Tim Carroll

Loudness issues have plagued television broadcast for decades, and digital television is turning out to be no different. Luckily, the audio format specified

The two major themes of broadcast these days, programming aside, seem to be either loudness or lip sync.

We return to the final stretch of our journey from post production to the consumer.

This time we will briefly wrap up our somewhat detailed look at audio compression by covering areas that some readers have submitted questions about.

To start the new year off on a solid foundation, we will begin a multi-part series of articles on audio data reduction, a.k.a. audio compression, a.k.a. audio coding.

If you were able to attend, I hope your NAB experience was a good one and that you didn't get too many blank stares when you asked manufacturers about multichannel audio and/or metadata.

This month, I'll take a look at an enhanced version of AC-3 (Dolby Digital), the coding standard developed primarily to support the new enhanced version of the ATSC digital television standard.

This month we will start our journey exploring audio for digital television from end to end.

Last time we introduced the idea of Audio Metadata, or "data about the audio data," and this time we will explore it in greater detail.

With or without additional government regulations, ATSC standards published back in the mid-1990s and adopted as the law by the FCC mandate that loudness

As we prepare to enter into nice summer weather, I thought that it would be a perfect time to warm up to more details about transport stream distribution models.

This month we will describe how each of the major terrestrial networks has chosen to distribute multichannel audio to their affiliate stations.