Audio monitoring has, as would be expected, changed dramatically since the days of mono sound and peak program and volume unit meters (PPM/VU), but development is now continuing at a rapid rate. Manufacturers have responded to how the broadcast market has broadened, with streaming and distribution to multiple platforms and devices bringing a whole new set of parameters to be monitored.

These include the various forms of multichannel audio—surround or, increasingly, immersive sound being the most obvious forms but with alternative languages and commentaries plus audio description now ever more important—along with audio over IP (AoIP) formats. 

Monitoring Interactions 
The evolution of monitoring equipment from the days when basic faults were the main target to today’s much broader and involved requirements are summed up by Don Kianian, solutions marketing manager at Telestream.

“Historically, the traditional requirements for audio monitors have involved monitoring the audio level, comparing the phase between channels, and looking for errors such as clipping, overdubbing, mutes and the like,” he says. “However, additional demands are emerging. The increase in the prevalence of multichannel audio—such as 5.1 and 7.1, immersive audio like 5.1.4 or 7.1.4 and multilanguage tracks—means that it is no longer enough just to monitor the stereo signal; monitoring the interactions between all channels is just as, if not more, important.”

As a consequence, Kianian explains, modern techniques are necessary to replace the venerable Lissajous curve displays on oscilloscopes. 

“New tools are needed to help simplify and visualize the interaction of multichannel audio, like using surround sound displays that can assist in mastering the mix,” he says. “As more multiformat systems and workflows are used across the broadcasting industry, there is a growing need for audio monitors to accommodate new systems and formats. For example, our PRISM waveform display can support both SDI embedded and IP audio monitoring, while the Inspect2110 provides audio level and loudness monitoring across multiple streams in an IP network.”

Controlling Loudness
Loudness continues to be a critical area that needs to be checked and controlled, particularly with the risk of fines if broadcasters do not conform to standards such as ITU BS 1770, ATSC A/85 or EBU R128. Makarand Karanjkar, CEO/CTO of Wohler, describes audio monitoring of all signals and streams as “a critical function” in broadcasting today.

“From a signal perspective, customers are looking to monitor IP-based audio formats like Dante and RAVENNA, plus signals in the AES67 interoperability standard, as well as SMPTE ST 2110 and ST 2022-6/7 for video, over and above existing baseband signals like SDI, AES, MADI and analog,” Karanjkar said.

While AoIP would appear to be in the ascendancy, Wohler acknowledged the continuing need for baseband monitoring in July with the launch of three new hardware units (the eight-channel eAMP1-S8-MDA, 16-channel eAMP1-S16-MDA and eight-channel analog/AES-only eAMP1-S8-DA). 

Even so, Karanjkar agrees that the software monitoring of more elaborate formats is now a priority for many users.

“In terms of software functions, customers are looking for features like loudness, easy configurability for IP monitoring and overall ease of use,” he says. “Given the perpetual evolution in requirements, customers value the ability to upgrade functionality over time via software updates. More sophisticated immersive sound formats like Dolby Atmos and MPEG-H are continuing to enter the mainstream and impose their own monitoring requirements.”

Hardware Still Matters
The introduction of immersive audio formats, such as Dolby Atmos and MPEG-H 3D Audio, for broadcast and streaming has, as Freddy Vinehill-Cliffe, audio product specialist at NUGEN Audio, observes, increased the need to monitor multiple feeds. 

“Our users need to be able to monitor a wide variety of channel counts, not just stereo,” he says. “That could mean checking phase relationships, ensuring a mix translates on various formats or something else. Another major concern at the moment is dialog intelligibility; audio mixers need tools that not only measure program loudness but also specifically dialog loudness and dialog LRA [loudness range].”

Like other audio monitoring system developers, NUGEN Audio offers software-only systems but recognizes the benefits of dedicated physical units in certain scenarios. 

“There is no denying the convenience of software,” comments Vinehill-Cliffe. “Developments like the ReMEM history function in our VisLM software speed up the day-to-day workflows. However, there is certainly something to be said for the robustness and reliability of hardware, too. For example, a hardware meter won’t suddenly become incompatible with the rest of your set-up due to an operating system update, though NUGEN Audio’s team of engineers regularly monitor for these changes.”

