linear acoustic
2008 tv technology – superior technology award – linear acoustic aeromax 5. 1 - xl
linear acoustic president and founder, tim carroll, gives a brief history of television audio .
audio engineers suggested investigating equipment from linear acoustic for a solution. after a lot of research and the evaluation of numerous products from several manufacturers, they have determined that linear acoustic’s aero. 100 dtv audio processor was the correct solution .
linear acoustic offers a comprehensive lineup of loudness measurement and control products to help you achieve calm and r - 128 compliance .
renowned linear acoustic loudness control and upmixing for compliance and viewer - pleasing quality, but with incredible cost - savings for pcm - only applications .
a compact and space - efficient 1ru loudness management platform for hosting linear acoustic® aeromax® processing, upmax® - ii upmixing / downmixing, dolby® coding, and nielsen® watermark encoding .
linear acoustic was founded in 2001 with the introduction of the octimax 5. 1 audio processor. with the onset of digital television came myriad problems involving loudness and digital audio control. linear acoustic turned their attentions to solving these problems at every stage of the digital audio chain and soon developed a product range that made digital broadcast sound and work as it should .
a 2ru loudness management platform with front panel controls and color display for hosting linear acoustic® aeromax® processing, upmax® - ii upmixing / downmixing, dolby® coding, and nielsen® watermark encoding .
newbay media’s tv technology magazine honored the telos alliance tv solutions group (tvsg) with a best of show award for its linear acoustic ams at the 2017 nab show held this week in las vegas. linear acoustic ams is a comprehensive solution for real - time authoring, rendering and monitoring of advanced audio programs for the atsc 3. 0 digital television system .
linear acoustic ams authoring and monitoring system is a comprehensive solution for real - time authoring, rendering, and monitoring of advanced audio programs for the atsc 3. 0 digital television system .
minnetonka audio and linear acoustic are both part of the foundation of the tv solutions group of the telos alliance. more information on the tv solutions group is available here. for general sales inquiries, contact inquiry @ urltoken. for television technical support, please e - mail support @ urltoken or call + 1 - 717 - 735 - 3611. to locate a dealer for linear acoustic or other telos alliance brands, visit the telos alliance dealer directory .
“we’re honored to be recognized by newbay media with a best of show award for our linear acoustic ams, ” saidjohn schur, president, the telos alliance tv solutions group. “we created ams to deliver the full vision of an advanced consumer audio experience for digital television. ”
ams is equipped with linear acoustic apto, the state - of - the - art loudness adaptation technology designed to carefully control audio levels in a way that preserves the transients, sonic image and artistic intent of the source, while ensuring loudness consistency and compliance for any desired target .
audio over ip (aoip) connectivity via livewire + / aes67 enables enterprise - wide audio access. audio from any video source can be put on the aoip network using a wide variety of livewire + / aes67 compliant devices available from linear acoustic, axia audio, and other 3rd party vendors .
linear acoustic has been the go - to manufacturer of processors and meters for television networks and local stations worldwide for more than a decade, but their products definitely have a place on the production side as well. the aero. 100 has proven to be an invaluable tool for them since then .
the linear acoustic ams offers a web interface, which controls the interactive features of mpeg - h offered to the viewer. the web interface allows viewers to build presets for different listening experiences, enabling viewers to personalize their sound experience for optimal playback on any platform, from mobile devices to immersive home theaters .
audio over ip (aoip) has been embraced by the radio side of broadcasting for many years where the myriad advantages of networked audio via the livewire + aes67 standard is well known. now, aoip is available for television audio thanks to linear acoustic aero. soft™. the linear acoustic sdi xnode de - embeds two separate hd / sd - sdi inputs, converts it to up to 16 channels of livewire + aes67 audio, makes it available for processing, upmixing, and encoding in the brand - new aero. soft processing engine, and then re - embeds the audio into two independent sdi outputs. this provides unmatched flexibility, scalability and channel density .
linear acoustic ams can be used in production to actively author and monitor metadata, or in other parts of the broadcast chain to monitor and validate audio streams containing a control track which were authored upstream. in both scenarios, ams is capable of outputting 15 - channels of discrete audio with a metadata control track, a 5. 1 - channel rendered output, 2 - channel rendered output, and a dedicated monitoring output, all simultaneously .
aero. 8000 runs on the new linear acoustic aero. 8000 processing engine hardware. each processing engine is capable of handling up to eight amx processing instances and 16 stereo pairs of aes67 / livewire i / o. the eight amx instances can be any combination of amx5. 1 (5. 1 + 2 + 2), amx2. 0 (2 + 2 + 2) or amx5x2 (2 + 2 + 2 + 2 + 2). all amx instances support sap / dvs, loro / ltrt downmix, local audio insertion, and optional audio description (warble tone) functionality. itu - r bs. 1770 - 3 or ebu r128 meters are present on each audio program output. linear acoustic crowd control™, which eliminates viewer complaints about “missing” or “hard to hear” dialogue, is now available for both 2. 0 - and 5. 1 - channel sources .
