http://tc.eserver.org/dir/Articles/Multimedia/Audio A listing of the most recently indexed works about Articles and Multimedia and Audio in the field of technical communication. en-us Copyright (c) 2005-08 by the EServer. All rights reserved. tclib-editorial@eserver.org (TC Library Editorial Board) webmaster@eserver.org (Geoffrey Sauer) http://tc.eserver.org/images/newlogo.gif http://tc.eserver.org/dir/Articles/Multimedia/Audio http://tc.eserver.org/35833.html http://tc.eserver.org/35833.html Opportunities for voice-over (v/o) production have increased dramatically for project studios, mimicking the DIY paradigm shift that continues to rock the music industry. Increasingly, clients needing v/o talent and related audio services are bypassing bigger studios to hire more cost-efficient producers for everything from commercials to interactive voice response (IVR) systems. http://tc.eserver.org/35834.html http://tc.eserver.org/35834.html Recommendations for gear for building audio recording studios on a wide range of budgets. http://tc.eserver.org/35835.html http://tc.eserver.org/35835.html Although there are many reasons for choosing a laptop for music making, we've focused on three common scenarios: the software-only, all-in-the-box setup for the composer-performer; the songwriter's studio, which will need mics for recording voices and instruments; and the multitrack live-recording rig. Even if what you do doesn't fit neatly into one of these areas, our reasons for choosing particular pieces of gear may help you with your own buying decisions. http://tc.eserver.org/31495.html http://tc.eserver.org/31495.html Podcasting is more than a platform for reviews or polemic. It's also a powerful tool within the enterprise for training, for marketing, and for documentation. Imagine being able to carry product information or supplementary material with you and not have to worry about stacks of paper? You can do that with a podcast. http://tc.eserver.org/31033.html http://tc.eserver.org/31033.html The post-production process known as 'Foley' refers to the art of recording 'live' sync sound effects to picture. It is akin to looping the dialogue, but instead of recording the actors performing their lines while watching themselves on screen--skilled craftspeople known as 'Foley artists' will walk, run, and act out any sync sound effects to match what the actor is seen (or implied) doing in the picture. http://tc.eserver.org/31030.html http://tc.eserver.org/31030.html Stereo is rarely recorded as such in the field. Instead, we record monaural sounds and wait until post-production is nearly complete to re-assign these sounds to the audience's left, right, and in-between. Until the film is edited, there is no way to know just where all of the audio elements need to end up. For instance, out on production, it might seem logical to record a car that passes from left to right in stereo, so that you can hear the 'pass by' in your phones whoosh from the left ear to the right ear. http://tc.eserver.org/31029.html http://tc.eserver.org/31029.html Here is a breakdown of how we might handle the typical 'low budget' television demo or competition, such as a local cooking show, sporting event, or how-to-do-it. http://tc.eserver.org/31032.html http://tc.eserver.org/31032.html Bad audio will certainly sink an otherwise good project! That being said, let's look at how other Departments can help the Sound Department improve the quality of the recorded dialogue. http://tc.eserver.org/31031.html http://tc.eserver.org/31031.html Hiding a microphone under clothing requires a great deal of attention to detail. Not only must the mic be hidden from view, but you must also contend with the problems of clothing noise. http://tc.eserver.org/30064.html http://tc.eserver.org/30064.html Podcasts aren't very good at delivering step-by-step technical information. Concepts are where podcasts excel. http://tc.eserver.org/30070.html http://tc.eserver.org/30070.html There are a number of approaches to getting meaningful data from podcast usage, each with their own advantages and drawbacks. http://tc.eserver.org/30067.html http://tc.eserver.org/30067.html 'Writing for the ear' is an effective way of making content engaging and interesting. Examples of this are audio-based sentence structure, writing around audio clips, making informed word choices and creating a narrative arc for your podcast. Listeners, who are often occupied with other things while listening, need audio and content that transports them to another state of mind. With this in mind, Bond explains techniques and provides examples of how podcasters can anticipate what their audience expects to hear, and how they meet listener expectations while still providing something new. http://tc.eserver.org/30071.html http://tc.eserver.org/30071.html The literature on managing virtual teams and projects across cultures and locations is primarily theoretical and not integrated with information about collaborative tools such as wikis, blogs, and project dashboards. The authors advocate choosing the best situational tool, based on team and team members' needs. http://tc.eserver.org/28007.html http://tc.eserver.org/28007.html The AHDS made audio recordings of recent seminars with the aim of transcribing the recordings, and presented them to seminar chairs to facilitate their task of completing reports on each event. This case study looks at some of the issues that occurred as the AHDS recorded and transcribed the material from these seminars. While its findings are based on roundtable seminars, some of them may also be of use to those doing other types of audio recording - interviews, field notes etc. http://tc.eserver.org/26975.html http://tc.eserver.org/26975.html Introduces how to perform multimedia audio mixing and editing using a Behringer multitrack mixer. http://tc.eserver.org/26977.html http://tc.eserver.org/26977.html Discusses how to use Sennheiser EW112P(A) Wireless Lavalier Microphones to ensure high-quality audio in video multimedia projects. http://tc.eserver.org/19276.html http://tc.eserver.org/19276.html Obsolete mechanical formats forma major part of archives’ holdings, Once a format has passed into obsolescence, there is virtually no commercial development in replay facilities, and the system as such dies. The paper discusses the fundamental principles of mechanical recording and replay as well as the latest constructions for replaying historical discs and cylinders - commercial and non-commercial. An Aaliendum gives simple instructions to the archive having only an occasional need to replay historical formats. http://tc.eserver.org/18532.html http://tc.eserver.org/18532.html For a presenter, a high-quality microphone, combined with the right sound system, will give your voice a rich sound that can be heard throughout a room. Here are some things to consider if you want to add a microphone to the company conference room or your presentation traveling kit. The basics A microphone is essentially an energy converter that takes in sound waves and converts them into electrical energy. Two main types of microphones are available: condenser and dynamic. A condenser mic uses a power supply to provide a charge that works with a thin diaphragm inside the unit to create a signal. A dynamic mic creates a signal when the sound pressure moves a coil or ribbon across a magnet. Because they usually produce a richer sound, condenser mics are the more popular of the two; however, they require batteries or a power supply and are more expensive and more fragile than dynamic models. Dynamic mics are usually considered less accurate in sound quality, but they are generally more rugged and can withstand varying temperatures, humidity levels and a lot of abuse. These qualities make dynamic mics ideal for use outdoors or on the road.