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Production factory video recording and playback equipment

Production factory video recording and playback equipment

A n audience may sit through poor picture quality, but they will rarely tolerate flawed poor sound. It is more than 50 percent of your project. This includes equipment, elements, and proper recording techniques. When it comes to film and video sound, the first thing you need to determine is whether to use a single or double audio recording system. In a single system, audio is captured directly into the camera, and records simultaneously with the image.

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Sound Recording Basics For Video Production

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The History of Recorded Sound. I am a fanatic about the history of recorded sound! It will continue to be a work in progress. David Miles Huber www. To my surprise, the theme of the show was the fact that that year marked the th anniversary of recorded sound. Given that there were all sorts of gramophones, older mics, tape machines… you name it, I was really excited.

To this day, when I get around folks who are interested in the history of the tools and toys of audio and music recording not to mention the toys themselves , my innards turn to mush and I get way too excited to be of much use to anybody…. Twenty five years later, in the year , while at a NAMM convention in Anaheim, California… I was talking with a buddy about a bunch of stuff… and something triggered my sore spot.

I relayed to him that it was the th anniversary of recorded sound… and although we were in a room full of about 12, industry professionals — there might be 25 folks who were aware of this fact.

Truth is, there are a number of unsung heroes in the recording and music biz who have been working tirelessly and selflessly to pass the technical, interpersonal and just plain fun knowledge of past years in recording on to present and future generations.

It book tells the chronological story of toys and the big boys and girls who helped make out production lives possible… They tested, toiled … and breathed the life of music, speech and communication through acoustic tubes, electron streams and the atmosphere.

Oh, yes… The purpose of this book is not to be a definitive and scholarly text. Beyond the concept of fueling the flames of the intellect, what I want most is for you… is to have fun! The idea that a contraption could talk dates back centuries earlier, although attempts to build such a machine almost always became impossibly complex. Inventors tried devices that could be placed into dolls and statues to crudely imitate speech, but they never came up with a system that could successfully record and reproduce it.

As a result, formal speech was left to the media of the day and the thirst for music was quenched in the music halls, opera houses, on the streets and especially in the piano parlor. At the Paris Exhibition of , a French silk-weaver named Joseph Marie Jacquard was awarded a medal for improving the automatic loom.

As early as , an English physician and naturalist named Thomas Young, used a tuning fork to record its vibrations onto a rotating, wax-covered drum. Alas, his experiments had little to do with the recording of sound. Instead, using an established frequency, he attempted to use the device to measure exceedingly small units of time. Of course, serious attempts to mechanically record sound were made before Edison.

Although the device became little more than a novelty, it sold in limited quantities for francs. One of the models was bought by Joseph Henry in for the Smithsonian Institute, and is still on display. Once recorded, the etched spirals could be engraved into a hard surface such as steel using a well-known photographic process, which could be played back to yield the original sound. Cros was convinced that his idea which he called the Paleophone would work.

Since he had no money to apply for a patent or to build a working model, he filed a document in April detailing his idea with the French Academy of Sciences. That honor goes to F. His concept detailed a system that would record a sequence of keyboard strokes onto paper tape. He soon began studying part-time physics at the Cooper Institute now Cooper Union while assisting in a chemical laboratory.

After learning from a telegraph operator that more current passed through the circuit whenever the key was pressed harder, Berliner theorized that variations in contact pressure between terminals connected to a diaphragm and a carbon element could be used to generate an electrical current. This insight led to the development of the carbon microphone. In August of that year, Thomas Alva Edison drew sketches of a cylindrical recording device and had a model built in his Menlo Park Laboratory.

I was always afraid of things that worked the first time. The invention caused an immediate stir. To the public, the idea seemed to be magic and was deemed impossible. Everyone wanted to see the phonograph in person, and demonstrations were in high demand. It was said that people from the Four Corners of the globe would walk up the hill on Christie Street to watch Edison hold court over his new baby. On one account, a bishop came to Menlo Park to see if the phonograph was a fraud.

The Bishop stepped up to the recording tube and began to shout the longest list of proper names from the Bible that he could remember…. Hazarmaveth…… Arphaxad…. At one demonstration, a crowd reporters showed up at the Menlo Park laboratories to hear this remarkable gadget. Edison happily obliged them by recording the cornet playing of a Mr. Jules Levy. According to the newspaper account….

Edison showed the effect of turning the cylinder at different degrees of speed, and then the phonograph proceeded utterly to rout Mr. Levy by playing his tunes in pitches and octaves of astonishing variety. It was interesting to observe the total indifference of the phonograph to the pitch of the note it began upon with regard to the pitch of the note with which it was to end.

Gravely singing the tune correctly for half a dozen notes, it would suddenly soar into regions too painfully high for the cornet even by any chance to follow it. The phonograph was equal to any attempts to take unfair advantage of it, and it repeated its songs, and whistles, and speeches, with the cornet music heard so clearly over all, that its victory was unanimously conceded, and amid hilarious crowing from the triumphant cylinder the cornet was ignominiously shut up in its box.