linear acoustic ams authoring and monitoring system is a comprehensive solution for real - time authoring, rendering, and monitoring of advanced audio programs for the atsc 3. 0 digital television system. the audio system in atsc 3. 0 provides listeners with a personalized, immersive audio experience using next generation audio (nga) technologies, including mpeg - h. ams simultaneously delivers advanced audio for atsc 3. 0 broadcasts and 5. 1 - / 2 - ch audio for atsc 1. 0 broadcasts .
among the many features that can be completed using the web interface are device configuration and status, monitoring control, input / output routing, audio mixing and object panning, loudness processing and more. linear acoustic ams also makes authoring an mpeg - h audio stream using the web interface as simple as assigning the 15 available mono inputs to the 10 available channel groups, providing full user control. additionally, the solution simultaneously delivers advanced audio for atsc 3. 0 broadcasts and 5. 1 / 2 - channel audio for atsc 1. 0 broadcasts .
the ams web interface controls the interactive features of mpeg - h offered to the viewer. using smart metadata and linear acoustic apto loudness control, ams facilitates easy audio mixing and authoring operations, even in the most demanding production scenarios. individual audio elements are combined with user specified metadata to create immersive and personalized audio programs for the viewer. the ams web interface allows the authoring engineer to easily control the interactive features of mpeg - h offered to the viewer, and build presets for different listening experiences. this enables viewers to personalize their sound experience for optimal playback, from mobile devices to immersive home theatres .
in 2010, linear received a technical emmy® for
the pioneering development of an audio / metadata processor for conforming audio to the atsc standard ,
and has provided upmixing, loudness metering, encoding products, and technical support for nbc’s coverage of the 2008 bejing summer games, the 2010 vancouver winter games, the london 2012 summer games, the 2014 sochi winter games, and most recently, the 2016 summer games in rio .
for three decades, the brands of the telos alliance have revolutionized radio and television by pioneering disruptive, cutting - edge audio technology with the goal of helping global networks and local stations produce better programming, improve audience engagement, and bolster ratings. the telos alliance is made up of six brands—telos ® systems, omnia ® audio, axia ® audio, linear acoustic ®, 25 - seven ® systems, and minnetonka™ audio—that raise the bar for quality and innovation in the radio and television industries. the telos alliance invented audio over ip for broadcast and contributed time and resources to the effort that led to the aes67 standard. headquartered in cleveland, ohio, usa, with additional offices and dealers around the world, the telos alliance offers an industry - leading five - year warranty, and backs users' critical on - air needs with worldwide 24 / 7 round - the - clock support for all customers .
fighting ignorance since 1973. (it' s taking longer than we thought. )
just when i get the tv volume adjusted to the optimum level, a commercial comes on and rattles the house like a sonic boom. who' s the einstein who decided i should listen to commercials at a level loud enough to rupture my eardrums ?
rick graydear cecil: for as long as i can remember, home theater has had the same problem, namely, while the parts of a movie or tv show full of explosions are loud enough to strip varnish off a coffee table, dialogue at the same volume is barely comprehensible because it' s too damn quiet. thus you either have to constantly adjust the volume or resign yourself to the possibility of permanent ear damage every time you watch an action movie. what' s the deal? dan rosenbluth
several audio techniques are at work here, two of which, interestingly, work in opposite ways. but the motive is the same: noise sells .
viewers have complained about loud tv commercials since the 1950s but advertisers paid no heed, figuring people couldn’t ignore your message if you screamed it in their ears. in the 1960s the fcc began warning broadcasters to lower the volume but made no serious attempt at regulation, and industry efforts to self - police didn’t accomplish much either .
things got worse in the era of digital tv, with improved technology greatly increasing the range of discernible sound volume, better known as dynamic range. eventually congress stepped in, passing the commercial advertisement loudness mitigation (calm) act in 2010. the law directed the fcc to set advertising loudness standards for broadcasters, cable operators and other video distributors. by december 13, 2012, a commercial’s average sound level must be the same as the average loudness of the surrounding programming. the idea is that once you get the tv volume adjusted to a comfortable level you won’t risk having your eardrums ruptured by a sales pitch .
human ingenuity being what it is, the new rule may not entirely solve the problem. imagine a commercial skillfully interweaving tranquil footage of bunnies and butterflies with equal intervals of air raid siren - level noise. on average, the result is 100 percent fcc compliant. improved tv technology works both ways, however. check your owner’s manual to see if you have a function called automatic gain control, audio compression, or peak limiting. if you do, and you have the moxie to navigate through the byzantine array of menus and options on the average tv, they’ll enable you to control the peak noise level. my assistants una and fierra discovered their five - year - old television had two of the aforementioned options, so there’s a decent chance yours might too .
that brings us to the related problem of loud movies. increased dynamic range during regular programming was designed to enhance the vividness of the home theatre experience by reproducing the gamut of sounds you experience in real life. unfortunately for your hearing, the approximation of real life favored by hollywood tends to fixate on the whispers of the bedroom on the one hand and battling robots on the other .
