Audio production and broadcasting are being transformed by new technologies. The next generation of audio experiences will be more immersive than ever before. It is important that broadcasters look at new file formats to deliver and produce audio in these advanced systems.
EBU Technology & Innovation Workplan
Every two years, the EBU develops a roadmap for technology and innovation activities based on the requirements and inputs given by EBU Members. The result of this roadmap is our bi-annual EBU Technology & Innovation Workplan. Strategic programmes and project groups are set up to focus on specific areas of interest. To access the latest Workplan, click here.
EBU Strategic Programme on Future Audio Formats and Renderers
The topic of Future Audio Formats and Renderers is part of the EBU's Strategic Programme on Future Audio Formats and Renderers.
- Helps Members to maximise the quality and availability of sound production technology.
- Provides guidance and working documents to help you make the move to new audio systems.
- We take into consideration your feedback when making contributions to ITU and ETSI standards and organize seminars and trainings to enable you to use new technologies and share best practice.
If you are interested in Future Audio Formats and Renderers, join our group on this topic and participate in the discussions. Some restrictions may apply.
The EBU stand at this year's IBC show will focus on technologies developed for broadcasters by broadcasters, with an emphasis on meeting the requirements...
The EBU has partnered with several other leading organizations to create the IP Showcase, demonstrating that real-time media production using IP networks...
The December 2016 issue of tech-i is now available for download. Among the usual mix of trending tech stories are two that focus on Next Generation Audio.
The FAME Audio Group held its 32nd meeting at BBC R&D North in Salford on Thursday last week. Find out more...
Virtual reality (VR), High Dynamic Range (HDR) and High Frame Rates (HFR) are just some of the European Broadcasting Union’s (EBU) latest achievements...
The lastest issue of EBU Technical Review focuses on how to make immersive audio available for mass-market listening.
It was without a doubt the most successful EBU Network Technology Seminar ever. With 159 participants, 9 tutorials and 5 cross-industry demonstrations,...
The first day of NTS 2016 kicked off with a keynote from François Legrand (CBC) who called for flexibility, agility and scalability...
This issue of our tech-i magazine explores “What’s all the fuss about HbbTV?”
NTS 2016 will take place 21-22 June 2016 at the EBU Headquarters. With only a few weeks to go, places are limited so be sure to register now to keep your...
This year’s event will take place at the EBU in Geneva on 21-22 June 2016. To take advantage of our 30% reduced early bird rates, sign up now or before...
The EBU Network Technology Seminar is the annual rendezvous for broadcast experts and system designers dealing with IT infrastructure and IP networks as...
The room was packed as we kicked off the annual Production Technology Seminar (PTS) 2016. With more than 130 delegates and 16 technology demonstrations...
With less than two weeks left to go, the EBU is a buzz with preparations for the next Production Technology Seminar (taking place 26-28 January).
The next Production Technology Seminar event will take place 26-28 January 2016 at the EBU Headquarters in Geneva, Switzerland. Register now and take advantage...
This year’s keynote session at PTS is dedicated to discussing this topic and taking a closer look at producing across media – “A 360̊ perspective” to be...
The draft programme for the 2016 Production Technology Seminar, held at the European Broadcasting Union 26-28 January in Geneva, Switzerland is now available...
UHDTV, Hybrid Radio and the world’s first Live IP TV production studio are just some of the latest achievements in media technology and innovation from...
This was the key question asked by Simon Gauntlett (DTG) at the beginning of this year’s Technical Assembly in Krakow, Poland.
Don't miss out! Get your copy of our latest tech-i magazine today and stay up-to-date with the latest news in broadcasting technology and innovation.
The EBU Network Technology Seminar is the annual rendezvous for broadcast experts dealing with IT infrastructure, as well as for IT network and storage...
Shouldn’t the technology we see at broadcast trade shows have a direct influence on the domestic viewing experience?
"The world craves quality content. And for the pros who hunger to create and deliver it, the 2015 NAB Show® is the only source to satisfy your appetite."
The latest edition of tech-i magazine is now out! This issue focuses on the producing 'smarter', future broadcasting architectures, the use of the 700...
Participants at this year’s Production Technology Seminar at the EBU will have the opportunity to get hands-on and learn from experts during our tutorial...
The next Production Technology Seminar promises to debate and demystify the key strategic technology topics for broadcasters and industry in the coming...
This document describes the EBU ADM Renderer (EAR) - an audio renderer providing a complete interpretation of the Audio Definition Model (ADM).
The December 2016 issue of tech-i looks at Next Generation Audio, the promise of 5G networks, the new .radio TLD and much more.
