The two largest audio issues in digital television are controlling loudness and keeping the audio image stable by supplying 5.1 channels all the time. Via metadata, Dolby Digital (AC-3) has built-in loudness controls, downmix controls, and dynamic range controls. Assuming that 5.1 channel audio has actually made it to the encoder, how can you ensure that everything is set correctly? What happens if metadata is missing or is set incorrectly (intentionally or otherwise)? How effective are the parameters anyway? What about mixing local two-channel programming with the 5.1 channels coming from the network- why does the dialogue seem to disappear? Consumers must be protected from loud and annoying audio, from jarring image shifts, and from hidden parameters causing different problems on mono, stereo, and 5.1 channel receivers. Linear Acoustic's Aeromax 5.1 is a digital audio processor that allows broadcasters control over disparate levels of network, locally produced shows and interstitial sources, to prevent the wild fluctuation of volume many viewers experience at home. It also does upmixing, metadata management and Dolby encoding. A product data sheet at http://www.linearacoustic.com/pdf/AM51_1PSU%20onesheet.pdf.

Don Cardone is the sales director for Linear Acoustic and was formerly with the Vistek division of Probel. Linear Acoustic Inc.is a multichannel audio consulting and manufacturing firm with customers such as Dolby, Microsoft, Sirius Satellite Radio, Wohler, and many network affiliate stations. Linear Acoutic founder Tim Carroll spoke to our group in May of 2004, so this will an informative update on this technology.

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