At TSL Products, audio product manager Steve Cole concurs that there is “still a significant place” for standalone hardware in broadcast right now. “It handles a wide variety of input sources, provides dedicated monitoring capabilities, tactile controls, and reliable performance without relying on the resources of a general-purpose computer or network infrastructure,” he said.

But there is also a growing trend towards software-based solutions and the integration of audio monitoring functionalities within other applications, according to Cole. 

“Many broadcasters are also looking to develop hybrid environments where their hardware can link seamlessly with all the other hardware and software they use or might need to use in the future,” he said.

The Impact of Remote Production
The last decade has seen an increase in not only networked systems—both within a broadcast center or between different facilities, either in the same area or at more distant locations. As Cole observes, remote production and, as a consequence of the pandemic, remote working, now mean audio monitoring systems need to offer new features to cope with sources from many different places. 

“We have responded to these demands by incorporating ST 2110 and ST 2022 IP media support, remote access for unit configuration and control, support for remote monitoring via LiveView web page and integration with control solutions for remote production workflows into our MPA1 range,” he says. “These features enable broadcasters to monitor audio signals from anywhere, collaborate remotely and streamline their operations in the evolving broadcast landscape.”

As broadcasting continues to evolve, audio looks set to become an even more important and complex part of the overall set-up. Which means that audio monitoring systems, whether hardware or software, will play an ever more crucial role in ensuring not only good sound quality but also that all the different elements are in place for multichannel services. 

This article was updated Aug. 17, 2023.

ALEXANDRIA, Va.—Some of us can remember when audio was regarded merely “as the poor step-child of video.” There was but a single channel to look after, and it passed muster if it met the aural equivalent of “it looks good leaving here” and the transmitter operator didn’t complain about carrier over-deviation. 

But that was then, and this is now. Television audio in the 21st century is anything but a simple “step-child” that doesn’t need to be watched that closely. 

Multiple Formats
Start with the increasing plethora of formats, according to Mike Waidson, application engineer at Telestream.

“Gone are the simple days of analog audio—we must now deal with digital PCM with one-to-many channels,” Waidson said. “These audio channels are distributed in multiple ways. Sometimes the audio is embedded in SDI. But it is now also carried as an audio stream in IP. To further complicate matters, the carriage in multiple file formats, whether uncompressed or compressed, is a common occurrence.” 

Berny Carpenter, audio product manager at TSL, agrees. “With the evolution of audio delivery formats, we have seen audio channel counts gradually increasing, particularly for marquee content, such as high-profile sports events,” he said. “What was stereo became 5.1, and now we’re seeing the next generation of audio delivery formats for broadcast which cater to immersive and personalized audio, including Dolby Atmos and Fraunhofer’s MPEG-H. 

“The signal formats used in productions have gradually changed too,” he added. “Within the last two decades, SDI has gone from 1.5G (HD-SDI) to 3G, and now 12G is becoming more and more common.”

Like so many media tech solutions these days, “one size does not fit all” anymore, according to Freddy Vinehill-Cliffe, Nugen Audio product specialist.“People are consuming content in such a wide variety of environments, on such a wide variety of equipment, so in my opinion our biggest challenge is making sure the audio always translates. You want the dialog to be intelligible regardless of whether someone is watching on their laptop on a train using inexpensive earbuds, or watching in a home cinema with a finely tuned 7.1.4 setup.” 

Meeting the Challenges
A common denominator in designing today’s professional audio monitoring gear for television is flexibility—the ability to expand or otherwise change monitoring capabilities as operations grow and requirements are added. Capability for updating existing capabilities or for unlocking initially unneeded features is also a big plus.

“Being able to future-proof an investment is obviously appealing for broadcasters, enabling them to reduce CAPEX and add capabilities to a product only if it is required at a later date,” said TSL’s Carpenter. “TSL’s audio monitors include connectivity options and software features as upgradeable items. The PAM-IP supports upgrades for both ST 2110 and Dante IP connectivity, whilst our SAM-Q range offers optional MADI connectivity and loudness functionality. All of these can be purchased with the unit, or retrospectively applied.”

Larry Schindel, senior product manager of TV Solutions at the Telos Alliance, is also an advocate of upgrading via software changes.  

“Unless a monitoring unit is a basic stereo, analog, ‘speaker in a box’ type of unit, the modern monitoring devices are digital, sometimes even being a ‘PC in a box,’” Schindel said. “The nature of these digital devices today is that they are meant to be updated as new features are developed. All Telos Alliance units are designed to be updated as new software-based features are added and become available.”

