AES New York 2019
Broadcast & Online Delivery Track Event Details

Wednesday, October 16, 10:30 am — 12:00 pm (1E07)

Broadcast & Online Delivery: B01 - Podcast Production Studios

Romina Larregina, WSDG Partner/Project Manager
John Storyk, Walters-Storyk Design Group - Highland, NY, USA
John DeLore, Chief Engineer, Stitcher (Scripps) - New York, NY, USA
Judy Elliot-Brown, Walters Storyk Design Group - Highland, NY, USA; Rocket Science - Surprise, NY, USA
Austin Thompson, Technical Director, Gimlet Media - Brooklyn, NY, USA

2019 has proved itself a watershed year for podcasting. In addition to achieving global recognition as an influential information/entertainment format, podcasts have motivated the construction of major production facilities in New York, Los Angeles, and other major cities around the U.S. While these complex facilities would seem to be focused on traditional production/post-production services, the nature of Podcast production requires a number of purpose-built design considerations unique to the medium. This panel will explore the priorities of Gimlet Media and Stitcher, two of the largest, most successful, most sophisticated and most prominent players in the field. Parallels and contrasts in technology choices, physical design and acoustic requirements will be discussed. Floor plans and a selection of high quality photos will reveal the inner workings of both these showplace facilities.


Wednesday, October 16, 1:30 pm — 3:30 pm (1E07)

Broadcast & Online Delivery: B02 - Innovations in Audio Processing

David Bialik, - New York, NY, USA
Tim Carroll, Dolby Laboratories - San Francisco, CA, USA
Steve Dove, Wheatstone
Frank Filipetti, The Living Room - New York, NY, USA
Frank Foti, The Telos Alliance - Cleveland, Ohio, USA
Robert Orban, Orban Labs Inc. - Pennsauken, NJ, USA

Audio processing helps create the signature sound of a produced audio production. Compression, expansion, ATSC 3.0, equalization, and loudness will be part of the discussion of technology and techniques.

AES Technical Council This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery


Wednesday, October 16, 3:45 pm — 5:15 pm (1E07)

Broadcast & Online Delivery: B03 - Creating an Immersive Audio Experience in Live Sports

Peter Wharton, Happy Robotz - Washington D.C., USA; SMPTE
Mike Babbitt, Dolby Laboratories - San Francisco, CA, USA
Dennis Baxter, Dennis Baxter Sound - Gainesville, GA, USA
Karl Malone, NBC Universal - Stamford, CT, USA
Patrick Warrington, Lawo AG - Germany

Immersive audio is being used today in live sports broadcasts to create a more compelling experience for the viewer. Creating this immersive experience presents a number of creative and technical challenges and questions. What is the perspective of the listener – is it one as an observer, a participant, or a mix of both? How does one leverage height in a mix when there are no obvious sound cues from above? Is a multi-bus mix console sufficient for mixing immersive audio? What new skills must an A1 master with immersive audio? How do you mix for a the wide range of listening environments including immersive, 5.1, stereo, soundbars and headphones?

Consumers are also looking for a more personalized experience, one where they can choose their perspective and modify the mix accordingly. Can this be accomplished while maintaining control over the quality of the listener’s experience?

These presentations and panel discussion will look at how immersive audio is being implemented today and the techniques and best practices for production that have been developed from micing and mixing through monitoring and distribution. Case studies from a number of live sports events will be used to illustrate the concepts including Olympics, NHRA and FIFA World Cup .


Wednesday, October 16, 5:00 pm — 6:00 pm (1E21)

Historical: H02 - Building Success Through Your Team—Views from the First Woman Broadcast Engineer

Pamela Gibson

Pamela Gibson was one of the first woman broadcast engineers. She will discuss how she built success through her team, including her experience being the first woman in broadcast engineering and how she got the job. Also, she will discuss her success at team building and attracting the best crew, who have moved on to become stars in their respective careers, and their unique ability to exceed their goals and propel her to exceed her limits. She will also touch on the subject of changing professions mid career, since it is never too late to start over and build another career.


Wednesday, October 16, 7:00 pm — 8:00 pm (Off-Site 1)

Technical Tour: B04 - An Intimate Evening with Tesla and Twain

Presented by the HEAR Now Festival in tandem with SueMedia Radio Waves Studios
Location: The penthouse of The Radio Waves Building (49 West 27th Street, NYC)
7:00 pm and 9:00 pm
Tickets are required for each performance; free with your badge
limited to 35 people per performance

The unique relationship between the two will be examined in this evening that will feature Twain artist Robert Alvey (also a recently retired EPA Scientist - in conversation with the great Nicola Tesla, played P.J. Ochlan.