action movies are particularly problematic. audio researchers found that whereas a typical episode of the sitcom friends had a nontaxing dynamic range of 6. 6 “loudness units, ” the 1999 film the matrix had a range of 25 units. the eruption of noise during the matrix ‘s action sequences is part of its charm, of course, but such extreme dynamic range pushes the limits of what even the most sophisticated home system can reproduce, making it virtually impossible to find a comfortable volume level .
once again, though, technology is your friend. the dolby 5. 1 system, for example, includes a “midnight mode” that compresses the dynamic range, lowering the sound peaks and raising the valleys to make a concussive soundtrack more listenable .
but here’s the surprising part. where the movie industry uses increased dynamic range to make more noise, the music industry uses dynamic range compression to do the same thing. dynamic compression is a major weapon in what’s been called the “loudness war, ” the steady increase in the volume of rock and pop music. going back at least to phil spector’s “wall of sound, ” music producers and engineers have always been trying to make their records sound bigger and more exciting than the competition’s, and one way of getting a song to jump off a jukebox is simply to make the recording itself louder .
because you can only turn the sound up so far before it becomes distorted, it eventually became standard practice to compress the dynamic range while cranking the gain until the song was uniformly loud — never mind the loss of sound quality. since the mid - 1980s the average loudness of cds has increased by a factor of 10, a trend if anything exacerbated by the shift to mp3 players. how better to make a track really pop in shuffle mode than to torque its effective volume? thus the curious paradox: a century of technological progress has culminated in popular recordings with less dynamic range than an edison phonograph cylinder of 1909 .
advertise on the straight dope! your direct line to thousands of the smartest, hippest people on the planet, plus a few total dipsticks .
fusion aoip mixing console iq aoip mixing console radius 8 - fader aoip mixing console desq compact desktop ip - audio console raq rack - mount ip - audio console powerstation integrated console engine studioengine dsp mixing engine qor. 32 integrated console engine qor. 16 integrated console engine
aero. 2000 - audio / loudness manager aero. 100 - dtv audio processor aero. 10 - dtv audio processor aero. 8000
surcode for dolby pro logic ii surcode for dolby digital plus 5. 1 encoder for adobe premiere pro cc surcode for dolby digital plus for avid surcode for dolby e surcode for dolby digital 5. 1 standalone surcode encoder for dts - hd for compressor surcode for dts dvd / cd
the sdi xnode brings hd / sd - sdi signals into the axia livewire aoip (audio over ip) domain for use in audio processing or other applications .
enterprise - wide audio and loudness management deployed on a dedicated aero. 8000 processing engine, featuring the same algorithms as aero. 100 / 1000 / 2000 .
comprehensive itu - r bs. 1770 and ebu r128 loudness and peak level metering and logging for eight channels (5. 1 + 2) plus downmix via aes or hd - sd / sdi audio .
drawing upon the success of its predecessors, upmax v4 - d produces engaging 5. 1 - channel audio from two - and three - channel sources with ease and seamlessly transitions between discrete and upmixed audio .
a portable, handheld diagnostic tool that can monitor and generate dolby digital, dolby digital plus, dolby e, and pcm bitstreams anytime, anywhere .
using aero. 10 / 100 / 2000 / soft to create a ‘cleared’ feed .
an explanation of audio metadata, including a look at dialog level (dialnorm), dynamic range control (drc), and downmixing .
a more in - depth look at how audio metadata is created and distributed .
getting audio into the plant, moving it around, and encoding it in preparation for distribution .
what happens to the audio as it leaves the plant and gets to the viewer .
a detailed explanation of how audio coding works, both technically, and in relation to human hearing .
how the major terrestrial networks distribute multi - channel audio to their affiliate stations .
a closer look at how different networks have chosen to get their audio to the affiliates .
a high - level look at the status of multi - channel audio at the major networks .
now! puts the latest broadcast audio technologies from the telos alliance in your hands .
html public
- / / w3c / / dtd xhtml 1. 0 transitional / / en
urltoken
rep. anna eshoo, left, introduced the calm act in the house in june 2008. … (j. scott applewhite / associated… )
calm act, the commercial advertisement loudness mitigation law, which limits the volume of tv commercials, took effect thursday. it requires broadcasters to ensure that tv commercials maintain the same volume as the entertainment programming in which they are contained .
the legislative effort was begun more than four years ago by rep. anna g. eshoo (d - menlo park), who was blasted by blaring ads on tv during a family holiday gathering .
“this has been a top consumer complaint for decades, ” eshoo said during a news conference thursday in washington. “i never dreamed that this would strike the chord that it did with the american public. ”
it would seem like an easy enough fix for broadcasters, but turning down the volume turned into a frustrating odyssey for lawmakers and regulators. the solution required a convention of engineers from around the world, rewriting broadcast standards and advances in audio technology. tv stations and cable and satellite tv operators have spent the last two years upgrading their equipment to better detect sound fluctuations .
normal listening levels are about 70 decibels for a television show, but levels can vary. the switch to digital television in 2009 made the problem worse because the higher fidelity sound made the commercials seem even louder, industry officials said .
sound metering equipment long used by broadcasters was not sensitive enough to discern fluctuations in volume .