Nugen’s Vinehill-Cliffe observed that product “agility” is not the only benefit derived with software-driven monitoring.

“The ability to work faster than real-time with software tools, Nugen’s VisLM or LM-Correct, for example, is also a major advantage,” Vinehall-Cliffe said.

“As it stands, our full Loudness Toolkit bundle already supports 7.1.2 audio, and this is also true of Halo Vision. Anyone who owns VisLM, LM-Correct or ISL v2.0 and above can already upgrade to v2.9 for free. Many of our updates are free, and even when issuing a paid update we offer discounted upgrade paths for existing owners.”

In addition to monitor future-proofing, Wohler CEO Makarand Karanjkar described another “plus” that can come with software architecture: increased functionality within a single “box,” something that’s especially welcome in crowded racks found in smaller control rooms and production vehicles.

 “The rapid evolution of signal types, whether Dante, Ravenna, ST2110, ST2022-7 or Dolby ATMOS, coupled with various mezzanine compression formats like JPEG2K for backhauls, or HEVC for distribution, is driving the need for multifunctional hardware, with software that can upgraded to meet evolving needs,” he said. 

And the Beat Goes On…
As ATSC 3.0 broadcasting continues to roll out, it brings with it additional requirements, even one for which a standard has yet to be developed. “We anticipate the need to support multiple audio codecs for ASTC 3.0, and our iVAM series of products are well equipped to support emerging technologies like Dolby AC4 in the future,” said Wohler’s Karanjkar 

“With the additional height channels and personalization objects in next-generation audio formats there is more to measure than ever before.” said TSL’s Carpenter. “As an example of how TSL can help broadcasters with this requirement, the SAM-Q range allows for up to eight simultaneous programs [each up to 9.1.4] to have loudness measured, logged and a downmix can be monitored through the unit itself.” 

Telos Alliance’s Schindel notes that for broadcasters moving to ATSC 3.0, audio monitoring specifically for the advanced broadcast format may not be necessary.

“Most broadcasters who are launching ATSC 3.0 services today are doing a simple simulcast of what’s on their ATSC 1 service, so other than wanting a monitor which can decode Dolby AC-4… there isn’t much new that they need, yet,” he said. “Dialog Enhancement is an inherent part of Dolby AC-4, so really any AC-4 decoder should be capable of supporting this function, but looking forward, broadcasters will want monitors that support Dolby Atmos and personalized audio which ATSC 3.0 is capable of supporting.”

“The challenge for the broadcaster is to deal with another compressed audio format, AC-4,” said Telestream’s Waidson. “While this offers…the ability to carry multiple streams with more audio channels, it requires equipment to support these formats.”

Nugen’s Vinehill-Cliffe noted that some of this equipment has yet to be developed.

“It’s great that the ATSC 3.0 spec includes support for object-based audio,” he said. “But currently there is no standard for calculating or measuring the loudness of object-based audio, which poses a problem. Once a loudness standard has been developed… broadcasters will need monitoring tools which can support the new standard. This is something which we at Nugen are looking towards tackling.” 

Television audio monitoring has certainly come a long way from one simple VU meter. Perhaps it’s fitting to resurrect an old saying and add a corollary:

“There’s no rest for the weary—particularly if you’re an audio monitor designer.”

LAS VEGAS—Audio monitoring systems provider TSL will debut SAM-Q-NET and SAM-Q-EDIT as part of its SAM-Q Audio Monitor product line at the 2022 NAB Show, April 23-27. These latest updates introduce TSL’s SAM-Q advanced audio monitoring capabilities to an IP networked world, with support for ST 2110-30, ST 2022-7 and multiple control options including NMOS. On-board redundant 1G Ethernet connectivity vastly reduces the cost of deployment for audio monitoring where a 10G connection isn’t required.

As audio monitoring moves further towards networked and next-generation platforms and experiences for viewers, the lines are blurring between traditional I/O-led boxes and software-focused solutions. The SAM-Q audio monitor from TSL is unique in its ability to allow users to tailor their operation to different environments. Supporting several operational modes, which can be enabled and disabled as required, the SAM-Q is equally at home in operational positions in studio facilities, OB trucks, master control positions and playout facilities. With the range of modes available, it can be configured to meet the usage requirements and skill level of its location, before menu access is locked down to ensure that the configuration isn’t unintentionally changed.