According to the science blog It’s "Okay to be Smart," Tesla had a bout of severe illness in the 1870s before his emigration to the U.S. His condition was serious enough that his doctors thought he might not survive. Since there was relatively little else he could do during that period of time, he read all the books he could from the local library. Among those books were several volumes of Twain’s earlier works, which Tesla described as “so captivating as to make me utterly forget my hopeless state.” He went on to say that those books may have been the reason for his recovery. It would be 25 years before the men met, but meet they did in NYC — and when Tesla told Twain about his illness and the role Twain’s writing played in his recovery, Twain was moved to tears. The Irish Times reports that the writer and the inventor became friends in the 1890s. Tesla was living in New York, and even though Twain and his family lived in Europe at the time, Twain was a frequent traveler to New York. Twain became interested in Tesla and his work after hearing about an electric motor the scientist had invented while working for Westinghouse.

This performance piece will focus on a number of Tesla's inventions including the Tesla motor which interested Twain. According to their writings, Twain recognized that Tesla’s motor was a better than a model his partner, James Paige, had come up with, which Twain had been thinking about investing in. Tesla advised against Paige’s motor, but Twain still invested in another of Paige’s machines – a mechanical typesetter – and took significant losses.

"An Intimate Evening with Tesla and Twain" will be a wonderful opportunity to meet two of the men who helped to build the foundation of the communication industry with their inventions and writings.


Thursday, October 17, 9:00 am — 10:30 am (1E07)

Broadcast & Online Delivery: B05 - Performance Spaces for Broadcast

Paul Mclane, Radio World
Sam Berkow, SIA Acoustics - Los Angeles, CA, USA
John Caracciolo, JVC Media LLC - Ronkonkoma, NY, USA
Gary Kline, Kline Consulting Group LLC - Atlanta, GA, USA; Kline Consulting Group LLC
Jason Ornellas, Bonneville International - Sacramento, CA, USA

Forward thinking ideas about designing, running, and maintaining performances spaces. Video streaming, recording live sound, revenue opportunity, and numerous other details that go into a multi-purpose performance space. This session will help provide you tech ideas, design tips, and guidelines to navigate the concept to completion of building you performance space in your facility.


Thursday, October 17, 9:00 am — 10:30 am (1E21)

Game Audio & XR: GA07 - MPEG-H 3D Audio Goes VR

Jürgen Herre, International Audio Laboratories Erlangen - Erlangen, Germany; Fraunhofer IIS - Erlangen, Germany
Adrian Murtaza, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Nils Peters, Qualcomm, Advanced Tech R&D - San Diego, CA, USA

The MPEG-H 3D Audio is a recent MPEG standard that was designed to represent and render 3D audio experiences while supporting all known production paradigms (channel-based, object-based, and Higher Order Ambisonics based audio) and reproduction setups (loudspeaker, headphone/binaural). As the audio production world moves forward to embrace Virtual and Augmented Reality (VR/AR), MPEG-H found considerable adoption and re-use in recently finalized VR standards, such as MPEG-I OMAF(Omnidirectional Media Format), VR Industry Forum (VR-IF) Guidelines as well as 3GPP "VRStream" (Virtual Reality profiles for streaming applications) where it was selected as the audio standard for VR content delivered over 5G networks.

AES Technical Council This session is presented in association with the AES Technical Committee on Coding of Audio Signals


Thursday, October 17, 10:45 am — 12:00 pm (1E07)

Broadcast & Online Delivery: B06 - Live Broadcasting with Object Based Audio

Frédéric Changenet, Radio France - Paris, France
Adrian Murtaza, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Matthieu Parmentier, francetélévisions - Paris, France

