Jay Yeary

With CES and NAMM behind us we’re successfully through the first couple of industry-related trade shows of 2015.

At the 2016 Audio Engineering Society Convention in Los Angeles, I ran into a friend who was manning the booth of a broadcast audio console manufacturer.

With immersive audio knocking on the door of broadcast television, it seems like a good time to investigate some ways to create content for the format.

Audio over IP (AoIP) has matured to the point that it’s only a matter of time until it becomes standard in television facilities.

I was working on a string of projects back in the mid-1990s that required us to fly in talent to handle Spanish and Portuguese translation.

Audio for video is about to get more complicated

Careful planning is the best course of action before heading down the AoIP road.

The face of television audio has developed some interesting new wrinkles since we last looked at loudness—namely, immersive audio, objectbased audio and audio for personal devices.

Every April, thousands of us make a pilgrimage to the desert to learn from gurus who pass along insight and direction, give us glimpses into the future, and help us make sense of it all.

It seems that most discussions about loudness management tend to focus on distribution as opposed to the content creation side of the chain.

The current buzz in the television industry is all about the promise of 4K, yet most of the talk is centered on video quality, with very little being said about the audio that supports the image.

Like many of you, one of the issues I’ve had to deal with recently was how to comply with the CALM Act.

With so many people listening to downmixed audio in so many places, it is now essential to insure the loudness levels of downmixes are correct.

Think about how we consume television now.

In my August column, “The Audio World Without ISDN,” we looked at the impending demise of ISDN and the options available for those who can no longer get service.

One of my missions at this year’s NAB Show was to take a deeper assessment of the state of interoperability of audio-over-IP devices in preparation for an upcoming project.

Anyone who has been an audio engineer for a substantial period of time does so because they love what they do, not because they can’t move on to something else.

How will new technologies bring us to an immersive experience?

ATSC Recommended Practice (RP) A/85 is usually thought of as a loudness standardization document full of guidelines we must follow to ensure content loudness complies with the CALM Act.