In Broadcast - November 2013 - 86


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 25 - NOVEMBER 2013

N E W S

InAUDIO

Studer Consoles
Riedel MediorNet
R

iedel Communications,
one of the leading
providers of real-time networks for
video, audio and communications,
presented the MN-ST-AL-2 - its
new MediorNet expansion card for
Studer consoles at IBC.
The MN-ST-AL-2 provides
two ports each with redundant
interfaces for connecting Studer
mixing consoles via the STUDER
A-Link protocol to Riedel MediorNet
Modular frames.
In this way the consoles become
an integrated part of the entire signal
distribution infrastructure. This offers
up to 384 channels per connection
and saves significant costs in
cabling and maintenance, while still
providing unparalleled flexibility and
signal quality.
The routing of the audio stream
is conveniently handled by the
intuitive MediorWorks control and
management software via drag &
drop programming, thus making
last minute changes easy and
user friendly.

86

Riedel's MN-ST-AL-2 provides two
ports each with redundant interfaces
for connecting Studer mixing consoles

Additional routings can be
performed via ProBel commands
or the new EMBER+ remote control
protocol in MediorNet.
The new MediorNet MN-ST-AL-2
card allows compact or decentralised
digital audio router applications with
any network topology.
It requires a card slot with two
high-speed ports. One MediorNet
Modular frame equipped with A-Link
interface cards thus becomes a
cost efficient audio router with
4,608 inputs and outputs in a
2RU rack space.
The card supports all STUDER
Vista 5 and Vista 9 as well as OnAir
3000 consoles.

Sound-For-Picture Controlling DR
T

he crucial commandment
in sound-for-picture is that
dialogue must always be intelligible
(although contemporary mixes
seem to break this commandment
surprisingly frequently).
Sound-for-picture is often heard
under less-than-ideal conditions and
its dynamic range must be controlled
accordingly. Apartment-dwellers
must set the volume controls to avoid
disturbing their neighbours. At the
quiet side, intelligibility of dialogue
is often impacted by environmental
noise such as children playing or a
dishwasher running.
When one considers that the hearing
acuity of a significant portion of the
audience is somewhat impaired
compared to that of a healthy
20-year-old, one concludes that the
dynamic range of dialogue must not
exceed 15dB if it is to be intelligible
to 99% of viewers under common
domestic viewing conditions.
Research has revealed a "comfort
zone" (within which viewers will
not adjust the volume controls of
their receivers) that is even smaller:
+2 to -5 dB as measured on a
subjective Loudness Level meter
like the ORBAN OPTIMOD TV 8685
and TV 6585 CBS Loudness Level
meter , ITU BS.1770-2 , EBU R128,
ATSC and ARIB.

Feature film dynamic range is
inappropriate for home viewing
(except in dedicated home
theatres) and the dynamic range of
a significant portion of video source
material must be compressed to best
serve the audience.
The challenge (which both the
OPTIMODs effectively meet) is to
control dynamic range unobtrusively.
The OPTIMOD can be adjusted so
that the output sounds as close as

possible to the input at all times
(using the Two-Band Protection
Limiter preset), or so that it sounds
open but more uniform in frequency
balance than the input (using the
Two-Band structure or running
the Five-Band Structure with slow
release time), or so that it sounds
dense, quite squashed, and very
loud (using the Five-Band Structure
with faster release times).
In television audio, inconsistent

Viewers' subjective "comfort zone" is between +2 to -5 dB

loudness between channels or
programme elements is annoying,
so the dense, loud setup is never
appropriate. The OPTIMOD offers
two-band and five-band presets
that exploit the AGC's and multiband
compressor's compression ratio
controls to subtly control dynamic
range in sound-for-picture
applications.
These presets effectively and
unobtrusively maintain dialogue
intelligibility while retaining a sense
of dynamic range, allowing lowlevel elements to be heard easily.
Meanwhile, the Loudness Controller
prevents subjective loudness from
exceeding a preset ceiling.
The preset tuning controls give the
flexibility to adapt the processing
to individual programme segments.
In most cases, the goal should be
to choose the type of processing
that best optimises dynamic range
while controlling the loudness of the
loudest sounds so that they are not
irritating and are consistent with the
loudness of other stations or sources.
When the OPTIMOD is otherwise
set up correctly (so that it is cognisant
of the DIALNORM metadata you
are transmitting to viewers), its
TV presets achieve this goal most
precisely by exploiting the loudness
controller.