Since control is a key consideration when it comes to broadcast IP installations, TSL has equipped SAM-Q-NET with both in-band and out-of-band control options, including NMOS support and a TSL RESTful API, with more planned for the future, the company said. 

“SAM-Q-NET brings the benefits of the SAM-Q platform to broadcast IP networks, allowing our customers to benefit from the unique mode configuration available on the SAM-Q whilst benefiting from native IP integration, including both audio and control,” says Berny Carpenter, Audio Products Manager at TSL. “Adding IP connectivity to the SAM-Q family means that we now have IP connectivity available across our complete range of audio monitoring units, from the top-of-the-range PAMs to the simple to use MPA range.”

SAM-Q-NET will also offer MADI and loudness software options, which are available as part of the SAM-Q platform, allowing users to add functionality or repurpose the units as and when those features are needed. With a software-driven platform, TSL can provide regular updates, adding functionality to the unit over time to meet ever-changing user needs. 

TSL’s new SAM-Q-EDIT is an offline editing tool that allows systems’ designers and engineers to build configurations, apply modes, map sources and loudness probes, enter source names and control front panel interface settings while on the move. It streamlines operations as configurations are ready to load upon arrival at an event, reducing set up time and removing the need to build configurations through the front panel menus. Also, with a visual display of all unit parameters, users can easily view and edit configuration files created on a SAM-Q audio monitor, as well as view a readout of SAM-Q unit information for imported files. 

TSL will be in Booth C5420. For more information about the 2022 NAB Show, April 23-27, visit nabshow.com/2022

LONDON—In today’s IT-dominated world, with its increasing reliance on virtualization, it would be easy to assume that the physical audio monitoring unit (AMU) is becoming as archaic as the cathode ray tube. But while there is greater reliance on software, hardware is not completely out of the picture.

“Although over the longer term we envisage a gradual change from hardware to software solutions, currently the two go hand-in-hand and remain totally complementary to each other,” comments Kim Templeman-Holmes, vice president of sales and marketing at Wohler Technologies. A general mix of the two, he says, is still preferable, something reflected in Wohler’s current range of IP monitors. These, he explains, are “significantly more software reliant than our older products,” with representational state transfer [REST] infrastructure technology and APIs facilitating remote access and control.

Wohler’s main AMU range is the iAM (intelligent Adaptable Monitoring) Series, which includes the iAM-Mix, with its “straightforward” front panel controls, and the iAM-Audio, offering interactive touchscreens. The company’s most recent product is the iVAM1-1 audio-video monitor, which was due to ship in July.

A GRADUAL SHIFT

A new AMU that is a major advance from its manufacturer’s previous models is the TSL Products SAM-Q-SDI. Audio product manager Stephen Brownsill describes it as “80% software and 20% hardware,” adding it is “very different” to TSL monitors of the past.

“The whole industry has been undergoing a gradual shift from purely hardware solutions towards hardware and software and most recently to software only,” Brownsill says. “Using software presents opportunities for us to measure audio levels and visualize them in a variety of new ways. Sound engineers can now freely select different audio scales and set the appropriate audio reference level with ease.”

Nugen Audio produces a range of software-only systems for a variety of applications, including the VisLIM loudness meter. Product specialist Freddy Vinehill-Cliffe says there are “plenty of people who still use hardware loudness meters” but that, increasingly, sound engineers are recognizing the “convenience” of software-based units.

“The main draw is that there isn’t really a practical way to measure loudness faster than real time using hardware,” he explains. “Loudness is measured over time and small changes to a mix result in a full re-measure, which can take an hour. Software-based solutions have time-saving features like real-time loudness measurement and the history function.”

Vinehill-Cliffe says work to improve loudness measurement is “constantly ongoing.” This is shown by loudness featuring heavily in the ATSC Recommended Practice document Conversion of ATSC 3.0 Services for Redistribution and the (at the time of writing) forthcoming release of a revised version of the EBU R128 standard. Loudness standards are being updated so they can be more effective for high definition and streaming services.

TSL’s Brownsill says that new software-oriented AMUs can be easily upgraded to accommodate new algorithms. TSL has targeted this critical area by incorporating eight loudness probes into the SAM-Q-SDI, enabling it to measure eight separate programs simultaneously.

