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Channel Studio

At last, stand-alone open channel modeling software that combines sophisticated methodologies with an outstanding user-interface. Models channels, bridges, bridge scour, culverts and inline weir structures.

channel studio

Channel One is a recording studio in Maxfield Avenue, West Kingston, Jamaica.[1] The studio was built by the Hoo Kim brothers in 1972, and has had a profound influence on the development of reggae music.

Joseph Hoo Kim's parents ran a bar and ice cream parlour in Kingston, and Kim became interested in opening a studio after visiting Dynamic Sound with John Holt.[2] He purchased the API studio console for $38,000 and allowed other producers to record at Channel One without charge after it opened to build up custom.[2] When it opened Channel One's tape recorders were capable of recording on a maximum of only four tracks. There were early problems with the studio's sound, with Bunny Lee recording an album there with Alton Ellis which he didn't release due to these issues.[2] The problems were resolved within a year, and the first hit single recorded at the studio was Delroy Wilson's 1973 recording of "It's a Shame".[2]

In 1975, the studio was upgraded to a 16-track recorder which enabled engineers to record each instrument distinctly, lending intricacy to dub mixes and giving rise to the "rockers" sound.[3] According to 2006's Caribbean Popular Music, the studio became widely known after the 1976 release of The Mighty Diamonds' Right Time.[4] Other artists to have successful recordings at the studio include Horace Andy, Leroy Smart, The Wailing Souls, The Meditations, Ernest Wilson, The Jays, and Jimmy Cliff, whose Follow My Mind album was recorded there.[2]

Joseph ran the studio and was credited as producer, Ernest acted as studio engineer, and Paul ran the sound system associated with the studio.[1] Kenneth began producing in the 1980s.[1] They became less involved after the second oldest brother Paul was killed in 1977, but it remained popular with other producers into the 1980s, with Sly and Robbie and Henry "Junjo" Lawes recording many of their productions there.[2] The studio closed in the early 1990s.[2] Kenneth Hoo Kim died from lung cancer in October 2013, aged 66.[5]

The Santa Monica facility is now being used more than 300 days a year, but a packed tournament schedule has made Tennis Channel one of its busiest occupants. To usher in a new era of the network, Whyley; Tennis Channel Executive Director, Creative Services, Chris Hiller; and Sinclair Director, TV Production, Mark Nadeau recruited Devlin Design Group (DDG) to construct a new-look studio. Because the project was greenlighted by Tennis Channel and Sinclair at the onset of the pandemic, weekly discussions about the design happened over Zoom. The resulting concept invoked the kinetic energy and dynamic movement that have become synonymous with tennis.

To encourage large-scale movement, DDG constructed 18-ft.-high ceilings to allow sweeping shots with a jib camera. In addition, the studio features four storytelling backdrops representing the tennis majors: the color of clay for the French Open, green and purple for Wimbledon, etc. DDG wanted the on-air talent to feel comfortable enough in their new home to interact with these elements and use every square foot of the studio by moving around the set.

The new studio has become something of a symbiosis: the physical set is inspired by the on-air look, and the graphics package reflects some of these physical elements. Overall, Tennis Channel and Sinclair Broadcast Group are satisfied with the result.

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Two of the most dynamic forces in the world, weather and technological innovation, synthesize to create captivating immersive experiences via The Weather Channel's state of the art IMR (Immersive Mixed Reality) studio. What started six years ago as a casual discussion on the use of Augmented Reality (AR) evolved into a complete green screen set-up to immerse The Weather Channel's talent within virtual environments and is now a multi-level studio that brings volumetric storytelling to an exciting and future-forward experience. The Weather Channel television network is using the studio several times per day with increasing velocity, across the entire spectrum of content, from breaking weather to long-form shows.

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Screen 1: All three of these tracks are playing the same instance of the Presence virtual instrument, yet there is only one stereo mixer channel for all of it. With all the percussion sounds feeding a stereo output, balancing them can be done only by modifying note velocities.

There is a one-to-one correspondence between audio tracks and mixer channels; every audio track has one mixer channel. As we shall shortly see, however, virtual instruments are a different story, and can be responsible for a good deal of variation in track and channel quantities.

Screen 2: There are six tracks playing four presets over four MIDI channels in this instance of AIR Instruments Xpand2, a multitimbral instrument with a single, stereo audio output. Many tracks, several MIDI channels, one audio channel.

The track/channel disparity becomes more acute with a multitimbral instrument that still only has a stereo output. For instance, I get a lot of use from the AIR Instruments Xpand2 instrument, which can host up to four presets, each on its own instrument (MIDI) channel, with the audio outputs of all four presets summing to a single stereo output (Screen 2). With four presets I can load two different percussion or drum instruments, each on its own channel, plus two more sounds on the other two channels. I end up with quite a few more tracks than channels.

When a multi-instrument is created, a mixer channel for it is created at the same time. By default, audio outputs of all of the individual instruments in the multi-instrument are submixed to this channel. But if you want to break out the instrument outputs to separate mixer channels, each can be independently routed to a bus channel, FX channel or output: just open the editor for the multi-instrument and click on the instrument you want to route to select it. To the left of the main graphic area is a channel strip bearing the name of the currently selected instrument. The output drop-down menu assigns that instrument to the destination you choose. You can select each instrument in turn and re-route it this way.

Screen 4: By default, all the virtual instruments in a Studio One multi-instrument sum to one stereo mixer channel, but each one can be selected and re-routed individually, as shown here.Elsewhere in the mixer, bus channels, FX channels and outputs do not carry audio from audio or instrument tracks, and so have no corresponding tracks. Or do they?

The Faculty Innovations in Teaching (FIT) Studio is a space for faculty to design, create, discuss and innovate. The studio features a recording booth, a live action studio, video editing stations, a living room with a large screen TV configured for hybrid gatherings and meetings, and much more. Stop by and learn more.

Reservations can be scheduled using Outlook. When creating a calendar invite be sure include the full name of the studio space you are requesting. The location field must include one of the following:

The studio included a large-format golf simulator, putting green and a variety of presentation points. Updated throughout the years, the bones of the last Studio A design debuted in 2010 with the move to HD, replacing a set from 2007.

Studio C, meanwhile, was the original studio space of Golf Channel before the facility expansion. The studio featured an old clubhouse vibe with exposed brick walls and was the smallest of production spaces.

AECOM provided comprehensive engineering services for the expansion of the existing Weather Channel Studio and Tech Core facilities in Atlanta, Georgia. Following the expansion, the 12,500 square-foot facility became the first 24/7 broadcast studio to achieve LEED Gold certification.

Only a single Power-over-Ethernet (PoE) connection is required for operation. Key user features can be easily configured using the STcontroller software application. Configurable parameters include electret microphone powering, microphone preamplifier gain, talk button operation, and headphone channel assignment. User features include integrated sidetone, remote mic kill ("talk off"), call function, and monitor-only modes. The wide range of capabilities, along with the excellent audio quality provided by the digital audio signal path, offers a unique and powerful user experience.

The audio quality of the Model 374A's four audio channels is excellent, with low distortion, low noise, and high headroom. Careful circuit design and rugged components ensure long, reliable operation. A wide range of applications can be supported, including sports and entertainment TV and radio events, streaming broadcasts, corporate and government AV installations, and post-production facilities.

Two bi-color LEDs provide an indication of the Dante connection status. The Dante Controller's Identify command takes on a unique role with the Model 374A. Not only will it cause the talk button LEDs to light in a unique highly visible sequence, it can also be configured to turn off any active talk channels.

Audio input signals arrive via four Dante receiver channels. The supported sampling rate is 48 kHz with a bit depth of up to 24. The audio signals pass into the Model 374A's processor where channel routing, headphone level control, and sidetone creation are performed within the digital domain. This provides flexibility, allowing for precise control of the audio signals and eliminates the need for the four rotary level controls from having to directly handle analog audio signals. The audio signals destined for the 2-channel headphone output are sent to a high-performance digital-to-analog converter and then on to robust driver circuitry. High signal levels can be provided to a variety of headsets, headphones, and earpieces.


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