In Broadcast - October/November 2011 - 57


OCTOBER/NOVEMBER 2011 | WWW.INBROADCAST.COM

InSOUND
Audio-Technica Broadcast & Production Introductions 2011
Among Audio-Technica’s extensive microphone and headphone offering, it is the manufacturer’s Broadcast & Production series that is relied on by television, film and radio professionals around the world. From shotgun models to discreet sub-miniature headworn types, the range includes designs suitable for a wide variety of applications, and in the most demanding situations. S o u n d designer of the London 2012 Games Dennis Baxter, for example, has long used AudioTechnica Broadcast & Production m i c ro p h o n e s exclusively to deliver the broadcast audio from the world’s greatest sporting event. This year saw several key new models added to Audio-Technica broadcast-oriented line-up, from ‘interview’ microphones to headsets and discreet presenter mics.
BP4001 BPHS1-XF4 Headset

Interview
The BP4001 (cardioid) and BP4002 (omnidirectional) dynamic microphones are designed for all types of broadcast interview and remote newsgathering situations. Both models are tailored specifically for clear, articulate reproduction of speech with the cardioid design of the BP4001 reducing pickup from the side and rear of the microphone (allowing for excellent isolation of the sound source), while the BP4002’s omnidirectional nature provides a balanced reproduction of surrounding ambience. Ruggedly built to withstand a life in the field, the new microphones feature a hardened steel grille, an integral windscreen and a backcavity assembly that “floats” inside the handle shell, providing exceptional isolation from handling noise. The handle itself is generously long to accommodate microphone flags, making the BP4001 and BP4002 particularly suitable for location interviews.

Headworn Microphone
Where presenter microphones need to disappear rather than make themselves an on-screen feature,

the new BP893 MicroEarset Omnidirectional Condenser Headworn Microphone is ideal. With an ergonomically moulded earpiece (the microphone can be worn on either ear) and unobtrusive one-inch boom, the BP893 offers inconspicuous placement along with clear, consistent voice pickup. Its extended frequency response provides natural sound reproduction and its lightweight, low-profile design and ease of use make the microphone ideal for use in broadcast studios. The phantom-powered BP893 includes a 1.4m permanently attached miniature cable, which connects to the provided AT8539 power module via a locking fourpin connector. Available in black or ‘theatre beige, the BP893 is offered in a variety of wireless models, including the BP893cW, supplied with a 1.4m cable for use with Audio-Technica’s UniPak bodypack transmitters. Models are also available in a variety of terminations for use with many other manufacturers’ wireless systems, adding real versatility to the BP893. Finally new to Audio-Technica’s

2011 Broadcast & Production line-up is the BPHS1-XF4 communications headset. Offering the benefits of the original BPHS-1 – comfort, ruggedness and versatility – the BPHS1-XF4 adds a 4-pin XLRF connector for use with intercom systems. The BPHS1XF4’s user-replaceable 2m cable delivers unbalanced audio from the microphone and a mono signal to the headphones, and can be replaced with a 2-pin XLR cable for use in broadcast situations. Based on Audio-Technica’s popular M30 headphone, the BPHS1-XF4 is equipped with a dynamic cardioid microphone attached to the left earcup. The headset combines natural, focused vocal reproduction with high levels of background noise isolation from the closed-back circumaural earcups. The flexible, field-ready design of the BPHS1-XF4 is further enhanced by the inclusion of replaceable ear pads, an adjustable cushioned headband and a gooseneck microphone mount that allows positioning on either left or righthand side make the headset a great production partner.

57

InREPLY
Sonifex Managing Director Marcus Brooke fields the InBroadcast questions…
InBroadcast: How is SONIFEX changing to meet client demands? Marcus Brooke: There are a number of areas where technology is changing and where we’ve made additions to our product line. We’re generating more and more audio products for use in TV and our move into embedded audio has coincided nicely with the move to 3G and HD signal processing and transport. We’ve recently launched a series of embedders and de-embedders in our Redbox product range together with Dolby encoders and decoders, all of which were on display at IBC. This is a rapidly expanding area for us. With renewed attention in loudness metering and control we’ve also taken on the excellent DaySequerra product line for distribution in the UK. Their loudness products are outstanding and we’re expecting some really positive interest. InB: What criteria does the market use to make buying decisions for SONIFEX? MB: We’re in the niche market of offering a broad range of extremely high quality audio products to the radio and TV industry. Our customers are used to the reliability and high standards that our products achieve but like any business, it’s a mixture of price versus performance. I think that our performance is high and the price not so high, so we punch above our weight in that respect, especially since our customers are used to 24/7 operation of our products.

