Measuring and Maintaining

Loudness Compliance
Loudness is the single biggest topic of viewer complaints, affecting
everything from traditional broadcast through to OTT and podcasts.

Whether it’s the difference between the loudest and Loudness measurement specifications from the ITU
quietest parts within a single programme, between (ITU-R Recommendation BS.1770) along with
multiple programmes that contribute to channel output or recommendations from the EBU (EBU R128) and ATSC
the differences experienced when switching between (A/85) have been created to help address this challenge
channels, viewers should expect a consistent and uniform and provide consistency throughout the broadcast chain
audio experience without having to reach for the remote. and ultimately to the viewer at home.

APPLICATION
Post Production
Maintaining Audio Fidelity using Loudness metering
Short and long form content is increasingly subject to One of the many benefits of the move away from peak
exacting broadcast delivery standards which stipulate metering to Loudness measurement has been a renewed
target Loudness and True Peak values. Engineers need to emphasis on the skill of the sound engineer. To mix a live
ensure that these criteria are met and a loudness log can 5.1 programme or to create a surroundsoundtrack in
be created which can be used to validate the completed post -production requires talent as well as artistic
project. interpretation. It is therefore important that the integrity
of the mix including crucial factors such as Downmix
ln a typical post-production environment, audio sources compatibility and dynamic range are maintained
may be transported as SDl, AES or MADI. In this throughout the delivery process.
environment the SAM-Q-SDI provides Momentary,
Short-Term and Integrated Loudness measurements By supplementing the skills of the sound engineer with
which are displayed using Loudness level meters and a appropriate loudness metering at critical points
numerical readout. This same Loudness data can also be throughout the chain, it is possible to dispense with ALC
monitored over an Ethernet network and logged for later (Automatic Loudness Control) processors which often
reference, enabling the finished project to be checked for prove detrimental to the listeners' experience, and allow
compliance and a record kept. the consumer to experience the audio mix as intended.

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 Playout, Master Control and Transmission
Customer complaints about excessive loudness level may Far from being a traditional rackmount audio monitor,
occur when commercials or programmes cause the the SAM-Q can simultaneously analyse mono, stereo or
viewer to continually adjust the volume on their television. surround audio formats whilst also providing Short-Term,
Whether the culprit is a commercial which is perceived to Momentary and Integrated loudness data over an Ethernet
be louder than everything else, a programme containing network. The logging of such data can be reviewed in the
explosive effects or the transition between different event of customer complaints and helping to identify any
programmes, it is important that the output of the TV remedial action required to improve an maintain quality of
channel is being monitored at Playout, Master Control or service. When serving engineering positions in a Playout,
Transmission. As the last point in the broadcast chain Master Control or Transmission Suite, the SAM-Q is an ideal
before a programme is ultimately distributed and delivered accompaniment to exiting video and audio signal analysis
to the home, it is now becoming increasingly important for tools and combined loudness logging can be used to
the control room to be equipped with the necessary tools maintain consistent channel performance.
to ensure all content meets the relevant loudness
specification in order to guarantee the quality of service
viewers expect.

A Phase Meter allows one audio source to be selected, monitored and checked for audio phase.
The SAM-Q-SDI comes with a Phase Meter Mode as standard, which displays 16 Audio Level
Meters + 1 Phase Meter.

Live Production
Although it can be impossible to anticipate the highs and The SAM-Q-SDI is an ideal solution to loudness measure-
lows within a live show or sporting event it is important ment and logging within a live broadcast production
that the Sound Engineer mixing the programme maintains environment because it not only provides the sound engi-
target level across the duration of the production. neer with a visual check of loudness performance but it also
enables the loudness performance to be viewed remotely
Equipped with the SAM-Q-SDI, audio engineers can over an Ethernet network.
periodically observe Loudness and True Peak readings,
using loudness bar-graph and numerical displays. With its During and after production rehearsals for a TV Show or
8 independent loudness probes, the SAM-Q-SDI can event, the loudness history can be reviewed and if
measure and display the performance of a 5.1 audio mix appropriate any potential areas of concern identified,
and a 2.0 downmix simultaneously. allowing the sound engineer to anticipate and adjust the
audio mix accordingly, helping to ensure that target loud-
Whilst many mixing consoles are equipped with high ness values are being adhered to without compromising the
resolution Audio channel meters, not all are capable of production.
measuring loudness values or share those values over an
Ethernet network for logging and display.