Object Based Audio for immersive and interactive contents is now taking off in Europe thanks to close collaborations between EBU members and NGA industrials. With the participation of such panelists, this workshop will highlight the lessons learnt from 3 major use-cases:
• A live sport event: the 2019 Roland Garros tennis tournament, where object-based audio is used to create simultaneous audio versions at the same time
• A live music event: the 2019 Eurovision Song Contest, where NGA offers multiple languages and musical mix versions on the receiver side
• A live musical tour of electronic music, where 20 dynamic objects from the DJ set fly over the crowd thanks to a 360 sound reinforcement system, together with a binaural broadcasting on radio
• An Audio programmes collection containing dramas and documentaries produced with object-based technologies, allowing versatile renderings from Stereo FM Broadcasting to binaural and multichannel streaming, WFS equipped venues and movie theater broadcast


Thursday, October 17, 10:45 am — 11:45 am (1E12)

Recording & Production: RP07 - Podcast Production

Elena Botkin-Levy, Women’s Audio Mission - San Francisco, CA, USA
Chiquita Paschal, Uncivil, Another Round
Name Withheld, Removed at the request of the presenter.
Jenna Weiss-Berman, Pineapple Street Media - Brooklyn, NY, USA

What makes a good podcast? What makes it worth listening to? Producers from top podcasts like Uncivil, The Daily, The Habitat and podcasting companies like Gimlet Media and Pineapple Media break-down the production process and technical elements of successful podcasting

AES Technical Council This session is presented in association with the AES Technical Committee on Recording Technology and Practices


Thursday, October 17, 1:00 pm — 2:30 pm (1E07)

Broadcast & Online Delivery: B07 - Anatomy of a Stream

Samuel Sousa, Triton Digital - Montreal, QC, Canada
Kirk Harnack, Telos Alliance - Nashville, TN, USA; South Seas Broadcasting Corp. - Pago Pago, American Samoa
John Kean, Kean Consultants LLC - Washington DC, USA; Cavell Mertz & Associates - Manassas VA, USA
Robert Orban, Orban Labs Inc. - Pennsauken, NJ, USA
Mike Smith, MainStreaming, Inc. - San Francisco, CA, USA

An audio and video stream can contain many components as different protocols allow for different things. So what’s inside of those signals when can they be used over the Internet? Let’s talk about the streaming formats available on the internet, when they are used and when they are privileged over other formats, the pros and cons of each, and how to prepare for future approaches. Additionally, if we have the time, let`s delve into 5G and ATSC3.0 and see if audio has not been forgotten.

AES Technical Council This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery


Thursday, October 17, 2:30 pm — 4:00 pm (1E07)

Broadcast & Online Delivery: B08 - Advanced Audio for ATSC 3.0 Broadcast

Skip Pizzi, NAB - Washington DC, USA
Robert Bleidt, Fraunhofer USA Digital Media Technologies - San Jose, CA, USA
Tim Carroll, Dolby Laboratories - San Francisco, CA, USA
Jim Starzynski, NBCUniversal - New York, NY, USA; ATSC Group - Washington D.C.

2019 has become a watershed year for the new ATSC 3.0 terrestrial broadcast television standard, as multiple stations across the country have been granted full-time operation licenses from the FCC, and stations in 40 markets have committed to full-time ATSC 3.0 operation by the end of 2020.

This next-generation TV transmission system offers ultra HD video (higher visual resolution, increased video dynamic range and higher frame rates) along with superior over-the-air reception, including mobile and automotive capability.

Moreover, the new standard incorporates enhanced audio with 3D immersive capabilities (either channel-, object- or scene-based), along with personalized sound preferences, including dialog, dynamic range and loudness level adjustments.

The Republic of Korea has been broadcasting in ATSC 3.0 for nearly three years (prior to the 2018 Winter Olympics in Seoul), and most recently has presented live FIFA World Cup coverage in immersive audio.

Several of the world’s foremost broadcast audio experts convene in this lively session to present the latest advancements and plans for ATSC 3.0, including the perspectives of broadcasters, SDOs and equipment manufacturers.


Thursday, October 17, 4:00 pm — 5:30 pm (1E07)

Broadcast & Online Delivery: B09 - The Technical History of WNYC

Andy Lanset, Director of Archives, New York Public Radio
Steve Shultis, Chief Technology Officer, New York Public Radio - New York, NY, USA
Jim Stagnitto, Director of Engineering, New York Public Radio

This year WNYC radio marked its 95th year on the air. The broadcaster's remarkable engineering story will be the focus of this presentation beginning with an auspicious launch by the Mayor of New York employing the exact same model Westinghouse transmitter as used by KDKA, Pittsburgh. Nearly a century later, WNYC is the flagship station for the nation's public radio networks as well as leading producer and distributor of audio content to listeners on multiple platforms.

