In This Section
Clean Audio for TV broadcast: An Object-Based Approach for Hearing-Impaired Viewers - April 2015
Audibility of a CD-Standard A/DA/A Loop Inserted into High-Resolution Audio Playback - September 2007
Sound Board: Food for Thought, Aesthetics in Orchestra Recording - April 2015
AES Member Profile
- Recording Industry - Mastering Studio
- Recording Industry - Music Recording/Mix Studio
- Recording Industry - Post Production
I started in pro audio when I was 16. Facilitated by a brand new driver's license, I showed up one Saturday on the doorstep of United Sound in Detroit. A hundred Saturdays (and burgers) later I had my first job in a studio. As a nineteen year old I joined one of the most creative and unique recording environments ever: Motown Records. At Motown I started as a mastering intern and later moved into the recording studio, working on hit records for Stevie Wonder, Marvin Gaye, and a host of other legendary Motown artists.
My interest in working with rock bands grew out of working with Motown's Rare Earth, followed by work with a veritable Whose Who of the leading British rock producers from the 1960s. And when it became obvious Motown was leaving Detroit, I moved to San Francisco where my west coast adventures included everything from classical albums for Harmonia Mundi to Quicksilver Messenger Service, and the Grateful Dead. In 1991 I immersed myself in digital audio and moved into mastering with a natural progression into work in film, video, and multimedia. As an early adopter of digital editing for motion picture post production and surround sound, I worked with Andy Wiskes to introduce the gang at Skywalker Ranch to Digidesign.
I offer my audio expertise and mastering services through Bob Olhsson Audio and Georgetown Masters in Nashville, TN.
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