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A slide used at the HPA conference in February said that Dolby AC-4 will be recommended as the ATSC 3.0 audio standard for the United States.
The standards committee for the Audio Engineering Society (AES) has created AES70, a new standard for the open control and monitoring of professional audio and AV media network devices.
The State-of-the-Art in loudness and dynamic control for live applications has brought ground-breaking transitions to pro-audio technology. A main driver of these changes has been the paradigm shift from voltage-based peak meters toward a performance metric: the introduction of loudness metering.
Connecting with the audience and hearing what people have to say about current issues - as well as getting expert opinion - is a major part of news, current affairs and even entertainment programming today. But like many techniques and technologies it is not an entirely new concept.
Using fiber optic links to interconnect RF for wireless microphones offers many benefits. Clean signals, much longer interconnect distances and easy build-out are among the advantages an RF-over-Fiber solution can bring.
Europe’s TV standards body DVB has taken a further step towards Ultra HD TV (UHD) commercial deployment by approving UHD-1 Phase 2 at a recent meeting of its Steering Board. This second phase of the UHD commercial requirements adds support for HDR (High Dynamic Range) and Higher Frame Rate (HFR).
It is all very well being able to quantify the volume of a signal, however, what is important is how loud it is perceived to be.
The choice between systems for ATSC 3.0 audio is now down to MPEG-H versus Dolby AC-4 and there is about equal support for each system. It’s now mired in politics within the committee, though a decision is due by the end of 2015.