InB: Which territories are showing particular activity? MB: We’ve had growth in all areas this year with the highest company turnover on record. The UK has been buoyant with many TV and radio projects, but there are also other markets which are expanding. The Middle East has always been good for us and our sales into Germany are such that we’ve made our website available in the German language. However, there’s been amazing growth in China this year. InB: Any innovations ahead? MB: Our focus is in providing audio and video equipment for radio and TV studios that’s useful and cost effective to our customers. We’ve announced some radio products this year with the S0 small radio mixer and the Phone In 6 telephone system, but we’re looking towards releasing more audio for TV products too. We’re interested in surround sound encoding

and decoding – now that we’ve launched our own Dolby products and that we also distribute the DaySequerra product range, we’re able to provide 5.1 encode and decode solutions for both Dolby and DTS – an exciting proposition. InB: Give us examples of SONIFEX technology in action? MB: Our new embedders and de-embedders have already had considerable success: - 180 of the Redbox embedders/ de-embedders were sold to the Turkmenistan TV Tower; - Nine de-embedders to Elvia Pro in Munich who installed them at Focus TV; - One each of our analogue 8-channel embedder and 8-channel de-embedder to Icelandic National Broadcasting Service; - One of our combined Dolby decoder and de-embedders purchased by Eurocom and installed in an OB vehicle by Zeppit; - Four of our digital combined embedders and de-embedders installed by NEP Visions.


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Table of Contents for the Digital Edition of In Broadcast - October/November 2011

In Broadcast - October/November 2011
Contents
3Ality Digital Acquire Element Technica
RTL Choses Quantel
Studios In Production
MAM Questions Answered
Changing Faces of Post Production
Microphones In Action
New Developments in Audio for Television
Routers and Switchers
Loudness Measuring in Workflows
In Broadcast - October/November 2011 - In Broadcast - October/November 2011
In Broadcast - October/November 2011 - 2
In Broadcast - October/November 2011 - Contents
In Broadcast - October/November 2011 - 3Ality Digital Acquire Element Technica
In Broadcast - October/November 2011 - 5
In Broadcast - October/November 2011 - 6
In Broadcast - October/November 2011 - 7
In Broadcast - October/November 2011 - 8
In Broadcast - October/November 2011 - 9
In Broadcast - October/November 2011 - 10
In Broadcast - October/November 2011 - 11
In Broadcast - October/November 2011 - 12
In Broadcast - October/November 2011 - 13
In Broadcast - October/November 2011 - 14
In Broadcast - October/November 2011 - 15
In Broadcast - October/November 2011 - 16
In Broadcast - October/November 2011 - 17
In Broadcast - October/November 2011 - 18
In Broadcast - October/November 2011 - 19
In Broadcast - October/November 2011 - RTL Choses Quantel
In Broadcast - October/November 2011 - 21
In Broadcast - October/November 2011 - 22
In Broadcast - October/November 2011 - 23
In Broadcast - October/November 2011 - Studios In Production
In Broadcast - October/November 2011 - 25
In Broadcast - October/November 2011 - 26
In Broadcast - October/November 2011 - 27
In Broadcast - October/November 2011 - 28
In Broadcast - October/November 2011 - 29
In Broadcast - October/November 2011 - 30
In Broadcast - October/November 2011 - 31
In Broadcast - October/November 2011 - 32
In Broadcast - October/November 2011 - 33
In Broadcast - October/November 2011 - 34
In Broadcast - October/November 2011 - 35
In Broadcast - October/November 2011 - 36
In Broadcast - October/November 2011 - 37
In Broadcast - October/November 2011 - 38
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In Broadcast - October/November 2011 - 40
In Broadcast - October/November 2011 - 41
In Broadcast - October/November 2011 - 42
In Broadcast - October/November 2011 - 43
In Broadcast - October/November 2011 - 44
In Broadcast - October/November 2011 - 45
In Broadcast - October/November 2011 - 46
In Broadcast - October/November 2011 - 47
In Broadcast - October/November 2011 - MAM Questions Answered
In Broadcast - October/November 2011 - 49
In Broadcast - October/November 2011 - Changing Faces of Post Production
In Broadcast - October/November 2011 - 51
In Broadcast - October/November 2011 - Microphones In Action
In Broadcast - October/November 2011 - 53
In Broadcast - October/November 2011 - 54
In Broadcast - October/November 2011 - 55
In Broadcast - October/November 2011 - 56
In Broadcast - October/November 2011 - 57
In Broadcast - October/November 2011 - 58
In Broadcast - October/November 2011 - 59
In Broadcast - October/November 2011 - 60
In Broadcast - October/November 2011 - 61
In Broadcast - October/November 2011 - 62
In Broadcast - October/November 2011 - 63
In Broadcast - October/November 2011 - New Developments in Audio for Television
In Broadcast - October/November 2011 - 65
In Broadcast - October/November 2011 - 66
In Broadcast - October/November 2011 - 67
In Broadcast - October/November 2011 - 68
In Broadcast - October/November 2011 - 69
In Broadcast - October/November 2011 - 70
In Broadcast - October/November 2011 - 71
In Broadcast - October/November 2011 - Routers and Switchers
In Broadcast - October/November 2011 - 73
In Broadcast - October/November 2011 - 74
In Broadcast - October/November 2011 - 75
In Broadcast - October/November 2011 - 76
In Broadcast - October/November 2011 - 77
In Broadcast - October/November 2011 - 78
In Broadcast - October/November 2011 - 79
In Broadcast - October/November 2011 - 80
In Broadcast - October/November 2011 - Loudness Measuring in Workflows
In Broadcast - October/November 2011 - 82
In Broadcast - October/November 2011 - 83
In Broadcast - October/November 2011 - 84
In Broadcast - October/November 2011 - 85
In Broadcast - October/November 2011 - 86
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