Jay Yeary is a broadcast engineer specializing in audio. He is an AES Fellow and member of both SBE and SMPTE.
For the past 13 years, on a Saturday in mid-autumn, the AES Atlanta Section has held their workshop for students.
Recently I ran across an interesting piece from the Joint Taskforce for New Media (JT-NM) on the “dematerialized facility,” which envisions broadcast facilities built entirely from commodity IT equipment or with everything outsourced and no onsite equipment at all.
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.
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.
Think about how we consume television now.
IP transmission will begin making inroads into North American broadcast facilities starting this spring, even if they have no plans to implement an IP-based infrastructure, thanks to the finalization of ATSC 3.0 specifications and the introduction of compatible consumer products at this year’s CES.
When it comes to audio-over-IP (AoIP), one area that seems to cause a substantial amount of confusion is whether a technology works at Layer Two or Layer Three.
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.
The entire process of sound for film has always fascinated me partly because the working environment seems so extravagant compared to someone who has spent the majority of their professional life working in the trenches of broadcast audio for television.
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