Liv e Stereo Audio Production Techniques for Broadcast Television
A production mixer's first responsibility on a television show is responsiveness to the director, whose instructions he hears on one channel. As he listens carefully to the stereo mix, and amid discussions of phase checks and balance, he must gauge both the intentions of the director and his own mechanical and artistic requirements.: Two areas that I will concentrate on are recording dialog and recording audience reaction. Everyone is aware that stereo music is advantageous for television and was the first material readily available. However, dialog and audience reaction have been difficult problems for production mixers. Traditionally, dialog has stayed in the center, with little interest in panning or audio-follow-video switching of dialog position. Such effects could be confusing, if not used judiciously, and not good things to do.:
Click to purchase paper or login as an AES member. If your company or school subscribes to the E-Library then switch to the institutional version. If you are not an AES member and would like to subscribe to the E-Library then Join the AES!
This paper costs $33 for non-members, $5 for AES members and is free for E-Library subscribers.