Algoritmos inteligentes y complementarios de audio que optimizan la performance para una mayor eficiencia y creciente automatización

A los broadcasters a día de hoy se les demanda cada día más una mayor cantidad de contenido en más equipos, más rapidez y mayor eficiencia. En un mundo en el que los recursos son escasos, muchos broadcasters han de lidiar con el hecho de que los usuarios requieren contenidos interesantes sin olvidar la altísima calidad de los mismos.

Ahí es donde el concepto de Smart Audio encuentra su lugar.

Si no dispones de suficientes recursos para emplear un equipo entero de ingenieros de audio que controlen la calidad de audio en cada posición individual, debes invertir en equipos simples, fiables y predecibles que puedan hacer tu trabajo por ti automáticamente.

  • Auto Leveling
  • Auto Loudness
  • Auto Upmix
  • EQ Adaptable
  • Audio Over IP
  • Audio de Próxima Generación

What is the difference between Level Magic™ and Level Magic II™

All currently and at least over the last three years released products and their corresponding firmwares feature the latest generation of Level Magic™. This version was sometimes referred to as Level Magic II™ as we tried to distinguish it from the first generation of this system. The first generation was not capable of working with the international loudness recommendations, as it was released before those modern standards were established. For example, if your Level Magic™ can be switched to EBU R128, it is a second generation Level Magic™. If not, please get in touch to check if a newer firmware is available and if your device has enough processing power for a newer software version. However, for the second generation we decided to stay by the pure name Level Magic™ as it sometimes becomes unnecessarily confusing for the user and even ourselves.

Is my Jünger Audio device compliant to my local Loudness Regulations?

All our latest Jünger Audio Loudness solutions are using a unique multi-loop control principle, Jünger Audio’s Level Magic II™ algorithm.

Based on the underlying ITU-R BS.1770(-1/2/3) principle, Level MagicII™ provides compatibility with EBU R128, ATSC A/85, ARIB TR-B32, FREE TV OP-59 and Portaria 354.

How can I use dynamic EQ to ensure consistency of vocal tone?

There are many situations where it is desirable to make sure that the tonal, or spectral, balance of a persons voice remains absolutely consistent from day to day, or session to session. Think of a TV continuity announcer or a radio presenter, their voice should always be instantly recognisable and should be a source of familiarity to viewers and/or listeners. It’s one of the ways of maintain audience loyalty, especially critical in these days when there is so much choice of media platforms and content to choose from. We’re all human, and although as adults, our voices have developed their own characteristics that separate us from others, several factors can influence how we sound at different times. The effects may be subtle, but such things as being tired, having a cold or the particular environment we are in can change our voice tone slightly. Throughout the broadcast chain, there may be existing digital audio processors in place for one reason or another be they parametric EQ’s, levelers or multi-band compressors etc. There are presumably in place for a good reason but will invariably treat all signals presented in the same way irrespective of whether the spectral structure is changing over time. In the broadcast situation outlined above, it is desirable to have a system of EQ that can compensate for the variations in vocal spectral balance in a way that does not require constant manual intervention. This can be achieved by using a dynamic equaliser technique such as Jünger Audio’s newly introduced Spectral Signature™. The principle is that firstly a section of “ideal” dialogue is used to capture the spectral response curve. This can be achieved by a learning process built into any Jünger products that support Spectral Signature™. Once captured, the response curve, or “sonic footprint” is stored as a preset for future re-call. Multiple presets can be stored depending on how many voices will be in use at the particular facility. After enablement and opening of the appropriate preset, the actual spoken voice is compared in real time to the stored reference curve. Over 13 individual frequency bands, gain or attenuation is applied selectively and only when required to match the measured spectral curve to that of the reference preset. Once set up and running, the process is extremely transparent and works away in the background to make sure that any inconsistencies in the spoken voice do not create and changes or disturbances to the “station sound”. To find out more about how products like the DAP4 VAP Edition and DAP8 TAP Edition can help you deal more effectively with voice and dialog processing in your broadcast chain, please visit our product pages.

