Essential transmission performance objectives for international sound-programme centres (ISPC)

Limits for the lining-up of international sound-programme links and connections

Definitions for application to international sound-programme and television-sound transmission

Limits for the lining-up of international sound-programme links and connections

Definitions for application to international sound-programme transmissions

GSTP-GSAD - Generic Sound Activity Detector

Terms, definitions and acronyms for television and sound transmission and integrated broadband cable networks

New Technology Delivers Flawless Dolby Atmos Sound Over Your Power Lines  Forbes

Find out more about Apple's first smart home hardware.

OSHA's Safe + Sound Week reminds employers that safety and health programs help businesses save money, eliminate injuries and most importantly, save lives.

During the Labor Department's 'Safe + Sound Week,' Aug. 7-13, 2023, the Occupational Safety and Health Administration will collaborate with businesses nationwide to promote workplace safety and health programs, focusing on mental health and well-being.

See how roofing contractors can get involved in OSHA's 2024 Safe + Sound Week campaign. 

SoundHound AI, based in Santa Clara, Calif., this year launched, among other things, Chat AI, a voice-enabled digital assistant with generative artificial intelligence; and Smart Answering, which uses voice AI to handle inbound customer calls.

The company is building toward a vision of a voice commerce ecosystem that enables consumers to access goods and services through natural conversation.

In-vehicle voice assistant SoundHound Chat AI enhances the new Lancia Ypsilon's S.A.L.A. infotainment system.

Most animals with monstrous appearances are relatively harmless to humans. Here's the truth behind creepy creatures like the werewolf cat and goblin shark.

Location: Electronic Resource- 

Location: Electronic Resource- 

Location: Engineering Library- TK9965.M665 2016

Location: Engineering Library- TK7881.4.M42 2016

Former President and current GOP presidential front-runner Donald Trump has announced he will host a screening of the movie Sound of Freedom at his own golf course in New Jersey.

Johansson, who portrayed the voice of a computer program in 'Her,' was not behind OpenAI's 'Sky' voice assistant. Another actor provided the voice, OpenAI said.

Salami Rose Joe Louis plays Madame Lou's on Monday, November 11. by Dave Segal

Recording for Flying Lotus's Brainfeeder label, Salami Rose Joe Louis (Lindsay Olsen) has blazed a distinctive trail in that fertile sector of California's underground where electronic music and jazz converge. On early releases by this multi-instrumentalist and producer—such as 2019's Zdenka 2080—Olsen sings in a hushed, dulcet manner over sparse, melodious electronic music that wears its jazz inflections gracefully. Faint echoes of '90s and '00s introspective, minimalist IDM (intelligent dance music, if you don't know) acts such as Múm insinuate themselves, too. It's ultimately dream pop, but not in the cloying way manifested by the genre's try-hards.

With 2023's Akousmatikous and this year's collab with Flanafi, Sarah, SRJL's rhythms get jazzier and the instrumentation fuller, with help from Soccer96 and Miguel Atwood-Ferguson, among others. The songs are more kinetic while the vocals retain their breathy, Julee Cruise-like sweetness. The music's levitational feel and smooth propulsion belie lyrics about catastrophic ecological degradation and the dangers of propaganda/disinformation. Enchanting listeners through understatement and mutedly sparkling tones, Olsen offers the most pleasant dystopian sci-fi soundtracks extant. For this show at Madame Lou's tonight, she'll be joined by guitarist Flanafi, bassist Tone Whitfield, and drummer Luke Titus—most of whom played on the exceptional new Salami Live at 2131 North Kacey Street EP.

<a href="https://salamirosejoelouismusic.bandcamp.com/album/salami-live-at-2131-north-kacey-street">Salami Live at 2131 North Kacey Street by Salami Rose Joe Louis featuring Flanafi, Tone Whitfield, Nazir Ebo</a>

Salami Rose Joe Louis plays Madame Lou's Monday, Nov 11, 7:30 pm, $21, 21+.

KSER SPECIAL:  CAPITOL STEPS - Politics Takes  A Holiday.  The Capitol Steps bring their usual irreverance to the politics of the day.

Sometimes it can be tough when you get the musical munchies yet struggle to figure out what exactly fits your sonic taste in the moment…

In this episode of AppleVis Extra, Thomas Domville talks with Jianfeng Wu about VoiceVista, an iOS app that is essential for the blind and low vision community.

VoiceVista is based on Microsoft’s discontinued and open-source project Soundscape and is licensed under the MIT License. The app uses cutting-edge iOS audio technology and precise location services to help people develop a greater awareness of their surroundings, providing comfort in unfamiliar spaces, and supporting individuals in creating mental maps and making personal route choices.

VoiceVista is available for download on the App Store and can be used on iPhone, iPad, and iPod touch devices. The app has received positive reviews from users, with many praising its accessibility features and ease of use.

The developer of VoiceVista, Jianfeng Wu, has done an outstanding job in creating this app and has made a significant contribution to the blind and low vision community. Jianfeng is also actively seeking feedback from users to help improve the app.

Voice Vista on the App Store
https://apps.apple.com/us/app/voicevista/id6450388413

In this episode, Thomas Domville will guide you through the process of enabling the Sound Curtain feature. Sound Curtain, an accessibility feature introduced in iOS 17 and iPadOS 17, silences all audio on your device, including VoiceOver speech. This is particularly beneficial for Braille users who need to concentrate on their Braille display without any auditory distractions.

To enable Sound Curtain, Navigate to Settings > Accessibility > VoiceOver > Braille, and switch on the Sound Curtain toggle. Alternatively, Sound Curtain can be toggled on and off from VoiceOver Quick Settings, accessed by performing a two-finger quadruple-tap from anywhere in iOS and iPadOS.

