Jay Yeary

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.

For the past 13 years, on a Saturday in mid-autumn, the AES Atlanta Section has held their workshop for students.

Welcome to part two of our look at audio control room acoustics and the reasons we expend so much effort to build great sounding rooms.

How do we create a decent control room when the space is too small; the floor is raised; the space above the drop ceiling is open; and the walls are as thin as those of a cheap motel?

Ever since audio technology made the shift from mono to stereo imaging it seems that some listeners have been on a quest for the most immersive audio image possible.

I’m in the middle of a monumental project, which requires transferring audio and video content from the original media to a NAS.

One of the most eye-opening and simultaneously disheartening experiences I’ve ever had as an audio engineer happened during an AES Atlanta student workshop where I was volunteering.

The CALM Act is nothing new, especially to those who have been working on loudness management for years.

When we last looked at ATSC A/85 we were primarily concerned with the key issue addressed by the document: loudness management.

Here we are at the beginning of 2015, and as with all new years it is fashionable to analyze how the previous year went and take a look at how this new one might unfold.

The importance of bass managing control room speakers was made crystal clear to me in May 2004, during the first game of the NBA Western Conference Finals.

Television screens are getting bigger and sexier, but the audio technology in them seems to have stagnated.

Whether this year will be as surprising as last year is anyone’s guess, but there are a few topics I think will be the big stories in television audio this year.

In this column, we’ll examine a topic I’ve been contemplating for awhile: large-format digital audio console surface design; the problems with it and why it may be time for a change.

We’re taking a brief detour from technical audio topics to examine something that could be key to a sustained career in the modern television industry.

Pro Tools is the most ubiquitous digital audio workstation in use for audio production and also the one that generates the most controversy.