“the old type of meter measured volts. they were just looking for technical indications of loudness, and those indications did not always relate to human perception, ” thomas lund, a development manager of denmark' s tc electronic, said in a telephone interview. “levels and loudness are not always the same. ”
for example, high levels of sound for sustained periods come across to the ear as louder than for short duration. the old meters, lund said, did not measure that dimension of sound .
“the people who were creating the commercials learned how to exploit the meters and fly below the radar, ” lund said. the result: blaring ads .
the calm legislation marked an unusual case study of bipartisan support in washington. rep. eshoo introduced a one - page bill called the calm act in the house in june 2008. two years later, a companion bill authored by sen. sheldon whitehouse (d - r. i .) unanimously passed the senate .
in december 2010, the house passed the legislation and president obama signed the bill into law on dec. 15, 2010. the federal communications commission adopted its rules implementing the law a year ago, and provided a yearlong grace period so that stations could install the new equipment .
viewers can report super - loud commercials to the fcc on the agency' s website or by calling 1 - 888 - tell - fcc (1 - 888 - 225 - 5322) .
hugh hefner will like the calm act. other boomers? maybe ...
cable industry needs to stop its noise over law on loud tv ...
processing instances (at least one is required) providing real time adaptive wideband and / or multiband processing including an advanced itu limiter. output levels are consistent and compliant without compromising audio quality .
our hollywood - approved upmax ® - ii upmixing / downmixing algorithm creates engaging 5. 1 - channel audio from 2 - channel sources and provides a downmix that is nearly indistinguishable from the original source .
available configurations for each instance include amx5. 1 (one 5. 1 channel and two 2 - channel processing engines), amx2. 0 (three 2 - channel processing engines, one with 5. 1 - channel downmixing) and amx5x2 (five 2 - channel processing engines). flexible signal routing is provided for main and secondary audio programs plus eas and local emergency audio insertion .
designed and built in the usa, the aero. 100 platform itself supports 8 audio pairs via sdi i / o with sdi video delay and 4 pairs via aes. failover bypass relays maintain signal continuity and dual auto - ranging power supplies enable redundancy and worldwide compatibility .
the included nfremote software provides comprehensive control over system settings and processing parameters remotely from any pc including access to the built - in http server for automated control or retrieval of loudness logs .
provides control over all system settings, processing and coding parameters plus extensive metering of signal presence, processing and coding activity, and audio loudness. system status reports physical i / o details along with system, power supply and environmental health. the remote application also delivers remote audio, up to 5. 1 channels, to the user so that signal quality can be auditioned anywhere link bandwidth permits. http server is also included for simple get / set control of all parameters and status .
generates revenue - critical nielsen naes ii and the new nielsen watermark audience measurement codes. aero. 100 precisely inserts these signals for maximum code recovery after audio decoding and processing and before transmission encoding .
- ii 2 - channel to 5. 1 - channel upmixing / downmixing with automatic detection and automatic downmix replacement
eight main inputs plus reference via 75 - ohm bnc female connectors. eight main outputs plus encoder output. all digital inputs are 75 ohm internally terminated, unbalanced. signal levels per smpte
auto - sensing hd / sd - sdi (smpte 292m / 259m) inputs, up to 1080i / 60 / 59. 94 / 50hz. de - embed up to 16 channels from applied sdi signal, process and / or encode, re - embed up to 16 channels. supports smpte 2020 a and b vanc metadata
9 - pin female d connector; 115. 2 kbps; pinout per smpte 207m (rs - 485); designed to directly interface with dolby serial metadata (smpte rdd6 )
windows® - compatible tcp / ip remote control included application for full setup and control, itu - r bs. 1770 metering for all programs, encoder statistics, and return audio for remote monitoring (network speed permitting). http server allows get / set control from pc
dual power supplies, each rated at 100 - 264 vac, 50 / 60hz, auto - sensing, 150w max. total
net weight: 15 lbs. (6. 80 kg), approximate .
north america: fcc and ce tested and compliant, power supply is ul approved .
europe: complies with the european union directive 2002 / 95 / ec on the restriction of the use of certain hazardous substances in electrical and electronic equipment (rohs), as amended by commission decisions 2005 / 618 / ec, 2005 / 717 / ec, 2005 / 747 / ec (rohs directive), and weee .
aero manual addendum 3. 15. 26 and 3. 16. 02 - snmp
aero manual addendum 3. 15. 26 and 3. 16. 02 - latency
hybrid dynamic range and loudness control with advanced itu limiter provide set - and - forget compliance and viewer - pleasing quality while included features deliver incredible cost - savings .
watermark encoding, and the ability to add a second processing instance are not required .
standard configurations are your choice of either a 5. 1 + 2 + 2 or 2 + 2 + 2 channel configuration; a 2 + 2 + 2 + 2 + 2 channel configuration is optional .
