This column originally appeared in the August 2019 issue of Professional Sound magazine. By Anthony P. Kuzub With IP audio, copper and glass are not carrying baseband audio or AES3; packets are moving bits, not a voltage representing sound. Audio is converted to a PCM serialized data stream then encapsulated
By Jay Lefebvre Lately, I’ve been using plug-ins… a lot. I’m a 41-year-old composer-producer and I started working in recording studios right at the end of the 1990s, slightly before the “switch” to the new digital technologies. I’ve recorded with a 24-track Studer A827 alongside the Voyetra
This column originally appeared in the April 2019 issue of Professional Sound magazine. By Ian Bodzasi I often see engineers lusting over a particular piece of outboard, microphone, or plug-in that they want to add to their arsenal. Their hope is that if they pick up that one thing, the
A native of Hamilton, ON, Mark Howard has enjoyed a legendary studio career. Often working as a team with producer Daniel Lanois, Howard has engineered classic albums by Bob Dylan, Neil Young, Tom Waits, REM, U2, Red Hot Chili Peppers, Willie Nelson, The Tragically Hip, Lucinda Williams, and many more.
Mark Edward Lewis is the owner of online education website Cinema Sound. He has over 30 years of experience writing and producing musical scores, re-recording, mixing, developing sound design, editing, writing, and directing. Through Cinema Sound and its production partner, MZed, Lewis has created over 85 hours of audio education