Jay Yeary

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.

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.

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.

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.

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.

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.

It should be apparent by now that future broadcast and media infrastructure will be IP-based.

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.

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.

How will new technologies bring us to an immersive experience?

Audio for video is about to get more complicated

As mature as the television industry is, it appears to be going through a very disruptive identity crisis right now.

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

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

Think about how we consume television now.

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.

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.

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.

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.