available in either a 5. 1 + 2 + 2 or 2 + 2 + 2 channel configuration, or optionally, in a 2 + 2 + 2 + 2 + 2 channel configuration for processing up to 5 stereo programs
highest quality industry standard audio control has never been more affordable. aero. 10 is a fully - featured audio processor supporting up to ten channels of audio and featuring a processing engine identical to those in the aero. 100 / 1000 / 2000 products. tools such as loudness and dynamic range control, upmixing, downmixing, plus itu and ebu compliant loudness metering and logging makes the aero. 10 an extremely powerful solution for nearly any application at an extremely low cost .
to this, the aero. 10 adds a simple lcd front panel gui and stereo analog i / o. the headphone output has been designed to provide plenty of level even for difficult loads or quiet sources and is useful for checking audio or adjusting processing .
new with aero. 10 is the addition of stereo analog inputs and outputs which serve to support facilities amidst transition from analog to digital as well as interface with any analog device or signal path .
comprehensive tcp / ip remote provides control over all system settings and processing parameters plus extensive metering of loudness. system status reports physical i / o details along with system, power supply and environmental health. the remote application also delivers remote audio, up to 5. 1 channels, so the user can audition signal quality anywhere link bandwidth permits. an http server is also included for simple get / set control of all parameters and retrieval of status and logging information. constantly active logging captures 7. 5 day rolling weekly reports as well as specific time slots controlled by start / stop. loudness with multiple integration times as well as true peak measurements are captured and available for download .
designed and built in the usa, the lightweight and rugged single rack - unit aero. 10 is a solid investment in performance and flexibility. though all current features are standard, future options can be enabled by simply entering a factory provided key. failover bypass relays on all i / o maintain signal continuity and dual auto - ranging power supplies enable redundancy and worldwide compatibility .
available in either a 5. 1 + 2 + 2 or 2 + 2 + 2 channel configuration with local / eas insertion, or optionally in a 2 + 2 + 2 + 2 + 2 channel configuration for up to 5 stereo programs .
dual upmax ii two - channel to 5. 1 channel upmixers plus main channel downmixing, automatic bypass of discrete content (in 5. 1 + 2 + 2 configuration, downmix only in 2 + 2 + 2 processing configuration )
auto - sensing hd / sd - sdi (smpte 292m / 259m) inputs, up to 1080i / 60 / 59. 94 / 50hz, access to audio and vanc metadata
dual power supplies, each rated at 100 - 264 vac, 50 / 60hz, auto - sensing, 100w max. total
one rack unit - 1. 75”h x 19”w x 15. 5”d (44 x 483 x 394 mm) net weight: 9 lbs (4 kg); shipping: 12 lbs
fan cooled. operating: 0 to 50 degrees c, non - operating –20 to 70 degrees c .
aero. 8000 is enterprise - wide audio and loudness management software for high - density applications featuring the trusted aeromax® adaptive wideband and multiband, multistage, itu - compliant, loudness control algorithm. an advanced itu limiter (ai) and itu bs. 1770 - 3 metering guarantees fast, accurate and measureable compliance with atsc and ebu r - 128 loudness recommended practices while maintaining the highest possible audio quality .
upmixing is provided by the hollywood - approved upmax® ii algorithm which delivers engaging 5. 1 - channel audio from two - channel sources. automax™ detection and switching between 2. 0 and 5. 1 surround sources makes full time 5. 1 surround output easy to achieve with viewer - pleasing results .
dolby® digital, dolby digital plus, and dolby e decoding and encoding are optionally available for each amx instance as is nielsen® watermark encoding for amx5. 1 and amx2. 0 instances .
an included comprehensive tcp / ip remote control application provides control over all system settings, processing and dolby digital coding parameters, per - channel signal presence, and loudness metering from any windows pc. multiple logs of lkfs loudness values, true peak, and dolby dialnorm and acmod values are provided for each program output. the remote control application also delivers remote audio monitoring so the user can audition signal quality anywhere link bandwidth permits. an http server is also included for log retrieval and provides control of all parameters and retrieval of status via network commands .
very high channel capacity software runs real - time on aero. 8000 processing engine
upmax ii automatic upmixing and downmixing with automax 5. 1 surround / 2. 0 detection and switching
extensive remote gui over ip control enables metering, control, and local audio monitoring (up to 5. 1 channels )
since 2003, broadcast facilities have been using axia livewire aoip (audio over ip) technology to route hundreds of audio channels using standard ethernet switches, cables, and other components. with thousands of devices on the air every day, reliability is proven .
livewire is lightning fast, simple to implement, easy to manage, and now as livewire +, fully compliant with the aes67 standard and ready to incorporate new standards as they are developed. it significantly reduces the number of cables and wires needed to transport and share audio throughout the broadcast plant .
nearly any audio source – analog or aes, and now sdi – and myriad equipment from phone systems to codecs to satellite receivers – can be a part of the aoip network .