See also: Spectral Signature™

What is "Level Magic™"?

Level Magic II™ is a comprehensive loudness measurement, correction and management algorithm designed to ensure compliance with all current worldwide loudness standards. Based on the underlying ITU-R BS.1770(-1/2/3) principle, Level Magic II™ provides compatibility with EBU R128, ATSC A/85, ARIB TR-B32, FREE TV OP-59 and Portaria 354. Designed to be audibly transparent, Level Magic II™ utilises a proprietary multi-loop approach comprising of three essential elements in parallel to measure, and if necessary correct, out of specification audio. An AGC section controls slower changing levels over time whilst a fast acting transient processor catches inaudible high frequency overshoots that may otherwise cause detrimental effects in downstream processing or coding. A brickwall filter provides effective True Peak limiting using a 2ms look-ahead to capture any intersample peaks. The resultant gain changing signal is a combination of all three elements. The Level Magic II™ algorithm is highly adaptive to the structure of the incoming audio and requires only a small number of parameters to be set by the user. The result is audio compliant with the selected standard but free of any unwanted artefacts such as pumping, breathing or distortion.

Audio Monitoring for HDTV Broadcast?

As broadcast technology continues to evolve at a seemingly ever-increasing rate, the video element of the experience often takes precedence. The transition from SD to HD is, if not fully complete, then certainly well on the way. Further enhancements in the form of Ultra High Definition, be it 4k or even 8k have been successfully demonstrated and usable hardware is now beginning to appear. In the midst of all this, we should be careful of course not to forget the part that audio plays in broadcast. After all, television without pictures is still radio, but television without sound is just the silent movies. In this article, we will look at techniques and recommendations for ensuring that the audible experience complements that of the visual one.

So, if you are creating or processing audio for HDTV Broadcast, what are the criteria that you should keep in mind to ensure maximum viewer enjoyment? An obvious starting point should be the subjective quality of the mix itself. In order to reliably and repeatedly judge this, along with your preferred set of monitors, a correctly calibrated listening environment should be considered essential. When mixing TV content, general consensus suggests that a measured level of 79dB SPL (using C-Weighted Pink Noise) at the mixing position is appropriate. A monitoring control unit that allows individual speaker level and EQ is ideal for this.

Another element of critical importance these days is the perceived loudness level in order to “comply” with the relevant local standard. This requires the use of a loudness measurement based on ITU.R BS.1770-3 with its inbuilt K weighting and relative gating to give a reliable reading in LUFS/LKFS and can be used a visual guide to check that the integrated or program loudness value is in line with the target value. Equally important is to monitor the loudness range (LRA) of the mix, which whilst there are no specific targets specified, should be maintained at a level appropriate for the final destination of the content. Wall mounted flat panel TV’s and smaller portable devices in noisy environments will not be able to reproduce large LRA values in the same way that a correctly installed home cinema system could. As a guide, for TV broadcast an LRA of 10-15LU would generally be considered acceptable. Again, a well-specified monitoring controller ought to provide these features.

Although not necessarily always true, it is common practice that the audio portion of HDTV Broadcasts is encoded into one or other Dolby® format be it AC3 (Dolby Digital®) or E-AC3 (Dolby Digital Plus®) and this introduces another consideration, that of Metadata. When the Dolby bitstream arrives at the end user’s decoder, metadata parameters will determine some of the behaviours of the decoder and how it will impact the actual reproduced audio. Of all the possible metadata parameters, of prime concern are the 3 D’s, DRC, DOWNMIX and DIALNORM. DRC is a selectable Dynamic Range Control profile that will apply a pre-determined amount of compression that is useful for matching wider dynamic range content to equipment less capable of reproducing the full range. It is also becoming more and more commonplace that broadcast HD Video is often accompanied by 5.1 Surround Audio but many (most?) consumers will be watching on equipment that can only reproduce 2.0 Stereo audio. Here is where DOWNMIX comes in and instructs the decoder how to distribute the six channels of audio across the available two. Finally, DIALNORM is used to implement a scaling factor in the decoder that will normalize all audio output to a loudness level equivalent to -31dBFS. When used correctly, this will ensure that all programs are perceived as having a consistent loudness level but it is dependent on the actual program loudness and DIALNORM values being accurate. All of the above means that there a multiple opportunities for inaccurate metadata parameters to cause unwanted audio effects for the viewer and a method of verifying the values before broadcast would be advantageous. A real time full Dolby® encode and decode sequence would be cumbersome and would introduce significance latency so a better approach is to use metadata emulation. By this method, the effect of setting and varying metadata values can quickly be auditioned and the actual way that the end users decoder will react can be verified with confidence.

