By Michael Talbot-Smith

ISBN-10: 0408054425

ISBN-13: 9780408054423

The goal of this e-book is to offer a transparent and fairly easy-to-read rationalization of the underlying rules of recent audio expertise. the purpose of the publication is to make sure that after interpreting it somebody will be taken right into a radio or tv studio for the 1st time and after taking a look around and learning the labels at the apparatus, may start to have a good take hold of of what was once there, why it used to be there and the way it functioned

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Extra info for Broadcast Sound Technology

Sample text

With minimal reflection - maximum absorption - the reverberation time is short. Radio studios for speech. The usual aim here is to make the voice that comes out of the listener's loudspeaker sound reasonably close; perhaps in the same room. Too long a reverberation time gives an impression of remoteness; too short a reverberation time makes the voice sound unnaturally dry. It is also rather unpleasant for the speaker. 4 second is usually regarded as acceptable as a reverberation time for talks studios, although the type of microphone and the distance at which it is placed from the speaker can have substantial modifying effects.

Offices can be carpeted and corridors may have special resilient floor coverings. The reduction of structure-borne sound is almost always a very expensive business. It can be achieved in a specially designed building, but it is almost impossible to do anything much in an existing building - except stop the offending machinery during recordings! Room resonances If a sound is generated between two non-absorbent parallel walls it, or at least some of it, will be reflected to and fro from wall to wall until it eventually dies away.

Because of the very high impedance of the capsule, insulation is vitally important. This means that damp can be a problem. Taking an electrostatic microphone from a cold environment (such as the boot of a car in winter) into a warm room can result in condensation, and until this dries off there are loud crackles, hisses and rumbles in the microphone's output. ) 3. The quality of output of an electrostatic microphone can be excellent. 4. A power supply is needed. This is not normally a problem as we shall see.

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Broadcast Sound Technology by Michael Talbot-Smith


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