH” (Computer Audiophile Suggested Hardware) recommendation.

They said quote:

“The Dynaudio Xeo 3 is the first wireless loudspeaker system I've heard that I consider truly high end. The Xeo system is simple to use, looks very nice, and sounds great.”

To read the full review on the Xeo 3, click here.

To find out more information on the Xeo range, click here.

The new rBlink in the rSeries range has managed to marry the two together; being both Bluetooth & Quality Audio.

Recently the highly regarded “Trusted Reviews” website reviewed the rBlink and awarded it 9 out of a possible 10.

To read the full review on the rBlink, click here.

To find out more information on the rBlink, click here.

It’s that time of year when you start seeing the typical end of financial year sales adverts on the TV and in the newspaper. They are typically pitching expensive business purchases. This being said when it comes to modern day business communication on the move; you need to spend the earth.

“The EZX 80 has been developed to remove the limits. It’s wireless, runs longer, needs less charging time and fits in a small pocket if required.

If connected to an iPhone, the user can check the status of the EZX 80 battery directly on the phone’s screen. But there’s no need to look at it, as it will tell you at the press of a button. Voice prompts also let you know when you connect or are disconnected from your phone. This is especially convenient as a reminder for when you forget your phone in the car or leave the office without it.

If you like listening to podcasts, music or audio books on the go, the EZX 80 even takes care of that. You can stream audio directly from your phone or computer, and even manage both your private and business calls, as it can connect to two phones at the same time.

In summation the EZX 80 headset delivers outstanding sound quality, features and usability.

To find out more about the EZX80, click here.

The TM7-HW20714 accepts all SD, HD and 3G formats that are currently available in the marketplace, allowing for seamless integration into TV studios, switching rooms and video post-production environments.

De-embedded SDI signals may be routed to any existing AES output. This new model includes four AES3 (eight-channel) inputs and four AES3 (eight-channel) outputs that can be used as direct AES outputs either to buffer or reroute the AES signals or to send out a decoded 3G audio signal. In addition, now with the 3G-SDI interface, the TouchMonitor TM7 can display up to 32 channels of audio from any combination of inputs.

The TM7 has a 16:9 TFT display and can be delivered as a tabletop or as a half-19” 3U rack-mount unit. It has two USB 2.0 interfaces, a GPIO-interface, RJ-45 ethernet connection, VGA output, a connector for 24 V DC supply, as well as a wall plug power supply option. It includes basic functions such as the pre-installed Stereo PPM software for Peak-, TruePeak- and Correlation measurement, further software licenses providing other instruments can purchased just as the user needs.

It is recommended for demanding applications in music production, broadcasting, postproduction and mastering. The KH 310 A treble, midrange and bass drivers, have all been simulated and designed directly by Neumann. They have been carefully optimized to give an extremely linear reproduction across the entire frequency response.

Accuracy in the bass, which goes down to 34 Hz, is achieved by using a sealed cabinet design to give a fast transient response. The mid-frequencies, essential for speech and vocals, are re-produced with exceptional precision by a dedicated soft dome midrange driver. High frequencies are handled by an alloy fabric dome in an elliptical Mathematically Modeled Dispersion™ (MMD™) waveguide.

The result is an authentic sound, rich in details, that provides a wide sweet spot while minimizing reflections in the vertical plane. Three powerful class-AB amplifiers and a high capacity SMPS power supply bring a very high headroom to the system with no audible distortion, and the acoustical controls for bass, low-mid and high frequencies makes the KH 310 A a problem-solver for acoustically challenging workplaces such as edit suites and OB vans.

In combination with the Neumann studio subwoofers, KH 810 and KH 870, which feature a 7.1 High Definition Bass Manager, the KH 310 A monitor provides a perfect surround solution. This is Neumann's answer to some important market demands particularly in the movie industry for multichannel recordings with 8 or more audio channels.

Main Features of the KH 310A include:

• Active, three way loudspeaker system
• Assymetric design, separate models for Left and Right
• Composite sandwich construction 8.25” LF Driver
• Soft dome 3” mid-range driver
• Alloy fabric 1” dome HF driver
• 210 watts + 90 watts + 90 watts of Class A-B amplification
• Low frequencies extend to 34 Hz at -3dB
• 116 dB maximum SPL at 1 metre
• Frequency response: 34 Hz to 21 KHz, +/- 3 dB
• Switchable adjustments for Low, Mid and High Frequencies to match installation
environment
• Switched Output Level adjustment
• Variable Input Level adjustment
• Magnetically shielded for video environments

To find out more about the wide range of Neumann Monitors, click here.

Imagine a “device friendly website” that was better than an “app”; it could be used on a Smart Phone, MAC, PC, Laptop or Tablet.

Mobile friendly to the extent that it was “thumb-able” in use!

You could find relevant frequency information by either entering your address, Latitude & Longitude, by finding a location on a map; or for that matter using the real-time GPS system in you mobile device!

It calculates frequency signal strengths and locational information for the whole of Australia; to have at your fingertips any time.

We have now launched such a site in Australia: www.ferquencyfinder.com.au.