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Mike Law of BCD Audio talks to Kevin Hilton about updating that stalwart of sound production, the monitoring unit, to meet the demands of new television broadcast technologies.

Radio news, like any type of journalism, is all about getting the story before any one else. While the medium can move faster than TV, it has still been slowed down by cumbersome equipment and technology. But that is changing now. Kevin Hilton looks at how the mobile phone app era is offering radio reporters new freedom.

Audio production is as much about getting usable signals from remote locations and studios as creating a beautifully balanced mix, if not more so. Kevin Hilton looks at the critical process of monitoring and what demands new media formats put on it.

Love it or hate it, ADR is firmly part of audio post-production for feature films and TV programmes. Kevin Hilton looks at the different ways to make this process more efficient and how trial and error, mixed with a bit of method acting, is still at the heart of it.

The telephone is an important but problematic tool for broadcasters. The main drawback is it always sounds like a phone. But, as Kevin Hilton reports, new technologies are changing that and could make the ubiquitous mobile the only thing needed for general communications and live location reporting.

Ben Hooper, UK head of audio at Prime Focus in London's Soho, talks to Kevin Hilton about room optimisation for the facility's flagship Studio 4 as it makes ready for cinema projects.

Not all television production crews today include a sound recordist but, as extreme location cameraman and director Phil Coates tells Kevin Hilton, that does not mean audio is any less important in the making of exciting and stimulating programmes.

With loudness standards now established and a vast array of metering and monitoring equipment available, the campaign has begun to ensure that everyone in broadcasting knows what should be done. Dolby's Jeffrey Riedmiller talks to Kevin Hilton about where we are now and the hopes – and fears – for the future.

After nearly 30 years of ineffectual laws and persistent complaints from viewers, France has got tough on loudness with a "global" loudness alignment system and severe penalties. Kevin Hilton looks at the new regulations and how France Télévisions has approached them.

Audio trade organisations have made headlines this year, with the AES restructuring its management practices and the launch of the Association of Sound Designers. And, as Kevin Hilton reports, in the last few weeks the Institute of Broadcast Sound is being renamed to reflect changes in the industry, while sound editors and designers are discussing whether their sector needs a guild to represent them.

Visually impaired or blind people can enjoy television programmes and movies, almost as if they were normally sighted, through the application of audio description. Dave Robinson listens to a man who knows more than most about it.

A great strength of radio is the sense of community it creates but, as Kevin Hilton reports, sound wireless now has to come to terms with social media and data technologies if it is to keep the position it has built over the years.

Volume is high on the broadcast technology agenda. First it was loudness and now it's audibility. Kevin Hilton looks at Fraunhofer's system for controlling speech and backgrounds independently and how it was used during Wimbledon.

The second screen was everywhere at IBC 2011, linking TV with smart phones and tablets. Among the many companies looking at this area is Dolby Laboratories, which envisions a five-screen future. Kevin Hilton looks at the approach.

Asset management is among the major technological talking points in broadcasting today. But there have always been assets in television and radio, with an equally long-established need to manage them, writes Kevin Hilton.