The IP model of audio transport (AoIP) provides a unique combination of features well suited for today’s emerging remote At-Home production model. Integrated routing, processing, mixing, and control spread across interconnected devices on an IP network can be used to build a venue-side matrix of audio and control that includes mic-feeds, local mixing, low latency IFB, and control-logic from local or remote inputs. The resultant audio streams can then be transmitted to a distant At-Home production facility via AES67 (AoIP) for synchronization with the accompanying video streams.

Come join Wheatstone, where we'll take you through the new era of IP remote production:

SVG Summit, New York Hilton, NYC - Dec 11-12, Tabletop 75

To arrange a meet up, contact Lon Neumann at lon@wheatstone.com.

AES Loudness Guidelines Explained


You’ve no doubt heard about the new loudness recommendations for Over-the-Top (OTT) and online video released by AES a few weeks ago. The “Loudness Guidelines for OTT and OVD Content” by the AGOTTVS (Audio Guidelines for OTT and Video Streaming) technical group addresses new challenges in content delivery, and could be as significant to broadcasters as the CALM Act.

To make sense of it all we checked in with our own Lon Neumann, who spent part of his career instructing broadcasters on loudness compliance and the CALM Act before joining Wheatstone as a sales engineer in 2016. 

WS: How significant is this new set of guidelines?

LN: This new set of AES guidelines is very significant. Until now, there have been issues related to variations of audio loudness across some of the new modes of content delivery, such as delivery of video content to handheld devices and by services such as Netflix. There really had been no guidelines for audio loudness of content that was delivered by these means.

It’s also worth noting that the 50-member Audio Guidelines for OTT and Video Streaming (AGOTTVS) technical committee* represented a cross-section of the industry with representatives from companies such as Amazon, Apple, BBC, CBS, Dolby, Fox, Fraunhofer, Google, NBC, Netflix, PBS, Starz, Qualcomm, and Wheatstone. Gaining a consensus from a group such as this lends considerable clout to the guidelines.


Download our 2 new E-Books FREE :

E BookCover

E BookCover

Putting together a new studio? Updating an existing studio? 

We've put together these e-books with fresh info and some of the articles that we've authored for our website, white papers, and news that dives into some of the cool stuff you can do with a modern AoIP network like Wheatstone's WheatNet-IP. 

There are two editions:

Advancing AOIP for Broadcast
deals with IP Audio for general broadcast and radio

IP Audio for TV Production and Beyond
deals with IP Audio for television production and broadcast

Both contain valuable info for any broadcast production, and they are FREE to download!


Setting up the PR&E DMX

Scott Johnson - SINGLE HANDEDLY (he had the camera in one hand) demonstrates how dead simple it is to set up your new PR&E DMX system.

Caption ThisLX24 with Lunch

Jim Gray (Optimized Media Group) posted this picture on Facebook of the LX-24 at the Wisconsin Broadcasters Association conference earlier this month, which people captioned with comments like “Ham and cheese on Wheatstone” (Brian Freeman), “What Could Possibly Go Wrong?” (Shawn D Jeske) and “The best food tray!” (Avi Banon).

True Confessions of a Morning Host


We’re always interested in what goes on inside the mind of a morning radio host.

We talk often to VoxPro power users like Jay Turner, the PD and morning show host for Sunny Country, KSNI-FM, in Santa Maria, Calif. Sometimes, we talk about what’s happening in the news. Other times, Jay gives us valuable input on our digital recorder/editor. In fact, we added at least one feature to the VoxPro version 7 at Turner’s request. You can thank Jay for being able to easily edit channels independently should, say, a caller or jock talk over the other. (Click to view the video)

But most of the time we talk about the industry, and about things like TSL and ratings.

For the record, Jay doesn’t see the quarter-hour spot block going away anytime soon, but he doesn’t necessarily stand on convention when it comes to the right-now mentality of today’s listener. “If someone calls in with traffic update, we don’t wait until after the spot block. We come in with that right after the song because they can get that on their phone. We’re competing with the phone in many ways, so we have to be there with those kinds of updates,” he said.

The last time we talked to Jay, he was working on a True Confessions program segment and experimenting with VoxPro to get that gravelly voice that jocks seem to like.

Talking with Jay makes for some good conversation…and products.

Your IP Question Answered

Toolbox imageQ: How does your system handle IFB?

A: With the utility mixers built into our I/O BLADE access units! There are two 8x2 stereo mixers inside our BLADEs at every connection point in the network, and they’re used for a number of things, including setting mix-minuses for IFB. It makes for a completely decentralized IFB system requiring no additional hardware. You can also interface to an existing intercom system, no problem.

Each IP connection point – or BLADE – stores not only its configuration but also the entire configuration of the network onboard, which means that failover is immediate. We sleep better at night knowing that our BLADEs are on the job.

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