At Wohler, Templeman-Holmes says the company “tries to be ahead of the game on any technical revision or innovation” by reviewing either new standards being developed or any changes to existing guidelines. “To a large extent our customer base drives our development,” he says. “If there is sufficient demand we will develop a solution.”

AUDIO OVER IP

It would be fair to say that another example of this approach is how AMU companies have handled the increasing use of audio over IP (AoIP) in broadcasting for networking and connectivity. RTW already offers both the leading AoIP systems, Dante and RAVENNA, on its TouchMonitor TM7 and TM9 models and earlier this year added compatibility with SMPTE ST 2110. “It is the latest standard within audio and video over IP and we expect it to replace SDI solutions over time,” said RTW’s Senior Director of Product Management Mike Kahsnitz, when the announcement was made in April.

Brownsill says that, compared to ST 2022-6 and ST 2110, AoIP technologies are well established, giving the opportunity of “being able to create an audio network rather than relying on ‘point-to-point’ system architectures.” He adds that there are still issues with Dante and RAVENNA being proprietary formats, although the AES67 interoperability standard has made interconnection between them possible. “But until AoIP becomes dominant for transporting audio, AES3 and MADI will continue to have a future,” he adds.

Templeman-Holmes agrees that AoIP now accounts for a significant proportion of AMU sales but points out that “only a very small percentage” of orders do not feature other signal formats. “Analog is in heavy decline but most of our products continue to be ordered with a mix of AES3, MADI or SDI,” he says. “RAVENNA/AES67 and Dante demand continues to grow because of the ability to effectively and cheaply transport large number of audio channels.”

NEW REALITY FOR PRODUCTION

Another aspect of AoIP that is adding a new dimension to audio monitoring is the ability to network and interconnect over distances. This allows for remote working, which has become a necessity during the coronavirus crisis.

“With COVID-19, a great many customers have been forced to adopt different workflows, especially those involved in the live production of sporting events,” says Brownsill. “While remote production is nothing new for many of our customers, we are seeing that many of them have now accelerated their plans to adopt remote production as their new normal going forward.” To enable this, another of TSL’s main monitoring systems, the PAM-IP range, features three different control protocols: NMOS, Ember+ and an in-house designed API.

Nugen has taken a different approach by making all its post-production software compatible with iLok, allowing users to work with the systems on mobile devices or from home studios.

As for the future of audio monitoring in a broadcast world of ever more channels and platforms, the main manufacturers are keeping an eye on new or emerging standards and technologies. Wohler is not seeing any demand yet for ATSC 3.0 as a transmission standard but Templeman-Holmes says it already has products to monitor MPEG-2/4 and Dolby Atmos.

At TSL, Brownsill sees ATSC 3.0 “enabling more consumers to experience object-based audio formats such as Dolby Atmos over the air.” As a result SAM-Q features both Dolby Atmos and AC-4 monitoring capability.

From its humble roots as a moving coil meter, audio monitoring looks certain to carry on evolving and play a major role in ensuring that new broadcast formats work properly.

Audio metering and monitoring can be described as the ability to determine certain characteristics of the audio signal either aurally or visually. For example loudness measurements are accumulated over a period of time and variations in the audio may be difficult for the sound mixer to detect by ear over the control room speakers, but variances obtained by a LKFS meter are obvious.

Metering and monitoring tools can be differentiated by their functions and features. As an audio mixer I am concerned about quantitative and qualitative evaluation/measurements of the sound throughout a broadcast while during the set up, the sound supervisor and EIC (engineer in charge) are more interested in a technical evaluation/measurements for signal continuity and routing.

VISUAL REFERENCE

A visual reference is an invaluable tool in a chaotic OB van because an experienced sound mixer learns how to visually associate an image or graphical reference with the sound they hear. The visual reference may alert the mixer that there is a problem that they need to address.

Equally difficult is troubleshooting the digital audio path without the tools that measure the technical aspects of a digital audio stream. I witnessed someone meter an audio signal and pass along the signal chain that the audio sounded fine without listening to the signal—seeing sound and hearing noise. In this article we will look at visual reference audio monitors for both live and post-production broadcast audio from an audio point of view.

