Jay Yeary

Audio over IP (AoIP) has matured to the point that it’s only a matter of time until it becomes standard in television facilities.

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.

Think about how we consume television now.

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.

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.

With CES and NAMM behind us we’re successfully through the first couple of industry-related trade shows of 2015.

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.

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.

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

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.

It seems that most discussions about loudness management tend to focus on distribution as opposed to the content creation side of the chain.

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.