This talk will cover the veteran broadcaster's pioneering history on both AM and FM, the evolution of its respective signal patterns and reach as well as WNYC's early work with shortwave, binaural broadcasting, early implementation of streaming and podcasting, and HD radio.

The stations engineering challenges post-9/11 and hurricane Sandy will also be discussed.

AES Technical Council This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery


Thursday, October 17, 7:00 pm — 8:00 pm (Off-Site 2)

Technical Tour: B10 - Tour of Stitcher Studios

Stitcher Studios, 5 Bryant Park (6th Ave. & 40th St.)
Limited to 20 people; tickets available at Registration

Podcasts currently reach over 73 million affluent, highly educated and exceedingly mobile listeners in the U.S. alone. Stitcher is among the earliest, the most creative, and most successful proponents of this vibrant medium. Providing a 360-degree suite of production, distribution, and monetization services to artists, entertainers, and thought leaders Stitcher is the parent company of leading comedy podcasting network, Earwolf and of Midroll, the company’s advertising and sales arm. To provide their programing creators and producers with the optimal production environment, Stitcher’s management team engaged WSDG Walters-Storyk Design Group to create production facilities in both its NYC and LA offices.

The recently completed NYC studio complex occupies a 2000 square foot sector of the firm’s 20,000 square foot space in a midtown Manhattan office building overlooking Bryant Park. The suite of three studios, two edit rooms, and two additional ISO booths can accommodate anything from a one-on-one interview to an 8-person roundtable and live music recording sessions in Studio A. Stitcher Chief Engineer John DeLore reports that “Superb sound quality was a major design priority, and reaching that goal began with the room design. WSDG understood that vital concern and specified complete room-within-room, floating floor isolation to preclude any leakage.”

WSDG Partner/Project Manager, Romina Larregina believes Stitcher’s studios epitomize the concept of uncompromising attention to detail. “Decoupled floors, wall and ceiling structures were implemented to insure the level of isolation required between the various studios positioned adjacent to each other,” she says. “A clean, bright, straightforward floor plan optimizes every inch of allotted floor space with the most appropriate acoustic treatments to further enhance the overall high quality sound environment. Studio A was designed to set frequent musical guests completely at ease for their performance sessions. Stitcher Studios represent a new standard for podcast production.”


Friday, October 18, 9:00 am — 10:30 am (1E07)

Broadcast & Online Delivery: B11 - Sound Knowledge: Learn How SMPTE ST 2110 Helps Audio Stand Out

Jeff Cohen, SMPTE NY Section Chair
Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
John Mailhot, Imagine Communications - Bridgewater, NJ, USA

Join SMPTE ST 2110 experts John Mailhot and Andreas Hildebrand as they delve into the latest on the video, audio and metadata over IP standard that is changing the broadcast industry. Discover the why and how behind SMPTE ST 2110 and what it means for audio production. Get up to speed on the latest developments within the standard, ST 2110-30: PCM Digital Audio, which is based on AES-67, and ST 2110-31: AES3 Transparent Transport, which originates from RAVENNA's AM824 format. Take a deep dive into audio specific elements including benefits, commonalities, constraints and differences. Learn how SMPTE ST 2110 provides a wealth of flexibility for handling audio signals and practical methods of utilizing the technology in real live use cases. Understand how this standard compares to other approaches and formats in the field. This 90 minute session will bring you up to speed on SMPTE ST 2110 and what it can do for your next audio deployment.
Co-organized by the Audio Engineering Society and the Society of Motion Picture and Television Engineers


Friday, October 18, 9:30 am — 12:30 pm

Broadcast & Online Delivery: B12 - SBE Certification Exams

The Society of Broadcast Engineers Certification Program, established in 1975, is a service contributing to the professional development of the broadcast engineer and advancement of the field of broadcast engineering. The SBE Program of Certification is administered by the SBE National Certification Committee, which continually develops exam questions based on changes in the industry and technology. Levels of SBE certification vary based on an individual’s experience. Membership in the SBE is not required to hold SBE certification. Advance registration is required to take an SBE exam at the convention.


Friday, October 18, 10:30 am — 12:00 pm (1E07)

Broadcast & Online Delivery: B13 - Metadata— What Works, What Does Not and Why?

