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The importance of audio in live broadcasts and videos tends to be underrated, while we all agree that a poor sound makes the footage less attractive, or even bland. But what does it take to deliver compelling audio?

If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.

In his sports broadcasting career, he has mixed every major sport and traveled all over the world doing it. He worked on the Fox NFL pregame show in Kabul Afghanistan, which he mixed on a Calrec Zeta. He has worked six Olympics (most for NBC), 17 Super Bowls, five World Series, two Stanley Cups, Cricket matches, NASCAR, Indy Car Racing, Goodwill Games in Russia, Great Outdoor Games, X Games, Golf’s U.S. Open, PGA Championships and 25 consecutive years of MLB and NFL games.

Over the past decade, most of the world has adopted some form of loudness legislation for television. This is wonderful news for casual viewers who understandably hate loud commercials, as well as for the Federal Communications Commission (FCC), which received approximately 1,000 complaints and 5,000 inquiries about excessively loud TV commercials between 2008 and 2012. But, for those who work in television post-production, it can complicate matters somewhat.

This fall, audio professionals from all around the world convened at the 141st AES Convention in downtown LA to check out the leading-edge audio technology and gear of 2016. Not only was the Los Angeles Convention Center jammed with countless exhibit floors, but there was also a myriad of seminars where attendees gathered to gain insight on these new developments. Some of the highlights included VR/360° audio microphones, virtual microphones and ground-breaking audio plug-ins that now change the way engineers can mix, master and record.

Audio mixing and mastering is a technical and creative process that gives your narrated commercial video a huge psychological edge on the competition.

“Well, this looks like things are getting worse,” Definition 6’s Manhattan-based chief engineer, Luis Albritton, recalled nearly a year later. Like almost everyone worldwide, Definition 6, a digital and creative services company with offices split between New York and Atlanta, was staring into the reality of a widespread pandemic shutdown. The future of their enterprise relied on their teams being able to keep working.

Get insight from our exclusive interview with sound designer, Ed Kaufman on life as a post production pro, tips on how to best make dialogue, music, and audio pieces all fit together and more!

by Robert Kelm, Family Harvest Church's Media and IT Systems EngineerWhen it comes to creating A/V for a house of worship, making sure everything is pitch perfect can be a challenge. Learn three key tips that will help you create the best audio and visual performance to date.

With a career that spans back to his days in recording more than a decade ago, Production Sound Mixer José Frías has long-held a love for the audio industry. Although he got his start in music, he’s held many different audio production roles, which has led to his working on projects for high-profile clients, such as Motorola, IBM, ESPN, Time Magazine and more.