UWB as a RF protocol is being heavily used by handset manufacturers for device location applications. As a transport option, UWB offers tremendous possibilities for Professional audio use cases which also require low latency for real time requirements. These applications include digital wireless microphones and In Ear Monitors (IEM’s). These UWB enabled devices, when used for live performances, can deliver a total latency which is able to service Mic to Front of House Mixer and back to the performers IEM’s without a noticeable delay.
UWB is progressing as an audio standard within the AES and it's first iteration was in live performance applications. Issues relating to body blocking due to frequencies (6.5 / 8GHz) and also clocking challenges that could result in dropped packets have been addressed to ensure a stable, reliable link. This workshop will outline how UWB is capable of delivering a low latency link and providing up to 10MHz of data throughput for Hi Res (24/96) Linear PCM audio.
The progression of UWB for Audio is seeing the launch of high end devices which are being supported by several RF wireless vendors. This workshop will dive into the options open to device manufacturer who are considering UWB for their next generation product roadmaps.
Digital filters are often used to model or equalize acoustic or electroacoustic transfer functions. Applications include headphone, loudspeaker, and room equalization, or modeling the radiation of musical instruments for sound synthesis. As the final judge of quality is the human ear, filter design should take into account the quasi-logarithmic frequency resolution of the auditory system. This tutorial presents various approaches for achieving this goal, including warped FIR and IIR, Kautz, and fixed-pole parallel filters, and discusses their differences and similarities. Examples will include loudspeaker and room equalization applications, and the equalization of a spherical loudspeaker array. The effect of quantization noise arising in real-world applications will also be considered.
One day Chet Atkins was playing guitar when a woman approached him. She said, "That guitar sounds beautiful". Chet immediately quit playing. Staring her in the eyes he asked, "How does it sound now?" The quality of the sound in Chet’s case clearly rested with the player, not the instrument, and the quality of our product ultimately lies with us as engineers and producers, not with the gear we use. The dual significance of this question, “How does it sound now”, informs our discussion, since it addresses both the engineer as the driver and the changes we have seen and heard as our business and methodology have evolved through the decades. Let’s start by exploring the methodology employed by the most successful among us when confronted with new and evolving technology. How do we retain quality and continue to create a product that conforms to our own high standards? This may lead to other conversations about the musicians we work with, the consumers we serve, and the differences and similarities between their standards and our own. How high should your standards be? How should it sound now? How should it sound tomorrow?
Microphones are the very first link in the recording chain, so it’s important to understand them to use them effectively. This presentation will explain the differences between different types of microphones; explain polar-patterns and directivity, proximity effect relative recording distances and a little about room acoustics. Many of these “golden nuggets” helped me greatly when I first understood them and I hope they will help you too.
We will look at the different microphone types – dynamic, moving-coil, ribbon and capacitor microphones, as well as boundary and line-array microphones. We will look at polar patterns and how they are derived. We will look at relative recording distances and a little about understanding room acoustics. All to help you to choose the best microphone for what you want to do and how best to use it.
John Willett is the Managing Director of Sound-Link ProAudio Ltd. who are the official UK distributors for Microtech Gefell microphones, ME-Geithain studio monitors, HUM Audio Devices ribbon microphones (as well as the LAAL – Look Ahead Analogue Limiter, the N-Trophy mixing console... Read More →
Thursday May 22, 2025 2:45pm - 3:45pm CEST C3ATM Studio Warsaw, Poland
High pass Filters (HPF) in music production, do's and don'ts This presentation aims to bring a thorough insight on the use of high pass filters in music production. WHich type, slope, and frequency settings could be more desirable for a given source or application? Are HPF in microphones and preamps the same? Do they serve the same purpose? is there any rule on when to use one, the other or both? furthermore, HPF is also used extensively in the mixing and processing of audio signals. HPF is commonly applied in the sidechain signal on dynamic processors (EG: buss compressors) and of course in all multiband processing. what are the benefits of this practice? Live sound reinforcement, different approaches on the use of HPF. Different genres call for different production techniques, understanding the basics of this simple albeit important signal filtering process helps in the conscious implementation.
