Dave Moulton

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

The gap between the HD television we deliver and the HD television that our viewers perceive lies in the difference in the way we and they think about it.

For those of you who don't know this, there is a comparatively new trade organization called the Custom Electronics Designer and Installer Association.

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.

Our story to date... last month I described my well-meaning efforts to upgrade my living room TV into a small, pleasant home theater.

While I expected HD to be better, I didn't expect it to be quite so freakin' much better, if you know what I mean.

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'm going to devote a couple of columns to audio basics for video folks.

You may recall that last month I wrote about audio guru Neil Muncy's observations regarding television audio level problems he encountered in 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

I thought it might be nice to take a moment to consider the primary tool we use to cope with audio mayhem, the audio compressor.

Spreaders, for those of you who don’t know, are neat little FX patches that can really enhance stereophony. Even better, they work great in surround as well.

Over the past couple of months, professional things for me have been happening on a lot of fronts. It's worth sharing because it bodes well for all of us in the 'biz.

We tend to gloss over some of the production difficulties we face as a consequence of our current broadcast distribution system.