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.

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.

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.

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.

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.

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.

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

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

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

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?