KORAY BASARAN
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CONDENSER MICROPHONE
CONDENSER MICROPHONE
A condenser microphone, also known as a capacitor microphone, is a type of microphone that uses an electrostatic diaphragm to convert sound waves into an electrical signal. It is widely used in professional recording studios, broadcasting, live performances, and other applications where high-quality audio capture is required.
BROADCAST SOUND
BROADCAST SOUND
The process of creating broadcast sound involves several stages. It typically begins with the capture of audio sources, such as microphones for voice recording or instruments for music production. These sources are carefully selected and positioned to capture the desired sound with optimal clarity and fidelity.
BALANCED AND UNBALANCED SIGNALS
BALANCED AND UNBALANCED SIGNALS
In the field of signal processing and electronics, signals can be classified as either balanced or unbalanced based on their electrical characteristics and transmission methods. Let's explore the concepts of balance and unbalanced signals.
WHAT IS THIS THEY CALL "LOUDNESS"
WHAT IS THIS THEY CALL "LOUDNESS"
Loudness in audio refers to the perceived volume or intensity of a sound. It is a subjective perception and can vary from person to person. In audio engineering, loudness is an important aspect to consider when recording, mixing, and mastering audio content.
Loudness is measured in decibels (dB) and is typically represented on a scale ranging from quiet or soft sounds to loud or intense sounds. The human hearing range is quite broad, with the threshold of hearing at around 0 dB and the threshold of pain at approximately 120 dB. The loudness level can have a significant impact on the overall listening experience and can evoke different emotional responses.
DAW
DAW
A digital audio workstation (DAW) is a software application that is used for recording, editing, and producing digital audio. It provides a comprehensive set of tools and features that allow musicians, sound engineers, and producers to create, mix, and manipulate audio in a digital environment. DAWs have revolutionized the music production process by replacing traditional analog recording equipment with powerful software running on computers.
WHAT IS DIGITAL
WHAT IS DIGITAL
Digital refers to the use of electronic or computer-based technology to process, store, transmit, and display information in a format that consists of discrete digits or numbers. It is a term commonly used to describe the conversion of analog data or signals into a binary representation, which is composed of ones and zeros (bits), allowing for more efficient manipulation, storage, and communication of information.
ACOUSTIC SOUND
Acoustic sound refers to the sound produced by the vibration of objects in the absence of electronic amplification or processing. It is the natural sound that emanates from various sources when they are set into motion. Acoustic sound relies on the basic principles of physics, where the vibrations of an object create waves of air pressure that propagate through the surrounding medium, typically air, and are eventually detected by our ears.
Here are some key characteristics and aspects of acoustic sound:
Vibration: Acoustic sound is generated when an object, such as a guitar string, a drumhead, or vocal cords, is made to vibrate. These vibrations create fluctuations in air pressure, which we perceive as sound.
Acoustic Instruments: Many musical instruments are designed to create acoustic sound. Examples include acoustic guitars, pianos, violins, flutes, and acoustic drums. These instruments are constructed in a way that allows their vibrations to produce audible sound waves.
OUTSIDE BROADCAST
(O.B.)
TRUCK
An Outside Broadcast (O.B.) truck is a highly specialized vehicle used in the broadcasting industry to produce live television or radio programs from a remote location. These trucks are mobile production units designed to handle all aspects of the broadcast process, from signal capture and mixing to transmission and distribution, without needing to rely on a traditional fixed studio.
THE SILENT REVOLUTION IN TELEVISION
THE SILENT REVOLUTION IN TELEVISION
LOUDNESS
'Loudness' Systems Why Are They Mandatory (ARE They?) and Does Everyone Comply?
We’ve almost all experienced that moment: While watching a quiet series, a commercial break suddenly blasts our ears, and we frantically grab for the remote control. Not to mention the sudden audio jumps or drops when changing channels. To solve this problem, known as the "remote control dance," the television broadcasting world transitioned to a critical system called "Loudness."
So, what exactly is this system, why is it so important, and most importantly, is this rule truly being followed?
"THE LOUDNESS WARS"
"THE LOUDNESS WARS"
In traditional broadcasting, audio was measured only by its highest moment (peak). The human ear, however, doesn't perceive the "highest moment" but rather the "perceived average loudness." Advertisers, to grab attention, would use compressors to raise the average level of the audio to its maximum without distorting the signal (i.e., exceeding the peak level).
This situation led to massive volume differences between programs and commercials, and even from channel to channel, ruining the viewer's comfort.
