I’m in the middle of a monumental project, which requires transferring audio and video content from the original media to a NAS.
With CES and NAMM behind us we’re successfully through the first couple of industry-related trade shows of 2015.
One of the most eye-opening and simultaneously disheartening experiences I’ve ever had as an audio engineer happened during an AES Atlanta student workshop where I was volunteering.
Here we are at the beginning of 2015, and as with all new years it is fashionable to analyze how the previous year went and take a look at how this new one might unfold.
When we last looked at ATSC A/85 we were primarily concerned with the key issue addressed by the document: loudness management.
How do we create a decent control room when the space is too small; the floor is raised; the space above the drop ceiling is open; and the walls are as thin as those of a cheap motel?
Audio over IP (AoIP) has matured to the point that it’s only a matter of time until it becomes standard in television facilities.
Welcome to part two of our look at audio control room acoustics and the reasons we expend so much effort to build great sounding rooms.
The CALM Act is nothing new, especially to those who have been working on loudness management for years.
Television screens are getting bigger and sexier, but the audio technology in them seems to have stagnated.
In this column, we’ll examine a topic I’ve been contemplating for awhile: large-format digital audio console surface design; the problems with it and why it may be time for a change.
Whether this year will be as surprising as last year is anyone’s guess, but there are a few topics I think will be the big stories in television audio this year.
The current buzz in the television industry is all about the promise of 4K, yet most of the talk is centered on video quality, with very little being said about the audio that supports the image.
We’re taking a brief detour from technical audio topics to examine something that could be key to a sustained career in the modern television industry.
With so many people listening to downmixed audio in so many places, it is now essential to insure the loudness levels of downmixes are correct.
It seems that most discussions about loudness management tend to focus on distribution as opposed to the content creation side of the chain.
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