aeromax multistage adaptive wideband and multiband loudness and dynamic range control with itu - r bs. 1770 - 3 loudness metering
upmax ii two - channel to 5. 1 channel upmixing and downmixing, automatically bypasses discrete content
aero. air user guide (software v1. 16. 02 and later )
aero. air user guide (software v1. 18. 01 2u and later )
aero. air user guide (software v1. 23. 01 2u and later )
aero. lite aero. lite manual (software v0. 00. 10 )
aero. qc aero. qc manual (software v1. 00. 00 and later )
frame synchronizer (la - 5448) la - 5448 manual (software v1. 00. 21 and later )
metamax (la - 5180) la - 5180 manual (software v00. 00. 33 and later )
upmax: neo (la - 5190) upmax: neo user guide (software v00. 57 and later )
authoring an mpeg - h audio stream using the web interface is as simple as assigning the 15 available mono inputs to the 10 available channel groups. from defining music beds, identifying independent objects, or grouping objects to be switched by the user, full control is available .
the telos alliance xnode family of aoip devices offer optional analog, aes / ebu, gpio logic, and sdi i / o, all with full livewire + aes67 audio over ip support .
telos alliance sdi xnodes can de - embed 3g / hd / sd - sdi inputs, extracting up to 16 channels of audio to the livewire + aes67 port. the audio can be re - embedded into the sdi output stream with full video delay compensation for each sdi input, ensuring that audio video synchronization is maintained .
using the web interface, up to 36 outputs may be configured, including 16 channels of authored audio plus control channels, up to 12 channels for monitoring, and two additional sets of output channels for rendered broadcast outputs .
- ii upmixing / downmixing algorithm creates engaging 5. 1 - channel audio from 2 - channel sources and provides a downmix that is nearly indistinguishable from the original source .
designed and built in the usa, the aero. 2000 platform itself supports 8 audio pairs via sdi i / o with sdi video delay and 8 pairs via aes. failover bypass relays maintain signal continuity and dual auto - ranging power supplies enable redundancy and worldwide compatibility .
front panel controls, color display, and headphone output offer the ability to monitor and adjust the unit locally while the included nfremote software provides comprehensive control over system settings and processing parameters remotely from any pc including access to the built - in http server for automated control or retrieval of loudness logs .
capable of hosting one or two aeromax® processing instances in amx5. 1, amx2. 0 or amx5x2 configurations
provides control over all system settings, processing and coding parameters plus extensive metering of signal presence, processing and coding activity, and audio loudness. system status reports physical i / o details along with system, power supply and environmental health. the remote application also delivers remote audio, including 5. 1 channels, to the user so that signal quality can be auditioned anywhere link bandwidth permits. the built - in http server provides for simple get / set control of all parameters and status .
generates revenue - critical nielsen naes ii and the new nielsen watermarks audience measurement codes. aero. 2000 precisely inserts these signals for maximum code recovery – after audio decoding and processing and before transmission encoding .
48khz via aes dars (or any aes signal applied to the ref in connector), aes in 1, sdi, or from the internal 48khz clock (standalone use only) .
eight main inputs plus reference via 75 - ohm bnc female connectors. eight main outputs plus encoder output. eight additional channels of auxiliary digital i / o on db - 25 female connector. all digital inputs are 75 ohm internally terminated, unbalanced. signal levels per smpte 276m / aes - 3id - 2001 .
auto - sensing hd / sd - sdi (smpte 292m / 259m) inputs, up to 1080i / 60 / 59. 94 / 50hz. de - embed up to 16 channels from applied sdi signal, process and / or encode, re - embed up to 16 channels. supports smpte 2020 a and b vanc metadata .
1 / 4’’ (6. 35mm) front panel connector with volume control .
9 - pin female d connector; 115. 2 kbps; pinout per smpte 207m (rs - 485); designed to directly interface with dolby serial metadata (smpte rdd6) ethernet
gigabit ethernet via rj45 supports included tcp / ip remote control application; http server included for get / set control of all parameters .
windows® - compatible tcp / ip remote control included application for full setup and control, itu - r bs. 1770 metering for all programs, encoder statistics, and return audio for remote monitoring (network speed permitting). http server allows get / set control from pc front panel controls and indicators .
net weight: 13 lbs. (5. 9 kg), approximate .
net weight: 18 lbs. (8. 2 kg), approximate .
our aero™ series of transmission audio loudness managers includes aero. 2000™, aero. one®, aero. lite™, aero. mobile™ and the flexible high - density aero. 1000™ loudness platform .
the lq - 1000™ loudness quality monitor, lq - 1™ loudness meter and lambda™ digital audio and metadata monitor allow you to carefully and conveniently monitor audio, loudness level, and metadata throughout your station .
in addition, upmax™ produces completely downmix - compatible 5. 1 channel audio from 2 channel audio sources, while the la - 5269™transcoder represents the ultimate in transcoding versatility .
call us at (352) 622 - 7700. we are always happy to help !
we have access to a large variety of products. send us your request and will confirm we can quote your request within 24hrs .