The first ever Lichfield Rocks festival raised over £2,500 for St Giles Hospice in Whittington.

Martin Longley appreciates a sudden invasion of Brazilian artists in New York City...

Martin Longley watches those drumsticks fly in New York City...

Martin Longley mashes up bull testicles, glow-rings and wooden flutes in NYC...

Martin Longley sees Spiritualized compress their cosmic selves into a tiny Brooklyn DIY venue...

Martin Longley gets into Chinese jaw harp, Fellini soundtracking, Japanese metal and whaledrone saxophone...

From tantric Buddhist interpretation to disco-funk humping, Martin Longley gets down in NYC clubland. And, er, a museum of Himalayan art.

This interview was originally conducted for inclusion in our “Sound Art” theme. Jeff Jacoby is a Sound Designer and Sound Artist with over 40 years of experience. With an Emmy to his name plus two other Emmy nominations, 2 Cine´ Golden Eagles, 2 Crystal Radios, 2 Benjamin Franklins, and 5 BEA Best of Competition awards, […]

Aaron Glascock is a supervising sound editor, sound designer, and re-recording mixer with a long list of films behind him. To date he has received the MPSE Golden Reel for his work on War of the Worlds, an Oscar nomination for Birdman or (The Unexpected Virtue of Ignorance), and has received several other nominations. More […]

Korey Pereira: Johnnie, thanks for taking the time to talk to me and the designingsound.org readers about the sound of Director Yorgos Lanthimos’ latest film, The Favourite. This is the third of Yorgos’ films you have worked on; how did that relationship begin? Johnnie Burn: Hi Korey! Thanks so much for your time. I’ve got […]

The topic of the month is hibernation.  As the winter weather comes in and things get cold, many animals go to sleep for the winter.  I decided to turn to Tony Orozco for some help. Tony Orozco is a supervising sound editor and re-recording mixer and has worked on shows such as Steven Universe, Adventure […]

This is a guest contribution by Carlos Manrique Clavijo. Carlos Manrique Clavijo is a Colombian/Australian sound editor/sound designer and animation producer based in South Australia. He’s worked on award winning fiction, documentary and predominantly, animation from 2002. With Ana María Méndez, he is the co-founder of animation company, KaruKaru. Carlos has taught film sound design, […]

The year 2018 has been one of many great articles, interviews, and discussions here at Designing Sound and we want to thank all of our readers for their attention, suggestions, contributions, and overwhelming support throughout the year(s). There have been so many great films, shows, games, and events in 2018 that we thought we would share some of […]

Jason Snell returns to the show to talk about the iPhone 12 and 12 Pro, the new iPad-Pro-style iPad Air, the remarkable state of the Mac, and David Letterman’s battery-shopping trip to CVS.

Ive been making music for couple of years now but still cant figure out why my mix doesnt sound professional. Im I doing something wrong? This is the link to my tracks http://www.ourmedia.org/node/300488 Someone please help me out.

The 100% guaranteed way to get your bedroom mixes to sound more professional (and by far the most expensive) is to spend time in a recording studio. Take the raw tracks to something you want to mix, import it into their ProTools setup (or whatever they use) and have a pro engineer (must be a talkative, friendly one, not a grumpy, cynical one) to mix it. ASK A BILLION questions, be a dork and write stuff down if you have to. The worst case scenario is that after 2/3 hours at least you'll know what questions to ask of Google or at the local tech book store. The best case is that your music impresses the engineer and he/she becomes a pseudo mentor for you. Engineering is by far my weakest area (along with playing in tune and in time) so everything that follows is said that caveat: I have found that going cheap on mastering tools (compression, limiters, eq) hurts bedroom mixes a lot. Money I've spent on the top utilities there (I use Waves) dwarfs all my other plugins put together by an order of magnitude. (Reason's mastering suite is pretty good so you may be covered there; although I've applied Waves L2 to mixes done after the 'final' Reason mixdown and there's no question there was a marked improvement in pro-sheen.) I have found tweakheadz site very useful, especially their mixing 101 page. Finally I have been told (and have experienced it myself) that posting often to ccM and asking for real, brutal reviews and feedback has helped a lot of people. I, for one, am very, very embarrassed by several of my uploads from 2 years ago here, while only very embarrassed by more recent ones; all strictly due to people hearing stuff I didn't.

that sounds good. ill look for a studio near my place. at the end you said that the comments from ccmixer is very useful but what shall i do if i want a brutal review of my own original mix? because on ccmixer i can only upload remixes or samples or separate tracks.

being a remix site and short on resources we can't handle original material. so, er, get remixing... ;)

my buddy des has a great blog he runs that can surely help almost anyone here with improving their production. http://www.hometracked.com/ also, his music is worth checking out, just so you can see that he knows what he's talking about. des is a great guy and a really excellent artist. http://www.deshead.com/

U need to have a good pair of monitors, headphones will not do at all! I agree with Fourstones, Waves is a very good suite. I use it within SoundForge and it really does help in cleaning up the frequencies. My mixes really improved when I had monitor speakers included in the set up. Experiment and let me know, I'll give u some quality feedback, no holds, sometimes the truth hurts! LOL! EZ m8 Morr

The best thing I can say is: learn about sound. Learn about frequencies, which ones sound like what and do what to the overall mix. Whether or not to use a low or high pass filter on something. Fiddle with EQs for hours. And more importantly, get criticism. It's the easiest way to learn what sound to look out for, and such. And most importantly of all: Practice. Mix till your ears bleed. (from the time spent listening to the same song, not due to the terrible mix :P) Mixing is one of my strong suits, but most of it is just being able to hear the song, and make the adjustments that I want, to be able to make the necessary changes and just know what needs to be done.

bravo!