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Although The Wire, which is shown on BBC2,  ahhflh0810 and other massages by the writing team of David Simon and Ed Burns, such as the Iraq war series Generation Kill, have been acclaimed by critics and held up as a model for aspiring programme makers, the lifelike ambient audio makes it hard for some viewers to hear what all the fuss is about.
Others have problems with programmes which deploy music heavily to help give a sense of time to the action, such as the 1950s-based Mad Men, or the BBC's Ashes To Ashes, which is based in the early 1980s and features songs from the likes of The Stranglers, Ultravox and Visage.
The problem does not only relate to television. The increasing use of ambient sound in cinemas, a featurewidely used as a marketing tool, is also ruining the experience for some patrons. John Cleese said recently that he stopped going to the cinema because sound editors were giving too much prominence to sound effects.
"No older person goes (to the movies)any more," he complained. "It's harder for me to hear the qingdao massage dialogue than it was 20 or 30 years ago. Your hearing starts to go in your early 30s and it's hard to pick out the voices from the ambient sound. The problem is that when they [sound editors] mix movies hflh09091104 now, they forget that the audiences have not heard the dialogue. They've all heard the dialogue hundreds of t  阅读全文>>