Arguably the hottest topic in television these days is loudness. The subject has been beaten to death since the serious introduction of legislation to
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
New formats such as e2 provide an efficient way to maintain high-quality audio, protect audio metadata and manage latency to prevent lip-sync errors.
Loudness issues have plagued television broadcast for decades, and digital television is turning out to be no different. Luckily, the audio format specified
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.
The two major themes of broadcast these days, programming aside, seem to be either loudness or lip sync.
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.
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.
We will wrap up our look at how to monitor almost every type of audio signal in a DTV plant by briefly exploring how to deal with baseband audio and separate metadata.
Last time we wrapped up our investigation of audio distribution. This time we are going to sidetrack just a little bit and take a look at a different approach to controlling dynamic range.
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