The audio management tools (metering, monitoring and mastering) used by a live production mixer are certainly different than the needs and tools used by a post-production sound mixer. In 2019, most live productions and post-produced audio content is produced on different types of mixing platforms. Noteworthy is that there seems to be movement toward mix surfaces that can perform virtually all audio requirements—ingest, mix, route, record and be used for both live and post-production application.

Qualitative measurements like spatial imaging and phase are significant considerations for all audio production, but conforming to broadcasters’ deliverables specifications for loudness and true peak across all mix formats is critical and mandated by law.

There are a variety of loudness tools that can be applied to an edit session to meet a content provider service’s requirements. Nugen, a U.K.-based provider of audio monitoring tools, offers software plug-ins for monitoring, metering and mastering tools used by audio post houses for drama and factual content.

Nugen supports native 7.1.2 and 5.1.4 audio processing and loudness parameters for advanced loudness control and dialog consistency. Its DynApt plug-in now comes standard with its Loudness Toolkit and after trying it out, I would say this feature is essential.

“DynApt is an optional extension for LM-Correct, which allows corrections with dynamic adjustments, not just linear adjustments,” said Freddy Vinehill-Cliffe, product specialist for Nugen. “This means the user can correct multiple sets of parameters simultaneously, and gives the extra option of narrowing the LRA [loudness range]. DynApt has a unique algorithm, which uses volume-riding and scene-change recognition to make transparent-sounding adjustments.”

During rendering, the software conforms the mix to the required loudness specification and prepares the content for delivery over a wide array of audio formats from mono to various immersive formats supporting up to 7.1.2. Nugen’s software can also down-process audio signals with its Halo Downmix feature that gives the audio mastering process new ranges for downmix coefficients, and a Netflix preset as well.

The Nugen Visualizer is a metering and monitoring tool that can be used as a plug-in during mastering and as a standalone program on another computer. The Visualizer analyzes qualitative characteristics of your audio that impact the clarity and value of your sound. Phase and frequency correlation impact the dynamics and spatial imaging of a mix and sometimes it is what you do not hear, like low frequencies, that pass through unheard that ruin a great mix. (Fig. 1)

Nugen’s metering, monitoring and mastering is usually accomplished in post-production, while live compliance and adjustments of the audio is at the end of the mixer’s fingertips.

MONITORING FOR LOUDNESS

Since live loudness compliance is dynamic and often manual, live mixing desk manufacturers like Lawo and Calrec include many audio measuring options and capabilities directly into the console for easy viewing and screening by the operator.

Meter and monitoring of the audio signals needs to be at the source—in the control room or OB—while loudness management and monitoring is probably centralized down stream.

Linear Acoustic, part of the Telos Alliance TV Solutions Group, has designed and built standalone boxes for loudness control and management for more than a decade. Linear’s AERO system is unique because it can be inserted at different points and locations in the audio signal flow—all the way back to the network operations center to manage the audio signal for loudness compliance. Linear Acoustic has a series of AERO platforms to host the AEROMAX processing loudness management, along with the new ARC platform that hosts their latest loudness management technology, APTO.

“The AERO or ARC unit performs the loudness control in real time, and this unit is usually further downstream from the OB van and production,” said Larry Schindel, senior product manager at Linear Acoustic. “The AERO can be at the network or local affiliate who inserts local content or advertising, and their output [content] must be compliant with loudness legislation.

Before encoding the content into Dolby Digital for transmission, the broadcaster can use any of the series of AERO processors to adjust loudness control, select whether upmixing or downmixing is required and enable loudness logging of the output signal, according to Schindel.

“The AERO processors also provide separate processing control for local inputs, allowing local affiliates to process their locally generated programming or advertisements separately from the network programs,” he said.

I have known Linear Acoustic since its inception because of their close work with NBC. Linear has designed and continues to design processors and devices that can up-produce or enhance and spatialize audio signal for surround (and immersive) sound.

For immersive, Schindel recommends the company’s UPMAX, which can be used to maintain the sound field regardless of the channel configuration of the incoming content and can also be used creatively to enhance the surround (immersive) sound field.

“Parameters in the upmixer can be adjusted to help shape the sound for the user’s tastes, such as whether the center channel sounds are routed hard center or spread a bit into other channels, or how far back into the surrounds to steer up-mixed content,” Schindel said. “The UPMAX can monitor the input signal and auto-detect whether upmixing is needed and native surround content will pass through unprocessed.”