The phonograph itself was a crude mechanism that consisted of a metal cylinder that was attached to a hand-cranked screw. The recording mechanism consisted of a small horn that was attached to a diaphragm with a sharp metal stylus. Playback was accomplished was similar, except the playback stylus had a rounded tip for a smoother sound. A sheet of tin foil was then wrapped around the cylinder Edison experimented with silver foil, which was a little more expensive but had a smoother sound that recorded better.

By turning the crack, sounds collected at the horn caused the diaphragm to drive the stylus into the foil, causing grooves that consisted of thousands of tiny dents.

Likewise, the vibrating playback stylus would cause the diaphragm to vibrate into its playback horn in the same manner. The fact that sounds could now be recorded and played back affected the public consciousness of the time with an impact that was similar to the news of astronauts having landed on the moon!

Despite the centuries of anticipation, and the numerous attempts to build such a machine… now that it was here, nobody really knew what to do with it.

Despite its initial success and grand plans for talking dolls, clocks, and paid exhibitions, the phonograph soon lost the spotlight. Truth is, it produced a harsh and grating sound. Sibilants were completely missing and it was nearly impossible to re-align the foil, once it was removed. The phonograph, and all its grand schemes, were soon laid aside and were generally neglected by other business interests as well. No one knows why interest in the phonograph slowly revived over the next few years?

To settle the score, he used a prize for his invention of the phone to independently finance research to find better ways to record and reproduce sound. Soon after creating the Volta Laboratories in Washington, D. Over several years, their research resulted in five patents. Another improved upon the hill-and-dale cutting system, producing a gentler motion that resulted in a more pleasing sound.

Soon after their patent was approved on May 4, , Bell and Tainter sold their patents to a group of Washington businessmen, who then formed the American Graphophone Corporation.

The technology had been copied so much that Bell and Tainter cylinders could be played on an Edison machine and vice versa. Obviously, the companies became bitter rivals. While the fledgling companies competed for cylinders that would be the latest parlor hit, Emile Berliner see earlier entry began to take interest in the future of sound recording and reproduction. He examined both the phonograph and the graphophone in order to learn the advantages and disadvantages of each, and came to the conclusion that although the wax cylinder was a major improvement over the tinfoil cylinder, it was too soft and fragile to make a recording that would last during repeated plays.

Bell and Tainter knew about these shortcomings, but it was Emile Berliner who opened the door to a completely new form of record — the disc. Using the money from his microphone patent sales, Berliner went about the task of creating his own recording device.

Berliner felt that the smoke-blackened surface offered a uniform resistance to the stylus, thereby providing a greater chance for a faithful recording. He went about constructing a very simple copy of the phonautograph that would laterally etch a trace onto a rotating drum. He completed the reproduction puzzle by coating the trace with shellac and then getting a photo-engraver to translate it into an etched groove on a thin metal plate that could be wrapped around the cylinder.

Of course, it worked! He finally succeeded by applying a beeswax solution onto a polished zinc plate. The recording stylus laterally cut into the rotating disc, exposing the metal beneath.

By applying a solution of chromic acid, Berliner was able to etch a groove into the plate that could be successfully played back… with this, the gramophone was born. After having obtained a patent in both England and Germany, he went to the later to demonstrate his new invention.

While visiting his native Hanover, he was approached by a toy manufacturer, who offered make small hand-turned machines for the toy market. The whole operation was carried out on a very small scale and today these celluloid discs later ones were pressed in hard rubber are extremely rare. After returning to America, Berliner entered into an agreement with several New York backers and formed the little-known American Gramophone Company, which promptly failed.

Some people actually compared the machine to using an eggbeater! The one market edge that the gramophone had going was price. Since it had no spring motor or battery, it was cheap. However, people definitely got what they paid for.

Each of the franchises usually took on names that reflected their local geographical areas. For example, the D. The devices performed erratically and were unreliable. His greatest obstacle was office stenographers who were almost always men were afraid of being replaced by these new-fangled machines. Lippincott was so distraught that it probably contributed to his death due to a stroke.

In order to take back full rights to his invention, Edison took on liabilities and lawsuits that prohibited him from phonographs in the US for about three years. Things kept getting worse, until Louis Glass, one of the industries unsung heroes came onto the scene. Glass, who managed the Pacific Phonograph Company in San Francisco, came up with the idea that people might pay good money to hear this novelty play.

He installed a battery-powered Edison in the Palais Royal Saloon. It was specially-equipped with multiple listening-tubes. Depositing a nickel would start the machine and open one set of listening-tubes… all the other tubes could be opened by depositing additional nickels in to the slot… thereby earning from 5 to 20 cents per play!