each of our brands excel in their own areas and are frequently recognized by organizations within the industry. here is a look at some of the awards and honors that they have received :
2010 broadcast engineering award ibc 2010 – broadcast engineering pick hit award – aero. file
2000 16th annual technical excellence & creativity awards - minnetonka audio mx51 v2. 0 - nominated for computer software and peripherals - outstanding technical achievement
newbay media’s best of show awards are evaluated by a panel of engineers and industry experts, and are selected based on innovation, feature set, cost efficiency and performance in serving the industry .
gbs alliance is an authorised distributor and system integrator for several international reputable brands in the am / fm / sw / tv broadcast equipment market .
has had a significant impact on broadcasters, as they now have to pay closer attention to their audio levels. however, compliance regulations have also reinforced the importance of correct audio levels to content creators and production houses as well .
most post - production company have already increased their attention towards audio, making sure that the content created is not only engaging, but also loudness - compliant. that focus has not been without its challenges .
this is relatively new ground for most people and companies of the broadcast chain. for many years, emphasis has been primarily on video, not audio, but nowadays, it’s not uncommon to see some pretty inconsistent audio levels between different programs, and even within a single piece of content. this has been a pondering issue for the industries .
a much needed audio measurement and processing device with sdi i / o, a good user interface and the ability to produce compliant audio with an emphasis on audio quality. that’s where the aero. 100 really stands out. the processed audio from it is not only compliant, but also is top - notch in quality, providing compelling and clear audio for the viewers at home .
among the more useful features of the aero. 100 in common application are the built - in itu - r bs. 1770 lfks meters. content runs though the unit without processing it, just to measure the levels. there are four separate meters, each with a user - selectable integration time, so they can look at short - term dynamics and the mid - and long - term averages at the same time. this lets the production crews identify exactly where the content is inconsistent or non - compliant, they can use aero. 100 processing to bring everything into compliance for their clients thus allowing them to facilitate their client’s needs with complete confidence.
linear acoustic is an american company based in lancaster , pennsylvania that develops technology and manufacturers equipment used by television stations , cable television and satellite television services providers , post-production facilities and other content services providers to control , measure , manage and monitor multi-channel digital audio . the company has been especially active in areas related to automated upmixing and downmixing of multichannel broadcast audio , and with issues related to relative loudness of broadcast audio . the company was founded in 2002 by tim carroll , who had previously worked as product manager for the professional audio division of dolby laboratories in san francisco . while at dolby , carroll contributed to the development of dolby digital ( ac-3 ) and dolby e encoding systems for dvd and high-definition television ( hdtv ) applications . christina carroll is the vice president and executive director of linear acoustic and is responsible for managing day-to-day company operations . the company ’s products can be broadly broken down into three categories : loudness controllers designed to help television broadcasters maintain consistent audio levels ; monitors and meters that measure digital audio levels , including loudness ; and stand-alone encoding and transcoding products for handling the various data compression technologies commonly found in digital television plants . the subject of controlling loudness in television broadcasts has garnered considerable publicity since the fcc moved to implement enforcement of the commercial advertisement loudness mitigation or calm act on december 13 , 2012 . while consumer complaints about overly loud television commercials are almost as old as the medium itself , the calm act began as legislation was first sponsored by representative anna eshoo , a democratic congresswoman in california , in 2008 . the law was passed in 2010 and went into full effect in 2011 and 2012 . the linear acoustic aero line of audio processors effectively measures and manages shifts in loudness and controls discrepancies between program and commercial audio without unnecessarily degrading the quality of the audio or significantly affecting the dynamic range that adds impact to digital television audio . when used in combination with a meter capable of measuring loudness by the itu-r bs .1770 standard ( or derivatives of this standard , such as ebu r128 ) u.s. broadcasters will be able to achieve calm compliance by effectively managing and monitoring audio levels . linear acoustic also manufacturers the upmax 5.1-channel upmixer , which creates multi-channel surround sound audio from 2-channel ( stereo ) sources . nbc utilized this product during the 2008 beijing summer olympics , and relied upon the company ’s aero.qc products during the 2010 vancouver winter olympics . in 2008 , linear acoustic became part of the telos alliance , based in cleveland , ohio . the telos alliance comprises telos systems , axia audio , omnia audio , and 25-seven systems that manufacture broadcast telephone systems , consoles and audio over ip gear , audio processors , and audio time management hardware for radio stations . frank foti , founder of omnia audio , is the telos alliance ceo . at the 2012 nab show in las vegas , linear acoustic announced a co-branding agreement with dolby laboratories under which the company will manufacture stand-alone dolby-centric professional products such as audio codecs and audio bitstream test tools . 
