As mature as the television industry is, it appears to be going through a very disruptive identity crisis right now.
For the past 13 years, on a Saturday in mid-autumn, the AES Atlanta Section has held their workshop for students.
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.
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.
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.
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.
Anyone who has been an audio engineer for a substantial period of time does so because they love what they do, not because they can’t move on to something else.
In my August column, “The Audio World Without ISDN,” we looked at the impending demise of ISDN and the options available for those who can no longer get service.
I was working on a string of projects back in the mid-1990s that required us to fly in talent to handle Spanish and Portuguese translation.
One of my missions at this year’s NAB Show was to take a deeper assessment of the state of interoperability of audio-over-IP devices in preparation for an upcoming project.
With immersive audio knocking on the door of broadcast television, it seems like a good time to investigate some ways to create content for the format.
The importance of bass managing control room speakers was made crystal clear to me in May 2004, during the first game of the NBA Western Conference Finals.
Pro Tools is the most ubiquitous digital audio workstation in use for audio production and also the one that generates the most controversy.
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