Leader

Welcome to Line Up – the only online resource dedicated to audio for broadcast.

While the digitisation of a broadcaster’s decades of analogue broadcast archive has been a source of concern for all, what focuses minds better than most incentives is the fear of losing material forever. Yet this is not a problem that is exclusive to the broadcast community as any consumer who adopted early video and audio recording systems faces the same problem with their various assortments of VHS, compact tape-based and other stores that languish in cupboards and on shelves and bear witness to early family life and now long-since-departed relatives. In fact the predicament in pro and in the home is the same; it is only the sense of scale that differentiates them.
Now the Cloud is being touted as the solution for storage for all – for the consumer with all his connected shiny paraphernalia and to the professional production world where large-scale events and facility wide workflows can employ or rely on it. I’m not so sure. I remain unconvinced by the ‘but it’s just data’ argument because data always has a ‘form’ and it is always tied to a generation of technology. At least when you have the physical media in your hand then you can begin your search for an appropriate player; if the data lives on someone else’s cupboard and shelf that is a different proposition. You only have to look at how dependent certain consumer gadgets are on storage in the ether to see how the worse-case scenario could play out for them although I am sure there are extended T&Cs that users have clicked on in their haste to complete that first upload.
I am not saying that the Cloud as way of working for professional use is a bad one as it has obvious operational benefits and conveniences to workflows, but I am saying that we should look long and hard about where that Cloud is, who owns it and manages it and what motivates them. When broadcasters made their own equipment and had equipment made specifically for them they were taking responsibility for their content. As the underlying technology used has moved closer to that of consumer we must retain that sense of responsibility. And responsibility costs.

Zenon Schoepe, executive editor

Contents


  • Craft
  • Askan Siegfried

    He's a sound composer, a tonmeister and is involved in various technical issues and solutions in German broadcasting. DENNIS BAXTER asks about the practical side and the details....
    Full story

    Lectrosonics

    Its one of the great wireless success stories and a brand that has a strong grip on the TV and film sound market. Yet it's an unassuming company full of audio fanatics that build it all in the USA. ZENON SCHOEPE...
    Full story

    A job at the BBC

    JOHN ANDREWS continues the recounting of his career in broadcasting with a change of employer and a company car!...
    Full story
  • Technology
  • 3D Audio Workspace explained

    Fairlight has introduced 3D Audio Workspace (3DAW) as a platform for immersive and object-oriented 3D sound production. Aimed at the film and TV post production markets, 3D Audio Workspace is designed for content creators who want to improve the 3D sound audience experience. Fairlight CTO TINO FIBAEK explains what 3DAW does and the thought process behind the innovation....
    Full story
  • Reviews
  • Izotope RX 4

    Building on the strengths of the Resolution Award-winning RX 3, RX 4 adds so much more in the power, convenience and features stakes. BILL LACEY says that the word is out....
    Full story

    Rode Stereo VideoMic X

    It's a new strange age in which audio is being handled by video guys ... again. Camera-top mics have empowered a generation of DSLR shooters. NIGEL JOPSON enjoys time with the latest from the leading camera mic team. ...
    Full story
  • Columns

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