Upmixing can be done at the OB van or at the network because there will always be a mix of legacy material with mono or stereo sound and it is important to maintain a consistent sound field image all the way through the chain to the consumer/listener, Schindel added.

Linear Acoustic is developing a unit that provides immersive up-processing from stereo or 5.1-channel surround sound, according to Schindel. During the immersive sound migration, there will long be a need for up-producing mono, stereo and surround sound in the audio signal chain.

GETTING FROM HERE TO THERE

Beyond audio fidelity, proper evaluation of sound in the broadcast environment can be a difficult process because circuit continuity and signal routing can take precedence over sound fidelity in a chaotic broadcast situation. Sometimes the sound production process accumulates noise and distortion along the way, something a skilled sound mixer or tonemeister might hear but a transmission technician might not.

The ability to see and hear a variety of sources and formats from SDI, AES, MADI and even analog—including audio configurations from stereo to multiple multichannel audio formats at critical points in the processing chain—is critical for the live broadcasting continuity, and accurate visual tools are essential.

TSL has designed and built tools to monitor and meter the data stream and continues to support SDI, MADI and IP digital formats with its new SAM-Q platform introduced at the 2019 NAB Show. SAM-Q has channel analysis configurations for up to 128 channels and includes a selectable sound reference over headphones and a small speaker in the rack unit to confirm sound not noise. Ease of monitoring and troubleshooting the routing and signal integrity is an evaluating factor in choosing a device or tool.

Metering, monitoring and controlling audio signals is a critical responsibility of the engineers, audio operators and technicians. Metering, monitoring devices and software are valuable tools for quick troubleshooting, but always remember these programs and boxes can let you look at a visual representation of the audio, but can never guarantee the quality of audio content, only an ear.

Dennis Baxter has spent over 35 years in live broadcasting contributing to hundreds of live events, including sound design for nine Olympic Games. He is the author of “A Practical Guide to Television Sound Engineering,” published in both English and Chinese, and is currently working on a book about immersive sound practices and production. He can be reached atdbaxter@dennisbaxtersound.comor atwww.dennisbaxtersound.com.

AMSTERDAM—TSL Products will have a focus on its audio offerings at this year’s IBC show, announcing that it will prominently feature a range of new modes for its SAM-Q audio monitors.

The SAM-Q monitors are designed to allow customers to control and visualize their audio content based on application, environment or personal preference. Having premiered at the 2019 NAB Show—and with the SAM-Q-SDI model now available for shipping—TSL Products will debut new modes of operation at IBC, including audio phase, loudness monitoring and peak latch modes.

In addition, TSL will demonstrate the new capability of adding MADI monitoring to the SAM-Q-SDI through a license, enabling SDI, AES, analog and MADI sources to be monitored and mixed simultaneously.

Another product that TSL plans to feature is the PAM-IP. The unit provides in-band, out of band and manual control methods for managing flow subscriptions with audio monitors. Status monitoring is provided on both the front panel and remotely using the PAM-IP webpage.

Updates to the MPA1 audio monitors will be showcased, including improved audio metering for the MPA1-SOLO-MADI and MPA1-SOLO-DANTE, and improved control capabilities for all MPA1 audio monitors.

TSL Products will be on displa\y at stand 10.B41 during IBC 2019.

NEW YORK—Like most everything else in our industry, the world of broadcast audio monitoring has undergone a rapid rate of change, particularly in the area of audio over IP. A year ago, it was still open to debate whether AES67 would become the de facto standard; that issue seems to be settled now.

Martin Dyster, vice president, Business Development - TV, The Telos Alliance, TV Solutions Group

“In the last 24 months manufacturers of different protocols have come together under the AES67 banner, which is very helpful,” said Martin Dyster, vice president of business development-TV at The Telos Alliance, TV Solutions Group. “Customers don’t have to go down one route exclusively; they can buy products from different manufacturers. And they play nicely together.”

Mark Davies, director of product management at U.K.-based TSL Products concurs. “We’re seeing consolidation around AES67,” he said, adding that “this brings a number of benefits, particularly in the area of interoperability. Dante and Ravenna products now both support a common format, AES67, allowing interoperability.”

SMPTE STANDARD
Davies points to the momentum surrounding the SMPTE 2110 standard for media transport over IP, which is close to completion and uses AES67 as the audio transport layer.

