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  • Resources

    The ‘Dematerialization’ of Audio Facilities

    October 30, 2017

    Recently I ran across an interesting piece from the Joint Taskforce for New Media (JT-NM) on the “dematerialized facility,” which envisions broadcast facilities built entirely from commodity IT equipment or with everything outsourced and no onsite equipment at all.

  • Resources

    Working With Fixed Monitor Levels

    September 20, 2017

    ATSC Recommended Practice (RP) A/85 is usually thought of as a loudness standardization document full of guidelines we must follow to ensure content loudness complies with the CALM Act.

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    The Effects of New Formats on Loudness

    July 21, 2017

    The face of television audio has developed some interesting new wrinkles since we last looked at loudness—namely, immersive audio, objectbased audio and audio for personal devices.

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    Audio Education at the 2017 NAB Show

    June 30, 2017

    Every April, thousands of us make a pilgrimage to the desert to learn from gurus who pass along insight and direction, give us glimpses into the future, and help us make sense of it all.

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    ATSC 3.0 and Preparing Audio Infrastructure

    February 24, 2017

    IP transmission will begin making inroads into North American broadcast facilities starting this spring, even if they have no plans to implement an IP-based infrastructure, thanks to the finalization of ATSC 3.0 specifications and the introduction of compatible consumer products at this year’s CES.

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    Layer 2 and 3 Considerations for AoIP

    January 19, 2017

    When it comes to audio-over-IP (AoIP), one area that seems to cause a substantial amount of confusion is whether a technology works at Layer Two or Layer Three.

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    Lessons From the 2016 AES Convention

    December 26, 2016

    At the 2016 Audio Engineering Society Convention in Los Angeles, I ran into a friend who was manning the booth of a broadcast audio console manufacturer.

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    The Difference Between Audio for Film, TV

    November 28, 2016

    The entire process of sound for film has always fascinated me partly because the working environment seems so extravagant compared to someone who has spent the majority of their professional life working in the trenches of broadcast audio for television.

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