Dave Moulton

What I found is entirely too obvious: channel-to-channel levels vary a lot.

I am involved in the music and record businesses, wearing a variety of hats, including those of the artist, the recording engineer, the producer and the mastering engineer.

As I noted last month, audio authority John Woram has said, "Audio is a hallucination where the sufferer believes that he or she hears music coming from a small wooden box."

Ahh, the mysteries of the wooden box, aka the loudspeaker. There are a couple of ways to consider loudspeakers.

I promised last month I’d talk a little more about the design of control rooms, as part of our inquiry into the care and feeding of loudspeakers.

Last month I ranted about the state of loudspeaker design and performance, and promised you that I’d devote several columns to this worthy topic.

As I noted a couple months back, we tend to devalue the more familiar and prosaic items in our technology toolkit. It seems to me that we’re particularly indifferent to loudspeakers.

An exciting array of new microphones and related technology will be introduced at NAB this year.

Music and film are quite different from a production standpoint, and a one-system-plays-all modality has to serve multiple sets of needs, often simultaneously.

I recently attended the Audio Engineering Society's Technical Conference on Multichannel Audio, held in late June in Banff, Canada.

I recently received a letter from Tom Lento, a broadcast technology marketing consultant, commenting on my March 5 column about the variance of audio levels in TV programming

Alert readers will recall that I've been hinting about some new loudspeakers that I've been involved with, for quite some time now. Well, they're out and they are definitely worth talking about!