Cinegy will offer Linear Acoustic’s APTO loudness processing solution as part of its media asset management products.
Germany-based Cinegy GmbH will include Linear Acoustic loudness processing solutions in its asset management, ingest and playout software products as part of a strategic OEM agreement. The integration provides improved listening experiences for consumers across a range of media formats, while ensuring compliance with international requirements including EBU R128 regarding loudness levels in broadcast television content. The new combined products will be shown at the 2018 NAB Show.
Linear Acoustic’s APTO loudness processing solution monitors and adjusts auido levels of real-time audio streams and file-based assets. Its adaptive algorithm enhances the listening experience, improves dialog intelligibility, helps prevent listening annoyance and, while retaining the original sound quality and creative intent, provides uncompromised loudness consistency with full regulatory compliance across all platforms. Linear Acoustic APTO includes APTO.file for file-based processing and APTO.stream for real-time processing.
Markus Hintz, VP of Business Development at the Telos Alliance (parent to Linear Acoustic), said consumers are accessing content on a variety of devices and platforms, each with different volume parameters, from a growing list of media outlets. Linear Acoustic’s APTO will help Cinegy deliver high quality, compliant audio for all of its customer applications.
Cinegy’s product line includes media asset management, video ingest and software-based encoding, broadcast automation and playout, as well as production and archiving tools. Audio processing for the platform has been designed around Linear Acoustic’s unique form of real-time processing which is positioned in the final distribution path to control unwanted loudness changes and maintain compliance.
You might also like...
Digital audio interfaces were developed as a way of avoiding generation loss between devices.
The recursive filter has the advantage of using less hardware, but is more complex to understand.
Once the basic requirements for reproducing sound were in place, the most significant next step was to reproduce to some extent the spatial attributes of sound. Stereophony, using two channels, was the first successful system.
Having looked at how microphones are supposed to work, here we see that what happens in practice isn’t quite the same because the ideal and the actual are somewhat different.
There are two approaches to digital filtering. One is to implement the impulse response directly. The other is to use recursion. Here we look at the direct implementation.