Mary C. Gruszka

At the broadcast, production or origination end of the spectrum, we’ll need to rethink our audio systems to accommodate the growing requirements of next-generation audio.

How do file-based and real-time loudness processors fit into an overall facility audio system?

It's truly amazing the extent of available measurement tools that literally fit in the palm of a hand.

For any kind of loudspeaker system to be practical, the drivers need to be mounted in some kind of enclosure.

Many processors, such as embedders or encoders, have internal delays, obviating the need for external ones.

Sound has dimension, and it's sometimes easy to forget just how big sound can be.

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

Before the TEF analyzer came along, one would need a shelf full of different and expensive instrumentation

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.

Fingerprinting or correlation techniques involve comparing two signals, a reference source known to have no lip-sync error, and a second signal somewhere down the signal chain.

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

It’s still the early days for mobile DTV, so it shouldn’t be a surprise that some audio issues are making themselves heard.

The CALM Act is a reality.

But how meaningful are these specs? Do they provide the information we need to differentiate performance among competing models?