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The story of sound recording, and reproduction, began in , when the man of a thousand patents, Thomas Edison, invented the phonograph. In essence, his machine consisted of a sheet of tinfoil wrapped around a cylindrical drum which, when turned by a handle, both rotated and moved laterally. As it moved it passed under a touching metal stylus, attached to one side of a diaphragm. On the other side of the diaphragm was a small mouthpiece into which the operator spoke. The sound-waves focussed onto the diaphragm caused it to vibrate, which in turn caused the stylus to vary the pressure on the tinfoil.

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Five "mini case studies" of UK collections that have run preservation and access projects for sound and moving image content are included. The report itself provides a "deep dive" discussing a wider range of issues and practice in greater depth with extensive further reading and advice Wright, It is recommended to readers who need a more advanced level briefing on the topic and practice. The audiovisual domain is unique in that digitization is routinely critical to preservation. Audiovisual digitization for preservation is so pervasive that the two words have come to be used interchangeably. Audio and video need digitization for the very survival of their content, owing to the obsolescence of playback equipment and decay and damage of physical items, whether analogue or digital.

Sound recording and reproduction

The 4 high-quality microphone channels are able to power studio condenser microphones as well as conventional dynamic microphones. You can quickly connect microphones for you and your guests with automatic level setting and one-touch recording to a microSD card. You can even select your favourite colours for the pad illumination. Have a remote guest you want to interview? Telephone interviews with a remote guest never sounded so good! The Class A preamps provide a much cleaner gain structure with lower levels of distortion.

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Playback and Recording

Contact Me. How Can I Help You? On-set Sound Recordist with experience in every video production shooting style, from narrative films to reality, documentary, commercial, and much more….

Blackmagic Video Assist 12G HDR is an ideal upgrade for cameras, as it's super bright nit display is bigger than the tiny displays found on consumer cameras, plus you're also adding professional focus assist features and better quality file formats. The innovative touchscreen LCD user interface provides incredible control. You can even image swipe to jog!

Sound recording and reproduction is an electrical , mechanical , electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music , or sound effects. The two main classes of sound recording technology are analog recording and digital recording. Acoustic analog recording is achieved by a microphone diaphragm that senses changes in atmospheric pressure caused by acoustic sound waves and records them as a mechanical representation of the sound waves on a medium such as a phonograph record in which a stylus cuts grooves on a record. In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into a varying electric current , which is then converted to a varying magnetic field by an electromagnet , which makes a representation of the sound as magnetized areas on a plastic tape with a magnetic coating on it. Analog sound reproduction is the reverse process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Digital recording and reproduction converts the analog sound signal picked up by the microphone to a digital form by the process of sampling. This lets the audio data be stored and transmitted by a wider variety of media. Digital recording stores audio as a series of binary numbers zeros and ones representing samples of the amplitude of the audio signal at equal time intervals, at a sample rate high enough to convey all sounds capable of being heard. A digital audio signal must be reconverted to analog form during playback before it is amplified and connected to a loudspeaker to produce sound. Prior to the development of sound recording, there were mechanical systems, such as wind-up music boxes and, later, player pianos , for encoding and reproducing instrumental music.

Video. SCHWARTZ. BROS.'2. a. " s,ores. Speci!"i". In. Playback. Equipment Now, 12 of the 15 stores have tape and record playback departments that range in into video, (he label has named Steve Kahn manager of audiovisual productions, factory reps on hand from Audio Research, Crown International, Mitsubishi.

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Operate each channel via the independent touch screens to adjust record, monitor, playback and edit functions. Independent RS machine control inputs for each channel and ethernet connection for control via AMP protocol. We are proud to deliver a free update to HDR on the existing range. We can offer this because we are in complete control of every aspect of the product — panel, processing and display. Subscribe to our mailing list and be the first to receive the latest news, events and promotional offers. AtomOS 8. Shinobi SDI. Ninja V. Ninja Inferno. Shogun Inferno.

The Changing Sound of Music: Approaches to Studying Recorded Musical Performances

When combined with an IT-based workflow that requires no dubbing, P2 cards can greatly reduce storage media expenses. It uses an intra-frame compression system to bring important advantages to professional editing. It captures masterquality video for high-end image production. AVC-Intra 50's lower bit rate doubles the recording time and cuts the data transfer time in half. It also features an aspect conversion function. It can also convert to the Cineon curve for film-recording. AVC-Intra mode features high-quality 24 bit digital audio recording.

As with any source of evidence, their production and original function need to be understood before we can understand what they transmit: how were these sources made and why? Above all, we need to know what a recording is of. A necessary step towards a musicology of recorded performance, then, is to find out. And that means learning rather a lot about the history of recording, its economic, social and technological history, all of which have a significant bearing on what comes off a record when we play it.

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The History of Recorded Sound. I am a fanatic about the history of recorded sound! It will continue to be a work in progress. David Miles Huber www.

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