By: Linear Acoustic  09-12-2011
Keywords: Channels, Metadata



Engineered on the foundation of the company’s supremely successful first and second generation digital television audio processors, the third-generation AERO.air enables broadcasters to deliver compelling 5.1-channel surround sound while saving time,money, and space. The AERO.air also represents the world’s first TV audio processor to feature built-in Dolby® Digital (AC-3) encoding. The comprehensive AERO.air is equipped with multiple loudness controllers, dual upmixers, metadata management, as well as full-time two-channel downmixing to support legacy stereo or analog paths. Built-in AutoMAX-II™ processing detects incoming audio and automatically upmixes only when necessary, producing a full-time compelling 5.1-channel output. The processor accepts 5.1-channel network audio, two-channel local audio, SAP/DVS, and digital or analog auxiliary/EAS audio for processing. Available options include HD/SD-SDI input for de-embedding any of the possible 16 audio channels and vertical ancillary (VANC) metadata, internal 5.1+2 dual Dolby Digital (AC-3) encoders, HD/SD-SDI I/O for de-embedding and re-embedding up to 16 channels of audio plus SMPTE 2020 (VANC) metadata, auto-sensing Dolby E/AC-3 decoding, and CrowdControl™ dialog protection.The AERO.air is available in two configurations to support needs ranging from simple dual stereo to 10 channels. Customers can purchase with confidence knowing that their investment can be upgraded to the fully featured version by purchasing an update that can be installed via the front panel in just minutes.

The is also available in a dual stereo (2+2) version for stereo and SAP processing. This version also contains a downmixer allowing input of 5.1 channel audio and output of stereo LoRo or LtRt.

Audio for mobile DTV presents new challenges. The dynamic range “comfort zone” used for mixing television audio for viewing on stereo or surround in-the-home televisions is far too wide for comfortable listening on typical earbuds or tiny speakers. Background noise in many environments will define a relatively high loudness floor — if the volume is increased for acceptable intelligibility on soft passages, loud passages run the risk of causing hearing damage.The™ employs newly developed psychoacoustic processing that enables content to remain audible in noisy environments on small mobile devices. Accepting mono, stereo, or Dolby® 5.1-channel station audio, the unit includes all tools a broadcaster needs to deliver the most satisfying experience appropriate for widely varying individual listening environments.


The AERO.qc allows users to fix loudness problems automatically and in real time as audio enters the plant and is fed into the ingest server. This ingest quality control system from Linear Acoustic provides all of the tools necessary to get audio loudness right. The AERO.qc couples the ITU BS.1770 loudness-measurement specification with proprietary signal evaluation techniques to evaluate content and make adjustments. Operator
intervention can range from full control of measurement and audio adjustment to highly automated processing that requires little oversight. Front-panel metering offers instant go/no-go feedback and precise loudness adjustment. Options include Dolby E/AC-3 decoding, additional advanced production upmixing algorithms, AERO-style multiband loudness and dynamic range control, metadata generation and monitoring, multichannel
analog output with speaker EQ, and HD/SD-SDI input and output. A hardware remote volume and speaker control is available separately.
AERO.file brings Linear Acoustic multipass scaling, loudness range control, and UPMAX-II® upmixing and downmixing to file-based workflows, without the need for external hardware devices.  AERO.file was designed in collaboration with RadiantGrid Technologies, the developer of leading-edge transcoding, transformation, and new media automation service platforms, to deliver best-in-class solutions for loudness and audio control in file-based workflows. It’s the first of several new solutions addressing this goal.  AERO.file uses RadiantGrid transwrapping functionality to pass through video streams of any type while separately performing audio functions via the AERO.qc Loudness Correction module (a software version of the AERO.qc hardware product). The triple-pass approach enabled by working in the software domain guarantees the loudness target can be met independent of other processing choices and preserves the quality of the original content.


Options include Dolby Digital (AC-3), Dolby E decoding, dual power supplies, and TCP/IP remote.

  • A utility audio delay to allow up to three frames of compensation for external video monitors.
  • A 16-channel mode allows all applied audio channels to be displayed simultaneously and reproduced individually or as a 5.1 downmix.
  • Quick navigation through four dedicated function keys that allow direct channel selection, instant preset recall, and downmix configuration.

The LQ-1000 evolved from extensive field experience with mixers and broadcasters during post production and high-profile live events. It provides comprehensive loudness and peak level metering of up to eight channels of 5.1 surround and/or stereo AES or SDI audio per industry-standard ITU-R BS.1770, a crucial requirement for mixing and transmitting in compliance with ATSC Recommended Practice A/85.

The 2RU device features a clear at-a-glance display of all critical parameters on a large color OLED display. The LQ-1000 offers metering in a simple cost-effective package for studio mixing and plant-wide monitoring, making it ideal for ingest and live sports event metering and control. Deploying the LQ-1000 and AERO.qc throughout a facility maintains a common user interface and display, improving consistency and reducing operational errors.


Designed to enable audio and metadata monitoring throughout the entire broadcast chain, the Linear Acoustic LAMBDA professional digital audio and metadata monitor displays and reproduces up to 16 audio channels from AES or embedded HD/SD-SDI input. The system accepts audio metadata via 9-pin serial input or extracts it from the VANC space of an applied HD-SDI input. Audio and metadata are displayed in combination to allow for accurate monitoring. Included loudness monitoring per ITU BS.1770 enables operators to verify program loudness quickly and accurately. Any channel, channel pair, or downmix can be monitored through the powerful digitally
amplified two-way aluminum alloy subwoofer and HF speakers, a front-panel headphone connector, or rear-panel balanced analog and AES digital output. Options include Dolby Digital (AC-3), Dolby E decoding, dual power supplies, and TCP/IP remote.


The Linear Acoustic Model LA-5180 Audio Metadata Frame Synchronizer and Generator is an integral part of any facility relying on the successful creation and continuity of metadata for proper audio encoding. Useful in digital television transmission, remote production, and DVD creation environments, the flexible unit accepts professional audio metadata via a standard RS-485 serial input, or as delivered inside the VANC space of an HD-SDI stream.  Model LA-5180 allows correction of incoming errors, re-writing of all parameters and reversion to fully adjustable internally generated values output via serial and HD-SDI. Can also be used as a stand-alone generator. Optional AMAS Metadata Analysis Software provides detailed display and analysis of critical metadata parameters and user-definable limits for values drives error indication and logging.

Keywords: Channels, Metadata