“From a technical standpoint, there are challenges; command and control abilities are separated from the audio essence, for example,” Davies said. “But as part of SMPTE 2110, these things can all be handled in metadata. It’s an application and experience thing, and AES67 has already gotten big traction in the U.S. radio market.”

Kirk Bradford at Renegade Labs is more cautious. “Many of our customers are looking into networked audio, including AES67, for the first time,” said the director of marketing for the Grass Valley, Calif.-based company.

Several months ago, Bradford surveyed the company’s distributors about how customers use networked audio. “What I found is that most customers have not started using networked audio in broadcast; it’s still in its infancy,” he said. “A few said it was being used but mainly in radio and some live applications.

“Our distributors did feel that the trend was moving towards this direction, but they believe that many customers are still in a ‘wait and see’ mode, trying to figure out what direction the industry is heading.”

Has the apparent consolidation around AES67 had any impact on the leadership position in networked audio that was established by Audinate’s Dante?

“When there were no alternatives, it was the well-respected leading provider,” said Davies, referring to Dante. “Their modules are reliable, solid, and Audinate has built a good market share. My feeling is that Hydra is in third place, Ravenna in second. But AES67 is not tied to any one manufacturer. Facility owners who are looking to build IP-based studios for the first time don’t want to be tied to a single manufacturer.”

Dyster believes that the field is wide open. “I don’t think Dante reigns supreme,” he said. “They have gotten on board with AES67, which is great. Media over IP is what’s happening in our industry, and we’re in a situation that parallels where we were when Dolby E came out with everyone looking at video product manufacturers to play catch up to audio. The movement towards video over IP means that audio is essentially playing second fiddle again. Unified device control and discovery with regard to video is likely to be considered what’s most critical; audio will follow.”

Mark Davies, director of product management at U.K.-based TSL Products

WILL AI KILL AUDIO MIXING AND MONITORING?
With artificial intelligence making inroads into industries worldwide, could intelligent audio monitoring systems eliminate the need for audio mixers in the broadcast industry, or significantly reduce their responsibilities?

“I think we believed [in the past] that a ‘set and forget it’ mentality would become the norm, but things haven’t turned out that way,” said Dyster. “There is still a great deal of passion when it comes to creating audio for broadcast. It’s an art form, and mixers want to tailor the experience for their audiences. There is some automated correction and monitoring, but it is certainly not universal at this time.

“Automated products have a place, but we’re not seeing them being invested in on a global scale,” Dyster added. “Automation can’t make a wide enough range of intelligent decisions, at least not yet.”

Bradford agrees. “I believe you are starting to see more software-based products that can perform a wide range of audio monitoring/QC on file-based workflows,” he said. “This methodology should move over to broadcast television, especially with networked audio. However, I do believe there will always be the need to do inline monitoring when problems arise.”

Jon Schorah, founder of Nugen Audio, says that the U.K.-based company—which specializes in loudness metering and correction—is seeing a move away from real-time processing. “Program loudness and dynamics are best addressed in post-production in the NLE or as a file-based process,” he said. “As this trend continues, most broadcast audio will already be loudness compliant and suitably dynamic, so monitoring increasingly becomes a case of identifying transmission errors, confirming compliance and detecting equipment failures.”

Schorah added that live broadcast audio is a case where real time monitoring is important. “Delivering a high-quality audio production in real-time remains the province of the skilled audio engineer,” he said. “Live events are by nature unpredictable and the best way to handle them is with an engineer responding to the event as the action unfolds, using intuition and experience to deliver the best audio possible.”

Immersive audio is another hot topic. Experiments with as many as two dozen small speakers designed to expand beyond the limits of 5.1 systems and bring ever more realistic audio to the home theater environment have been conducted in Japan and elsewhere over the last decade or so, but the verdict is out on whether home theater owners will gravitate towards this technology.

Still, Schorah believes we may be on the cusp of a new era.

“In the last 12 months, we have seen a surge of interest in immersive audio technology,” he said. “The initial demand was largely driven by film productions however, we are now seeing more and more interest from the television production community. Many post-production studios are now installing multispeaker arrays for immersive audio playback and providing access to 3D capable audio tools [such as our Halo Upmix plug-in] to meet the production demand, which has been a high priority.”