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ENGINEERING EXCELLENCE

The SAM-Q-SDI includes a number of useful features designed specifically to help Systems Integrators and Broadcast
Engineers during installation and maintenance.

Status Display
The SAM-Q-SDI reports signal status information, including SDI video format, MADI status and number of channels as
well as AES and Ethernet status.

Phase Correlation
The SAM-Q features a phase correlation meter, allowing audio phase issues to be identified with ease. Audio phase can
be deliberately reversed by the users allowing an audible phase check to be made also.

Loudness Displayed as you need it

The SAM-Q-SDI includes three dedicated displays, each of which have been designed to address a different loudness
requirement.

Loudness Summary Mode

Loudness Summary Mode displays Short-Term, Momentary and Integrated loudness level meters from each of the 8
independent loudness probes simultaneously.

Integrated Loudness Value The Loudness Target level can

be adjusted and is displayed
as a horizontal white line.

In Loudness Summary Mode,

Momentary Loudness Meter any probe can be selected for
monitoring, producing an
audible downmix.

Short-Term Loudness Meter

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Probe Detail Mode
Probe Detail Mode displays the Short-Term, Momentary and Integrated Loudness values of any loudness probe as audio
loudness meters and also as dedicated numerical displays.

Start, Stop and Reset buttons allow Integrated loudness measurements to be made for each commercial, programme or
show.

Integrated Loudness Value In Probe Detail Mode, the

currently selected loudness
probe, produces an audible
downmix.
Momentary Loudness Meter

Short-Integrated Loudness Value

Probe Contributors Mode

Probe Contributors mode, displays all contributing audio channels being measured by the currently selected loudness probe
using ‘True Peak’ audio level meters.

Loudeness Measurement for 2022-6 and 2110 Networks

With the adoption of IP infrastructures and standards such as
ST-2022-6 an ST-2110, the PAM-IP provides loudness
measurement, including a dedicated loudness histogram display.

Integrated loudness measurements can be Reset in

accordance with each programme, commercial or show.

With the PAM-IP Dante/AES67 option, audio sent over Dante

Whilst a downmic is made audible to the user,
networks can also be measured for loudness.
individual contributing channels can be select-
ed or isolated as necessary (i.e. the Centre
Dolby sources can also be measured for loudness.
channel from a 5.1 program).

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Set of Loudness specs

ATSC A/85 EBU R128 is the result of two years of intense work by the
The US led ATSC A/85 was specifed by The Advanced Television audio experts in the EBU PLOUD Group, led by Florian
Systems Committee in 2009 and applies solely to US broadcast digital Camerer (ORF). The new Recommendation is accompanied
television. A/85 introduced the lTU-R BS.1770 Loudnessalgorithm as a by a Loudness Metering speci_cation ( EBU Tech 3341), a
replacement for A-weighted measurements and proposed the use of a Loudness Range descriptor ( EBU Tech 3342 ), Loudness
True-peak level test material (various different sequences) Production
standard. Guidelines ( EBU Tech 3343 ) and Distribution Guidelines
Ref: www.atsc.org (EBU Tech 3344). An EBU Technical Review Article
describing the fundamental change in audio in broadcasting
is also available from the EBU website: On the way to
CALM ACT Loudness Nirvana.
In response to consumer complaints about loud commercials the
CALM Act was enacted into law on Dec. 15, 2010, requiring the FCC to
adopt the relevant portions of ATSC A/85. The FCC adopted new rules
in Dec. 2011 requiring TV broadcasters, cable operators and other
-23 LUFS
multichannel video programming distributors to be compliant by
EBU R128 recommends normalizing audio at -23 LUFS +/-
Dec.13, 2012.
1 LU, measured with a relative gate at -10 LU. The metering
approach can be used with virtually all material. To make
sure meters from different manufacturers provide the same
EBU R128
reading, EBU Tech 3341 speci_es the 'EBU Mode', which
In August 2010, the EBU published its Loudness Recommendation
includes a Momentary (400 ms), Short term (3s) and
EBU R128. It tells how broadcasters can measure and normalise audio
Integrated (from start to stop) meter.
using Loudness meters instead of Peak Meters (PPMs) only, as has
Ref. www.tech.ebu.ch/loudness
been common practice.

Contact our International Sales Team today to find out more:

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E. [email protected] | T. +44 1628 564 610 / +1-818-898-3380