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Table of Contents for the Digital Edition of In Broadcast - November 2013

In Broadcast - November 2013
Contents
InNews: Engineering Emmy Awards
InNews: K-Opticom Live 4K Hevc Transmission
InForm: Sislive Product Range Success
InFocus: JVC Delivers Global Content Camcorder
InStudio: Litepanels Sola 12
InGear: Ikegami Unicam-HD Camera
InGear: Soundfield DMI Aces Top Tennis Tournament
In Broadcast - November 2013 - Intro
In Broadcast - November 2013 - In Broadcast - November 2013
In Broadcast - November 2013 - Cover2
In Broadcast - November 2013 - Contents
In Broadcast - November 2013 - InNews: Engineering Emmy Awards
In Broadcast - November 2013 - 5
In Broadcast - November 2013 - InNews: K-Opticom Live 4K Hevc Transmission
In Broadcast - November 2013 - 7
In Broadcast - November 2013 - 8
In Broadcast - November 2013 - 9
In Broadcast - November 2013 - 10
In Broadcast - November 2013 - 11
In Broadcast - November 2013 - 12
In Broadcast - November 2013 - 13
In Broadcast - November 2013 - 14
In Broadcast - November 2013 - 15
In Broadcast - November 2013 - 16
In Broadcast - November 2013 - 17
In Broadcast - November 2013 - 18
In Broadcast - November 2013 - 19
In Broadcast - November 2013 - 20
In Broadcast - November 2013 - 21
In Broadcast - November 2013 - 22
In Broadcast - November 2013 - 23
In Broadcast - November 2013 - 24
In Broadcast - November 2013 - 25
In Broadcast - November 2013 - 26
In Broadcast - November 2013 - 27
In Broadcast - November 2013 - InForm: Sislive Product Range Success
In Broadcast - November 2013 - 29
In Broadcast - November 2013 - 30
In Broadcast - November 2013 - 31
In Broadcast - November 2013 - InFocus: JVC Delivers Global Content Camcorder
In Broadcast - November 2013 - 33
In Broadcast - November 2013 - 34
In Broadcast - November 2013 - 35
In Broadcast - November 2013 - 36
In Broadcast - November 2013 - 37
In Broadcast - November 2013 - 38
In Broadcast - November 2013 - 39
In Broadcast - November 2013 - 40
In Broadcast - November 2013 - 41
In Broadcast - November 2013 - InStudio: Litepanels Sola 12
In Broadcast - November 2013 - 43
In Broadcast - November 2013 - 44
In Broadcast - November 2013 - 45
In Broadcast - November 2013 - 46
In Broadcast - November 2013 - 47
In Broadcast - November 2013 - 48
In Broadcast - November 2013 - 49
In Broadcast - November 2013 - 50
In Broadcast - November 2013 - 51
In Broadcast - November 2013 - 52
In Broadcast - November 2013 - 53
In Broadcast - November 2013 - 54
In Broadcast - November 2013 - 55
In Broadcast - November 2013 - 56
In Broadcast - November 2013 - 57
In Broadcast - November 2013 - InGear: Ikegami Unicam-HD Camera
In Broadcast - November 2013 - 59
In Broadcast - November 2013 - 60
In Broadcast - November 2013 - 61
In Broadcast - November 2013 - 62
In Broadcast - November 2013 - 63
In Broadcast - November 2013 - InGear: Soundfield DMI Aces Top Tennis Tournament
In Broadcast - November 2013 - 65
In Broadcast - November 2013 - 66
In Broadcast - November 2013 - 67
In Broadcast - November 2013 - 68
In Broadcast - November 2013 - 69
In Broadcast - November 2013 - 70
In Broadcast - November 2013 - 71
In Broadcast - November 2013 - 72
In Broadcast - November 2013 - 73
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In Broadcast - November 2013 - 86
In Broadcast - November 2013 - 87
In Broadcast - November 2013 - 88
In Broadcast - November 2013 - 89
In Broadcast - November 2013 - S1
In Broadcast - November 2013 - S2
In Broadcast - November 2013 - S3
In Broadcast - November 2013 - S4
In Broadcast - November 2013 - S5
In Broadcast - November 2013 - S6
In Broadcast - November 2013 - S7
In Broadcast - November 2013 - S8
In Broadcast - November 2013 - S9
In Broadcast - November 2013 - S10
In Broadcast - November 2013 - S11
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