Since things always evolve, the technical setups may not be identical to the signal flow in Tokyo in 2021, but nonetheless, it might be a good opportunity to read up on how metering immersive broadcast audio can be done in the below article from our tech blog.

Immersive Audio at the 2021 Tokyo Olympics
https://www.rtw.com/en/blog/immersive-audio-at-the-2021-tokyo-olympics.html?fbclid=IwZXh0bgNhZW0BMAABHaWawLCkLlZPLsfR8cD0viWlnZIretaKZCkJGWztK92Bjo3qHooYVpxkcw_aem_0mgEKpb_BBZQikFWyy1vyg&utm_medium=paid&utm_source=fb&utm_id=6603432421181&utm_content=6603432427381&utm_term=6603432423181&utm_campaign=6603432421181

The 2021 Tokyo Olympics is just around the corner, so let’s take a look at how audio is produced and distributed at this event

When Bloom noted out that “we are living in different times” right now, Gibson concurred. “There’s no business,” he said. “Once they started giving the music away, there’s no business. We don’t sell shit for records. If we don’t go out and sell t-shirts, we don’t make money. I’m a t-shirt salesman. I’m not a musician. I’m literally a traveling tchotchke seller. That’s what we do. We play music to try to get people to the store and sell them our fuckin’ stuff with stuff printed on it. That’s the business. If you can’t fill up a room, 50,000 units moved on the Internet, then they don’t wanna talk to you. And any day now, we’re all gonna lose our jobs to these fuckin’ robots. Once the A.I. figures out how to actually make music that people enjoy, they’re not gonna pay us to do shit.”

I will test to see which makes more noise with a speaker, which lights and LED brighter, can melt small wires, is louder when connected to a mic and which tastes the best.

https://youtu.be/62ZUDwRKit8?si=-ISSrxNqSnrYPde3