OSC is a content format developed at CNMAT by Adrian Freed and Matt Wright comparable to XML, WDDX, or JSON.[2] It was originally intended for sharing music performance data (gestures, parameters and note sequences) between musical instruments (especially electronic musical instruments such as synthesizers), computers, and other multimedia devices. OSC is sometimes used as an alternative to the 1983 MIDIstandard, when higher resolution and a richer parameter space is desired. OSC messages are transported across the internet and within local subnets using UDP/IP and Ethernet. OSC messages between gestural controllers are usually transmitted over serial endpoints of USB wrapped in the SLIP protocol
The original Midi protocol is already some 40 years old and of course extensions of the Midi protocol were developed through the years. Here are a few:
NRPN gives higher resolution in Control Change parameters:
Microphones once were magical and in the hands of a few global companies. Parts were exclusive and expensive. These days, thanks to the Chinese copycats, parts are rather cheap to get and the quality of parts, tubes and capsules are mostly good. Knowledge and schematics are widely available on the internet as well as complete DIY packages of the famous legendary microphones. This course introduces you to the known techniques and the possibilties you have to modify a cheap Chinese clone or even build your own replica from scratch. The microphone housing taken from these cheapos is already a treshold taken. DAP, ALCTRON, APEX, NADY, T-BONE etc., basically all from the same Chinese source, are a good start.
The “ether” is completely full, telephone and digital broadcast claim the most wanted bandwidth. Practically it means, you are not allowed to be in certain frequency ranges. The situation varies per country and even locally per city. The use of RF scanners is highly recommended. Here are some interesting and handy links:
When more than 1 transmitters are used in a transmission channel, transmitters influence eachother in this sense, that one transmitter intermodulates the other and visa versa. This can cause side frequencies that are equal to frequencies of other transmitters in that channel. One has to follow a very precise frequency scheme to fore-come this. This can be calculated with calculators (excel), but it is often done by the manufacturer by means of preset frequencies. It is wise to use these presets.
Here’s an explanation of what causes intermodulation.
Radio microphones are commonly used these days in music and theatre events, but also at conferences etc.. The technique has developed a lot lately and also digital audio transmission is possible. Against this development and intensive use of wireless audio transport, certainly stimulated by the affordability, quality and reliability, the transmission “space” becomes limited by the day because of all kind of other wireless customers (mostly with more money) like digital tv and radio, safety devices, WiFi and telephone technology. This makes implementing radio microphones a challenge.
First let’s take a look at the used technology.
MORE DETAILED READER ON RADIO MICROPHONE TECHNOLOGY:
