The following thesis is an examination of audio engineering for television broadcast production. The extensive sound design, implementation, and production of television programming are to be examined from the perspective of four individual productions of diverse genres. A variety of skills necessary to produce each of the programs are discussed in detail.

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This thesis is concerned specifically with the implementation of large-scale professional DMCs. The design of such multi-DSP audio products is extremely challenging: one cannot simply lash together n DSPs and obtain /7-times the performance of a sole device. M-P models developed here show that topology and IPC mechanisms have critical design implications. Alternative processor technologies are investigated with respect to the requirements of DMC architectures. An extensive analysis of M-P topologies is undertaken using the metrics provided by the TPG tool. Novel methods supporting DSP message-passing connectivity lead to the development of a hybrid audio M-P (HYMIPS) employing these techniques. A DMC model demonstrates the impact of task allocation on ASP M-P architectures. Five application-specific heuristics and four static-labelling schemes are developed for scheduling console taskforces on M-Ps. An integrated research framework and DCS engine enable scheduling strategies to be analysed with regard to the DMC problem domain. Three scheduling algorithms — CPM, DYN and AST — and three IPC mechanisms — FWE, NSL and NML — are investigated. Dynamic-labelling strategies and mix-bus granularity issues are further studied in detail. To summarise, this thesis elucidates those topologies, construction techniques and scheduling algorithms appropriate to professional DMC systems.

With the recent emergence of new release formats capable of delivering discrete multichannel surround-sound, there is a need to research unique recording methods to take advantage of the enhanced spatiality compared to conventional 2-channel stereophonic systems. This dissertation proposes a new microphone technique that incorporates head-related spatial cues through use of binaural artificial-head microphone signals sent to the surround channels. Combining this with 3 spaced directional microphones for the front channels shows promising results towards reproducing a 3-dimensional sound field. This dissertation describes a complete investigation of the proposed recording technique including an analysis of the basic concept, performance and suggested applications.

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Thesis (M.A.)(Hons)--University of Western Sydney, 1997. / Includes index and appendices. Bibliography: p. 219-223.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).

It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sacrifices sound crews have endured to succeed in the always challenging, but very exciting, world of film making.

This thesis is an attempt to make use of as much technical knowledge as seems pertinent to a musician attempting to reproduce music with the utmost of realism and faithfulness to the original sound. The experiments and research that have gone into this thesis cover the years between 1940 and 1955, a period involving a world war and its many technical advancements, including the now commercially practical wire and tape recorders and the first laboratory development of a completely electronic recorder which has no moving parts and uses a film recording that can be reproduced as easily as a large photograph. In confronting such rapid technological development, the writer is convinced that the only lasting benefits this thesis might possess are toward furthering the education and conception of the musician and the technician in some of the physical, technical, musical, and psychological, problems which must be faced before reproduced music can be truly satisfying to the critical listener. The fact is that electronic technicians and engineers know too little about music and the musician knows too little about the science of electronics. It is this writer's opinion that each must study the other's field. The individuals who can achieve a fusion of the science of music reproduction and the art of music will approach the problems of dealing with musical sound with technical facility and musical sensitivity. [It is hoped that through this thesis the reader will be stimulated to pursue the subject still further.] The possibilities in the future are fascinating to consider, and there seem to be unlimited opportunities open to the enterprising individual in radio, television, the film industries, and the home.