Mary C. Gruszka

There are a few more parts of the AES3 bitstream that still need to be discussed—the timeslots for the digital audio signal, as well as the user and channel status bits.

The channel status bits provide a wealth of information about its associated audio channel, which can be used by an AES receiver/decoder for subsequent processing.

How can you find out if your audio equipment has the dreaded pin 1-problem?

While I've seen coverage of this topic in the commercial sound realm, I don't think it's gotten as much attention in the broadcast world.

Are audio consoles obsolete in the age of digital audio workstations and computer audio editing programs? Not by a long shot.

This month we'll wind up our series on the structure of AES audio with a discussion of embedded audio in a SMPTE 292M high-definition signal.

If some friends invite you over to check out their favorite TV program on their new wide-screen flat-panel display, you may not want to mention how bad the lip sync is off.

It's said that nature abhors a void, so it didn't take long for other types of data to fill this space, digital audio being the most common.

When designing and building an HD facility, the video part can be relatively simple compared to audio.

With NAB2007 fast approaching, here are some tips to help in your search for a surround sound mixing system.

The AES3 digital audio signal is composed of frames, with each frame containing a digital sample from each of two audio channels.

It is consistent with what I've learned, taught and lived with through the years: slits behind the microphone diaphragm allow the sound to enter and create acoustic cancellations.

Last time we looked at some general characteristics of digital consoles. Now we will look more closely at those specifically needed for surround sound mixing.