For more information about how the Jünger D*AP8 MAP Edition can be a powerful tool and aid with all issues mentioned here, please visit our D*AP 8 MAP product page.

How to get EXTERNAL CONTROL of Jünger devices?

Basically it doesn’t really matter which physical interface you choose for external control. All our products support both of the interfaces below:

External control via GPI/O

A very simple and straight forward way for external control is the use of GPI/O’s. This makes integration quite easy and lowers the programming and configuration effort needed for set up. On the other hand only a limited set of triggers are available.

Open Control Protocol

With the idea in mind to enable external control systems to access each and every parameter of Jünger equipment, we decided to use an open protocol standard based on the EmBER protocol set. This protocol is becoming an industry standard for accessing individual parameters across different manufacturer’s equipment to unify the operational aspects across a broadcast facility. Ember+ is an initiative out of the Lawo Group and L-S-B Broadcast Technologies GmbH .

You can also operate your Jünger SLIM LINE product remotely by using our Universal Remote Control Panel X*AP RM1.

The X*AP RM1 is the tool of choice for users preferring hands-on control instead of web-based interfaces. It may control a single device or a group of different devices accommodating any infrastructure requirements. Placing the control device apart from the processing devices gives the user the freedom to arrange his or her workplace environment in the most ergonomic way.

See also:

Can I analyze and log my loudness measurement data ?

Yes! All Jünger Loudness control devices from all product lines share a neat feature: The gathered measurement data is made available for downstream measurement applications via Ethernet. The LoudnessLogger™ License package allows your J*AM Software an easy way to monitor and analyze all latest Jünger Audio‘s leveling processors. Other than monitoring the true peak and loudness level progression as a live plot, the operating specialist is given valuable statistical information regarding the input vs. output loudness distribution. For an even clearer view of the system performance, all measurements are recorded to a log-file for further inspection.

See also:


What is an iLok key?

An iLok is a USB key with a data chip on used for holding software license data, not to be confused with a USB memory stick, even though they look very similar. In order to run software using the iLok license management system, the iLok USB key with the licenses for the software has to be connected to the workstation while running the software.

What do I need to use the iLok system?

  1. iLok User Account

An iLok User Account is required, which is obtained via a free registration: iLok-Registration The User ID in the registration form on the above registration page, is a unique token referred to as the iLok User ID (sometimes referred to as iLok ID, iLok Account or iLok User Account ID). This is used as your login name on the website as well as in the iLok License Manager software. When activating software using the iLok system your iLok User ID is required as the software publisher will deposit the license for your purchased software to your iLok user account.

  1. iLok License Manager

The iLok License Manager software is required. It includes the required software drivers for the iLok system, and offers full management of all your iLok licenses. Download (Mac OS X 32/64-­‐ bit, Windows 32-­‐bit, Windows 64-­‐bit) for free from the website: Ilok License Manager Download

  1. iLok USB Key

An iLok USB key is required. There are two versions of iLok USB keys, the original iLok USB Smart key, and the new 2nd Generation USB iLok, both of them are compatible and will work perfectly well. The new 2nd Generation USB iLok holds up to 500 authorizations.