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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.

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.

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.

When it comes to producing live music, getting the sound to come out flawlessly is one of the most difficult aspects. Both the performers and the sound team share responsibility of this particular aspect, but even if both are consistent, different venues and different PA systems can mean that all conventional wisdom and “what worked before” can go right out the window.

Sound Designers Jamie Mahaffey and Martin Taylor recently worked on the children’s animation education staple Octonauts, from the BBC. On December 10th, the pair won the Emmy for Outstanding Sound Editing and Sound Mixing for a Preschool Animated Program at the inaugural Children’s & Family Creative Arts Emmy Awards.

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.

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!

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

Adding music to a film can add power and interest to the production. And when the music is an integral part of the story, the power is multiplied. Filmmakers, creative editing company editors and sound engineers need to work together to realize the full advantages of using music in their film.

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?