David Bialik, - New York, NY, USA
Kirk Harnack, Telos Alliance - Nashville, TN, USA; South Seas Broadcasting Corp. - Pago Pago, American Samoa
John Kean, Kean Consultants LLC - Washington DC, USA; Cavell Mertz & Associates - Manassas VA, USA
Robert Orban, Orban Labs Inc. - Pennsauken, NJ, USA
Samuel Sousa, Triton Digital - Montreal, QC, Canada
Kent Terry, Dolby Laboratories Inc. - San Francisco, CA, USA

Metadata seems as simple as describing content, but in reality you have to understand what the different distribution systems support, then you have to consider that you might be doing On Air, Online Live, Podcasts, and add some revenue options such as Server-Side Ad Insertion.

Metadata and other trigger information will be crucial and understanding the differences between what is stored in files, how these files are played out, and how data transported through the different systems. Then you also have to think about the experience that created for the end-user.

Let’s try exploring what is possible vs what is effective. To be truly universal is actually a challenge. Let’s talk about this.


Friday, October 18, 1:15 pm — 2:30 pm (1E07)

Broadcast & Online Delivery: B14 - Telling Stories with Sound: What Can Audio Storytelling Learn from Sound for Picture?

Rob Byers, Minnesota Public Radio | American Public Media - Minneapolis, MN, USA
Lon Bender, The Formosa Group - Los Angeles, CA, USA
Jocelyn Gonzales
Alexa Zimmerman, Now York, NY, USA

Sound: there's no better way to tell stories.

Rob Byers (American Public Media and Criminal) leads a conversation about what the craft of audio-only storytelling can learn from sound for picture. We'll explore what it takes to tell truly engaging stories in sound and apply those concepts to podcasts and radio.

Panelists include Lon Bender (supervising sound editor, Formosa Group), Alexa Zimmerman (dialog editor, Mary Poppins Returns, Roma), and Jocelyn Gonzales (executive producer of Studio 360 and a sound for picture educator).


Friday, October 18, 2:30 pm — 4:00 pm (1E07)

Broadcast & Online Delivery: B15 - Facility Designed for IP

Andy Butler, PBS
Emeric Feldmar, WGBH
Kent Terry, Dolby Laboratories Inc. - San Francisco, CA, USA

I’m Designing my New "BLANK” with all IP Connectivity . . . that makes it easy, right?

Oh my Friend, the more you learn the less certain you become . . .

OK – I’ll make it easy – I’m going to use all network gear – Really? Which one of the several companies they’ve absorbed this year are you planning to utilize . . . do they still manufacture/market that product line or do you plan on hoping for “inventory clearance” pricing so you can pre-buy spares, after all tubes made a comeback . . . right? Besides nobody ever got fired for buying IBM (seen ANY IBM branded stuff around lately?). OK so I’m gonna be safe – EVERYTHING will be fully Standards Compliant. Interesting Concept—which one you thinking about using? Dante, yep that’s a walled off inferno. AES isn’t done—or maybe more like barely started; oh and SMPTE—48 flavors and 19 variations and growing every second.

AES and SBE bravely go where sanity ends and lore and legend rule. Are you tough enough to take the ride?

Co-organized by the Audio Engineering Society and the Society of Broadcast Engineers


Friday, October 18, 4:00 pm — 5:30 pm (1E07)

Broadcast & Online Delivery: B16 - Immersive Audio Mixing and Workflow for Broadcast

Sean Richardson, Starz Entertainment - Denver, CO, USA
Cheryl Ottenritter, Ott House Audio - Silver Spring, MD, USA
Robert Reams, Psy(x) Research
Andrew Roundy, Dolby Laboratories - San Francisco, CA, USA

Consumer and corporate broadcast demand for 3D and personalized audio to augment next generation video 4K, 8K, HDR has created both opportunities and challenges. Advanced audio production and distribution end-to-end specifications and best practices are coming into play for both linear broadcast and streaming paradigms. Come see four leading innovators in broadcast audio each present their sphere of expertise. What limitations or fine-tuning are desirable in an immersive mix to successfully transport through a broadcast plant and translate successfully for a typical consumer? Are interim distribution systems a way to jump start this impressive technology on a budget? The audience is listening!


Friday, October 18, 6:00 pm — 8:00 pm (Off-Site 1)

Technical Tour: B17 - The Current War: Director's Cut

Dolby Theater, 1350 Avenue of the Americas, NY, NY

A special screening provided to the members of the Audio Engineering Society of the upcoming film The Current War: Director's Cut.

