What classes do you teach at the Conservatory?
I teach Cycle 3 - digital audio. We cover how it works, PCM - sample rates, bit resolution, Nyquist, alias, jitter, and more. I also teach Cycle 7, which is Post Production Audio.
How long have you been an instructor at the Conservatory, and what got you started in audio education?
I’m just into my 6th year. Before I was asked to come onboard, I already had some history with the school because I came into (digital dept. head) Brock's Cycle 5 digital class in late 1997, and early 1998 to do demonstrations on digital surround, specifically 5.1 channel music. So when they were looking for a new instructor, Brock called and here I am six years later.
Tell us about some of your work in surround audio.
I’ve worked on several 5.1 music projects as mixing engineer. I produced three DTS Audio Discs, and one DVD-Audio release. In the early 1970's I was doing quadraphonic mixes at Soundmaster Recording in Chicago, just for fun really. There was no robust delivery system for 'quad' at that time, so the format died by the late 1970's. With the implementation of DTS (digital theater systems) and Dolby Digital for theatrical sound in 1993, the digital realm now supported the possibility of getting multi-channel sound to consumers, other than in the theater, which had been delivering six-channel sound in the analog realm since the 1950's. To the detractors of using 5.1 channels for music, I usually ask them why they are not mixing all their projects in MONO.
I teach Cycle 3 - digital audio. We cover how it works, PCM - sample rates, bit resolution, Nyquist, alias, jitter, and more. I also teach Cycle 7, which is Post Production Audio.
How long have you been an instructor at the Conservatory, and what got you started in audio education?
I’m just into my 6th year. Before I was asked to come onboard, I already had some history with the school because I came into (digital dept. head) Brock's Cycle 5 digital class in late 1997, and early 1998 to do demonstrations on digital surround, specifically 5.1 channel music. So when they were looking for a new instructor, Brock called and here I am six years later.
Tell us about some of your work in surround audio.
I’ve worked on several 5.1 music projects as mixing engineer. I produced three DTS Audio Discs, and one DVD-Audio release. In the early 1970's I was doing quadraphonic mixes at Soundmaster Recording in Chicago, just for fun really. There was no robust delivery system for 'quad' at that time, so the format died by the late 1970's. With the implementation of DTS (digital theater systems) and Dolby Digital for theatrical sound in 1993, the digital realm now supported the possibility of getting multi-channel sound to consumers, other than in the theater, which had been delivering six-channel sound in the analog realm since the 1950's. To the detractors of using 5.1 channels for music, I usually ask them why they are not mixing all their projects in MONO.