THE SOLUTION: EBU R128 Standard and LUFS
THE SOLUTION: EBU R128 Standard and LUFS
To put a stop to this chaos, standards like EBU R128 were developed, led by the European Broadcasting Union (EBU). These new systems measure the perceived average audio level by the human ear, not the audio's peak. This unit of measurement is called LUFS (Loudness Units Full Scale).
In Europe and Turkey (under RTÜK supervision), broadcasters were required to broadcast all their content (series, films, commercials, trailers) at a specific average loudness level (usually -23 LUFS).
The primary purpose of this system is:
To ensure viewer comfort and eliminate the need for the remote control.
To establish a legal standard (RTÜK applies serious sanctions to those who do not comply).
To ensure fair "audio" competition among broadcasters.
THE BIG QUESTION: Does Everyone Comply with This Rule?
THE BIG QUESTION: Does Everyone Comply with This Rule?
Artificial Intelligence: Our New Studio Assistant or a Rival?
Artificial Intelligence: Our New Studio Assistant or a Rival? 🎛️🤖
It’s time to put aside the fear that "AI will spell the end of audio engineering." I believe the real question we should be asking is: "How can we leverage AI to enhance our creativity?"
AI tools (iZotope RX, AI-based mastering assistants, Stem separators, etc.) are spreading rapidly in the world of audio engineering. While some resist this, I see these developments not as a threat, but as powerful "time-savers."
Why?
It Takes Over the Grunt Work: It cuts down hours of de-noising or dialogue editing tasks to just minutes.
It Offers New Perspectives: When we get stuck on a mix, AI-based tools can show us what is "technically" correct and serve as a reference point.
It Makes Room for Creativity: Instead of getting bogged down in technical details, it gives us the time to focus on the artistic and emotional aspects of the work.
However, there is one truth we must not forget: Music and sound are about emotion.
AI might solve frequency clashes with mathematical perfection; but it cannot feel or interpret the "sense of lift" in a chorus or the sorrowful tremor in a vocal the way a human can. Technical perfection doesn't always translate to a result that "feels right."
The audio engineers of the future won't be those fighting AI, but those who manage it like a "hardworking studio assistant" and apply the final touch with the human spirit.
The Art of Crisis Management in Live Broadcasting
"Silence is Our Greatest Enemy"
In television broadcasting, there are moments that the viewer sipping tea at home never notices, yet storms are raging in our headphones. In our world, time is not measured in hours, but in "frames" and milliseconds. And in this realm, the most feared entity is not a technical malfunction itself, but the "silence" (Dead Air) that it creates.
Working as a Broadcast Audio Systems Manager at a 24/7 news channel like NTV, where the flow never stops, means much more than just connecting cables or pushing faders. This job is akin to "changing a tire while the car is speeding at 120 km/h."
If the Visuals Fail, It Becomes Radio; If the Sound Fails, the Broadcast Ends
There is a saying we frequently use in the industry: "If you lose the picture, you have radio; if you lose the audio, the broadcast is over." As a sound engineer, the greatest success for me and my team is actually to be "invisible." If the viewer notices our presence (through a crackle, a level jump, or a dropout), it means there is a problem. Our job is to manage potential chaos scenarios in the background while presenting that flawless flow to millions of viewers.
Adrenaline and the "Plan B" Discipline
Live broadcasting is ruthless; you don't have the luxury of saying, "Sorry, let's take that from the top." Imagine getting a DSP error on the main console or having the anchor's microphone fail just 10 seconds before the prime-time news bulletin. That is the moment when composure and crisis management come into play, going beyond mere technical knowledge.
My duty is not just to intervene in malfunctions, but to establish that "redundant" structure that minimizes the probability of failure.
If the main system crashes, how long will it take for the backup system to kick in?
In the event of a disconnection in the intercom system (Clear-Com, etc.), how will communication between the control room and the studio continue?
The answers to these questions are not sought during the live broadcast. These answers are provided during the meticulous maintenance, repair, and installation processes carried out beforehand.
A Matter of Reflexes as Much as Engineering
Broadcast audio engineering requires high reflexes and stress management just as much as technical knowledge. The adrenaline at the desk is the fuel that allows us to do our job with passion. And that "we did it" look shared with the control room and the team at the end of every successful broadcast is priceless.
In conclusion; behind those fluid news segments you watch on your screens, there is a huge team whose hearts beat with the rhythm of the broadcast, combining technology with human reflexes, and an unending excitement.
Here’s to broadcasts where silence never exists and the flow never stops...
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