Three brilliant visionaries set off in a charged battle for the future in The Current War, the epic story of the cutthroat competition that literally lit up the modern world. Benedict Cumberbatch is Thomas Edison, the celebrity inventor on the verge of bringing electricity to Manhattan with his radical new DC technology. On the eve of triumph, his plans are upended by charismatic businessman George Westinghouse (Michael Shannon), who believes he and his partner, the upstart genius Nikolai Tesla (Nicholas Hoult), have a superior idea for how to rapidly electrify America: with AC current. As Edison and Westinghouse grapple for who will power the nation, they spark one of the first and greatest corporate feuds in American history, establishing for future Titans of Industry the need to break all the rules. Directed by Alfonso Gomez-Rejon (Me and Earl and the Dying Girl) with Producer Timur Bekmambetov, Basil Iwanyk and Executive Producer Martin Scorsese, The Current War also stars Katherine Waterston, Tom Holland, Matthew Macfadyen, and Tuppence Middleton.

This event is limited to 70 people. Tickets are required (free) and can be obtained at the Registration area.


Saturday, October 19, 10:15 am — 11:15 am (1E12)


Audio for Cinema: AC02 - Best Practices in Re-Recording Mixing

Tom Fleischman, Soundtrack Film & Television - New York, NY, USA

This master class on re-recording will reprise some of Tom Fleischman's master class from AES145, with a primary focus on the use of developing technologies in cinema. Tom will discuss how he approaches a project from the beginning through to the end, on how the mix can enhance storytelling, the importance of clarity of dialogue, and how music and sound effects engage the audience. Also covered will be the distinctions between cinema and episodic productions, dealing with continuity between episodes, changing creative hierarchies, and the blinding speed at which mixes are made for series.


Saturday, October 19, 10:15 am — 11:45 am (1E07)

Broadcast & Online Delivery: B18 - Convergence of Broadcast Over-the-Air and Streaming Delivery

David Layer, National Association of Broadcasters - Washington, DC, USA
Sayon Deb, Consumer Technology Association - Arlington, VA, USA
Jeff Detweiler, XPERI Corporation/HD Radio - Columbia, Maryland, USA

Radio broadcasters still reach the vast majority of their listeners with over-the-air (OTA) broadcast signals, but streaming audio is becoming an increasingly popular and important medium which broadcasters must take advantage of, especially when striving to reach younger listeners. New auto receivers are being designed today that make use of both OTA digital radio (HD Radio is the system used in the US) and streaming audio delivered by mobile broadband services. Smart speakers offer another big opportunity for delivery of broadcast content, both live and in other forms such as podcasts. This session will focus on the technologies and techniques being used to keep radio on the cutting edge.


Saturday, October 19, 1:30 pm — 2:30 pm (1E17)

Audio for Cinema: AC03 - You Don't Have To Go There: Recording Cinema Audio Remotely

Robert Marshall, Source Elements

A master class by Robert Marshall from Source Elements, the creator of Source-Connect, Source-Live, Source-Nexus, and other ubiquitous production tools. Robert will walk through the procedures of using real-time internet connections to produce, capture, refine, and transfer performances by actors, musicians, and other talent in cinema productions


Saturday, October 19, 1:30 pm — 2:45 pm (1E07)

Broadcast & Online Delivery: B19 - Emergency Preparedness and Safety for Broadcasters

Scott Fybush, Northeast Radio Watch
Kirk Harnack, Telos Alliance - Nashville, TN, USA; South Seas Broadcasting Corp. - Pago Pago, American Samoa
Jim Leifer, American Tower - Boston, MA, USA
Howard Price

For broadcast engineers at all levels, emergency preparedness has never been as important as it is today. Natural disasters are more frequent and longer lasting, stations face ever-increasing security threats, and there are an ever-increasing number of transmission and distribution paths that have to be kept resilient and fully functional.

In this session we will examine multiple aspects of emergency preparedness, including working with local emergency management officials, preparing for the ongoing needs of your staff and their families, hardening facilities to better survive disaster, and current best practices in designing and building backup and disaster recovery facilities for stations large and small.

This session is co-presented with SBE, the Society of Broadcast Engineers.

AES Technical Council This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery


Return to Broadcast & Online Delivery Track Events