The document presents practical guidelines to relevant settings and processing in the signal chain from the studio to consumer equipment. It aims to achieve consistent loudness levels throughout the complete chain from broadcaster to consumer. This is version 2.1, July 2016; editorial changes only (pagination, typos and fonts).
In the latest EBU Technical Review, Rozenn Nicol, Marc Emerit, Edwige Roncière, Hervé Déjardin from nouvOson, discuss the progress of the nouvOson player project since 2013 and its future outlook.
Recommendation concerning permissible tolerances of video signals in digital television systems.
This supplement to EBU R 128 specifies a special set of loudness parameters for short-form content. This version 2.0 puts emphasis on the permitted Maximum Short-term loudness and does no longer include the use of the Max. Momentary Loudness limit.
In this document the properties of a loudness meter in the so-called ‘EBU Mode’ are introduced and explained in detail. This version 3.0 includes new minimum requirement test signals, clarifications and a new requirement on LRA stability signalling. This set of test signals complements the document.
The ‘Loudness Range’ (LRA) measure and the algorithm for its computation is introduced and explained in detail. Loudness Range is supplementary to the main audio Programme Loudness described in EBU R 128. This is version 3.0.
The document describes how to change audio levelling from peak normalisation to loudness normalisation in accordance with EBU R 128. This version 3.0 is a completely updated version based on 5 years of experiences in the use of loudness normalization.
Recommendation to use an average programme loudness of -23 LUFS and the 'Loudness Range' and 'Maximum True Peak Level' descriptors. Version 3.0 (June 2014).
This metadata model provides a formalised description of audio content for many types of audio file (e.g. BWF, RF64).
EBU Recommendation 128 is a milestone in the history of audio broadcasting. It started a loudness revolution by specifying normalized loudness levels in production, in play-out systems and, potentially, in many other applications. This article explains how distributors could support the good broadcasters while improving consumer satisfaction at the same time.
This article describes the success of the implemention of loudness normalization on DAB broadcasts in Norway with a few words on other radio platforms. Thus far, loudness awareness has been almost exclusive to television. Could loudness normalization also be employed in radio? And if yes, what radio platforms could benefit from it? Find out by reading this article.
The March 2012 issue of tech-i covers TV White Spaces, LED lights, colorimetry and storage. You'll also find three radio-related articles, from FM swtich-off plans in Norway, to Loudness considerations and a strategic view from Lieven Vermaele. Finally, RTR's Igor Orlov is "in the spotlight" and David Wood asks how much R&D should be done by broadcasters.
The EBU R 128 logo is the symbol of the EBU Recommendation R 128 on Loudness normalisation and permitted maximum level of audio signals. Use of the logo by third parties is allowed subject to the rules in this document.
This is version 2 of the Broadcast Wave Format (BWF) specification. This is a substantial revision that incorporates Loudness Metadata (in accordance with EBU R 128) and which takes account of the publication of Supplements 1 – 6 and other relevant documentation.
This article describes one of the most fundamental changes in the history of audio in broadcasting: the change of the levelling paradigm from peak normalisation to loudness normalisation.
This is the third issue of tech-i, the EBU TECHNICAL department quarterly magazine which include the following articles such as: the New EBU Technical structure, loudness awareness, eco displays, tapeless environments, CES report, HIPs, seminar news & diary.
RF64 is intended to meet the requirements for multichannel sound in broadcasting and audio archiving. It is based on the Microsoft RIFF/WAVE format and Wave Format Extensible for multichannel parameters. The 2009 update adds a 'r64m' marker chunk.
A loudness war is taking place from CD mastering to broadcasting. The purpose of this article is to justify and recommend more fitting ways of measuring and controlling the audio level in digital broadcasting than looking at isolated samples or quasi-peak levels.
This article on Loudness control – while representing the views of the author – is based on a discussion paper submitted to the 5th Meeting of EBU Project Group P/AGA (Advisory Group on Audio), held at BBC R&D in December 2003.
This article presents some solutions for avoiding loudness differences in radio and television broadcasting, based on levelling recommendations and a newly-developed loudness algorithm.
In this short article, the author describes some of the difficulties encountered with setting audio levels and loudness in the new digital environment.
Dolby Dialogue Normalization and Dynamic Range Control – are described here with particular reference to digital TV.
In DAB a dynamic range control (DRC) signal mayb be used to effect unobtrusive compression of the programme dynamics, if required. A music/speech control (MSC) signal, which is also transmitted, will enable the listener to balance the loudness of different types of programme according to taste.