linear acoustic is an american company based in lancaster, pennsylvania that develops technology and manufacturers equipment used by television stations, cable television and satellite television services providers, post-production facilities and other content services providers to control, measure, manage and monitor multi-channel digital audio. the company has been especially active in areas related to automated upmixing and downmixing of multichannel broadcast audio, and with issues related to relative loudness of broadcast audio. the company was founded in 2002 by tim carroll, who had previously worked as product manager for the professional audio division of dolby laboratories in san francisco. while at dolby, carroll contributed to the development of dolby digital (ac-3) and dolby e encoding systems for dvd and high-definition television (hdtv) applications. christina carroll is the vice president and executive director of linear acoustic and is responsible for managing day-to-day company operations. the company ’s products can be broadly broken down into three categories: loudness controllers designed to help television broadcasters maintain consistent audio levels; monitors and meters that measure digital audio levels, including loudness; and stand-alone encoding and transcoding products for handling the various data compression technologies commonly found in digital television plants. the subject of controlling loudness in television broadcasts has garnered considerable publicity since the fcc moved to implement enforcement of the commercial advertisement loudness mitigation or calm act on december 13, 2012. while consumer complaints about overly loud television commercials are almost as old as the medium itself, the calm act began as legislation was first sponsored by representative anna eshoo, a democratic congresswoman in california, in 2008. the law was passed in 2010 and went into full effect in 2011 and 2012. the linear acoustic aero line of audio processors effectively measures and manages shifts in loudness and controls discrepancies between program and commercial audio without unnecessarily degrading the quality of the audio or significantly affecting the dynamic range that adds impact to digital television audio. when used in combination with a meter capable of measuring loudness by the itu-r bs .1770 standard (or derivatives of this standard, such as ebu r128) u.s. broadcasters will be able to achieve calm compliance by effectively managing and monitoring audio levels. linear acoustic also manufacturers the upmax 5.1-channel upmixer, which creates multi-channel surround sound audio from 2-channel (stereo) sources. nbc utilized this product during the 2008 beijing summer olympics, and relied upon the company ’s aero.qc products during the 2010 vancouver winter olympics. in 2008, linear acoustic became part of the telos alliance, based in cleveland, ohio. the telos alliance comprises telos systems, axia audio, omnia audio, and 25-seven systems that manufacture broadcast telephone systems, consoles and audio over ip gear, audio processors, and audio time management hardware for radio stations. frank foti, founder of omnia audio, is the telos alliance ceo. at the 2012 nab show in las vegas, linear acoustic announced a co-branding agreement with dolby laboratories under which the company will manufacture stand-alone dolby-centric professional products such as audio codecs and audio bitstream test tools.
linear acoustic is an american company based in lancaster, pennsylvania that develops technology and manufacturers equipment used by television stations, cable television and satellite television services providers, post-production facilities and other content services providers to control, measure, manage and monitor multi-channel digital audio. the company has been especially active in areas related to automated upmixing and downmixing of multichannel broadcast audio, and with issues related to relative loudness of broadcast audio. the company was founded in 2002 by tim carroll, who had previously worked as product manager for the professional audio division of dolby laboratories in san francisco. while at dolby, carroll contributed to the development of dolby digital (ac-3) and dolby e encoding systems for dvd and high-definition television (hdtv) applications. christina carroll is the vice president and executive director of linear acoustic and is responsible for managing day-to-day company operations. the company ’s products can be broadly broken down into three categories: loudness controllers designed to help television broadcasters maintain consistent audio levels; monitors and meters that measure digital audio levels, including loudness; and stand-alone encoding and transcoding products for handling the various data compression technologies commonly found in digital television plants. the subject of controlling loudness in television broadcasts has garnered considerable publicity since the fcc moved to implement enforcement of the commercial advertisement loudness mitigation or calm act on december 13, 2012. while consumer complaints about overly loud television commercials are almost as old as the medium itself, the calm act began as legislation was first sponsored by representative anna eshoo, a democratic congresswoman in california, in 2008. the law was passed in 2010 and went into full effect in 2011 and 2012. the linear acoustic aero line of audio processors effectively measures and manages shifts in loudness and controls discrepancies between program and commercial audio without unnecessarily degrading the quality of the audio or significantly affecting the dynamic range that adds impact to digital television audio. when used in combination with a meter capable of measuring loudness by the itu-r bs .1770 standard (or derivatives of this standard, such as ebu r128) u.s. broadcasters will be able to achieve calm compliance by effectively managing and monitoring audio levels. linear acoustic also manufacturers the upmax 5.1-channel upmixer, which creates multi-channel surround sound audio from 2-channel (stereo) sources. nbc utilized this product during the 2008 beijing summer olympics, and relied upon the company ’s aero.qc products during the 2010 vancouver winter olympics. in 2008, linear acoustic became part of the telos alliance, based in cleveland, ohio. the telos alliance comprises telos systems, axia audio, omnia audio, and 25-seven systems that manufacture broadcast telephone systems, consoles and audio over ip gear, audio processors, and audio time management hardware for radio stations. frank foti, founder of omnia audio, is the telos alliance ceo. at the 2012 nab show in las vegas, linear acoustic announced a co-branding agreement with dolby laboratories under which the company will manufacture stand-alone dolby-centric professional products such as audio codecs and audio bitstream test tools.