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Podcasters, Please! Put Down The Phone!!

Scott Harvey Old Vine Zinfandel (5)While it doesn’t often get mentioned here (more usually here) I’ve developed something of an interest in wine. This passion comes with a healthy learning curve. I’m still early in the process so trying to take onboard whatever information I can find.

For some time I’ve been listening to Randy Fuller’s excellent “Now and Zine Wine Report” podcast. At one minute, five times a week it’s an information-rich nugget of Johnny-Five style input. It’s especially notable because Randy Fuller is also a professional actor and voice talent. As you might well expect, his podcasts are usually a fine example of an audio professional at work.

Randy’s typical high standards make his recent series, taken from a conversation with winemaker Scott Harvey, all the more jarring and unexpected. Randy’s presence in the podcast is his usual, most-excellent self. It’s Scott’s presence that I find wanting.

According to Randy’s introduction, the series of three posts so far are, taken from a conversion that they had by telephone. It seems quite likely to me that Scott was on a mobile phone at the time. His audio quality is quite poor, but it’s really the contrast between the host’s voice and the guest that hits like a hammer to the skull.

This has me pondering the various alternative approaches that might be used in creating such a podcast. There are many possible ways to avoid leveraging a cell phone over the PSTN.

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Jeff Rodman on Getting Great Audio in a Video Call

Jeff-Rodman-Wired-Ning-on-HDX-4500 copyLast week it came to my attention that Jeff Rodman, co-founder and currently Chief Evangelist of Polycom, has penned a blog post/article for Wired Innovation Insights. It’s called, “Getting Great Audio in a Video Call” and it’s well worth your time. Jeff certainly knows a thing or two about great audio.

There’s very little point to a video call with bad audio. Audio is the foundation of the entire exercise. Jeff offers seven points that highlight the major considerations. The list reads like a market requirements document for some of the fine Polycom gear that I’ve had the pleasure of using in recent years.

6. Use Spatial Sound Only When it Makes Sense

His point number six is the first time that I’ve ever seen him offer commentary about the “spatial” aspect of conference audio. Most video conference schemes support stereo audio, but I’ve yet to experience any specific spatial tricks used in video calls.

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New Gear: M-Audio BX5 D2 Powered Audio Monitors

M-Audio-BX5D2-SingleA long while ago I described my experience comparing some low-end powered audio monitors for use around the home and office. We have had a mix of things in use since then, although in every case there’s a Logitech Squeezebox feeding a pair of powered monitors.

In the post-holiday exhale I’ve taken an opportunity to add a pair of M-Audio BX5 D2 5″ Active 2-Way Studio Monitor Speakers. These were offered on Amazon for $288. That’s a bargain price given the performance of the product.

I’ve had a pair of the earlier BX-5a’s for some time. Over time I’ve come to appreciate them above almost everything else on-site. Thus the decision to buy the updated version was very easy to make.

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Audio Quality: Sample Rates, Bit-Depth, Human Physiology & The Golden Ears

studera800.jpgThere is a curious interface between science and the senses. Perception is often wrapped in psychological or emotional elements. This comes in many forms. It can be a group trying to share their impression of the taste of a particular wine. It can be people listening to music. Every persons experience of such things, being filtered by all that is us, both physically and mentally, is unique.

In a recent post I referred to a silly trend in very high sample rate music. This has been promoted by a variety of people, including HD Tracks, a music reseller that promises to provide “audiophile grade high-resolution recordings.” This term they use to generally describe digital recording a structure beyond the 44.1 KHz sampling and 16 bit linear word length defined by the CD format. They offer music at up to 24 bits and 192 KHz sample rate.

I’ve come to regard this trend as having very little merit. I came to this conclusion after many years dealing with digital audio production, after some experimentation and a lot of research. Like everything else on this site, I don’t profess to be any kind of expert, but I am happy to share my experience.

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