For three decades, the brands of Telos Alliance have revolutionized radio and television by pioneering disruptive, cutting-edge audio technology with the goal of helping global networks and local stations produce better programming, improve audience engagement, and bolster ratings. Telos Alliance is made up of six brands—Telos® Systems, Omnia® Audio, Axia® Audio, Linear Acoustic®, 25-Seven® Systems, and Minnetonka™ Audio. Distinctly and collectively, these brands raise the bar for support, performance, and innovation in the radio and television industries.
Just look at our pedigree to see the evidence: Axia Audio invented Audio over IP for broadcast and contributed time and resources to the effort that led to the AES67 standard. Telos Systems was the first to create a broadcast audio phone system that included DSP processing to dramatically improve the quality of on-air phone calls. From an audio processing standpoint, Omnia Audio created the first: all-digital FM audio processor, DSP-based broadcast audio processor, broadcast processor to have AES composite output, Single Side Band (SSB) for FM Stereo, and Audio over IP. 25-Seven is the creator of Voltair, the first manufacturer to challenge the status quo in the ratings watermarking arena. On the TV side, Minnetonka created the first professional-level graphical audio editing software for PC platform and multi-track surround sound editor. Meanwhile, Linear Acoustic has received a Technical Emmy® for “Pioneering Development of an Audio/Metadata Processor for Conforming Audio to the ATSC Standard,” among other honors.
Telos Systems—part of Telos Alliance—was founded in 1985 by Steve Church, a talk show radio host and engineer who was dissatisfied with the poor quality of the on-air telephone calls on his shows. He was also an Engineer determined to do something about it. The resulting Telos 10 telephone interface system was a great success, inspiring Steve to build a business to make and sell the systems. Telos Systems has since become the industry leader in broadcast telephone systems and IP and ISDN codecs. The breakthrough Telos Zephyr audio codec, for example, is one of the most successful digital broadcast products in history, with more than 21,000 in use worldwide. Telos telephone hybrids and on-air talk show systems set the performance benchmark for the industry and we continued to pioneer groundbreaking technology that pushes boundaries and gives broadcasters the telephony solutions they need for reliability, efficiency, and the best possible sound quality.
Way back in 2003, Axia Audio, the studio audio division of Telos Alliance, invented Audio over IP for Broadcast. We did what no one had ever done before—create professional radio gear that networks using standard Ethernet, for use in digital audio routing, mixing, and distribution systems for Broadcast and other Pro Audio applications. The foundational technology in all Axia products is Livewire plus AES67—we call it Livewire+—an AoIP protocol that enables high-reliability, low-delay uncompressed digital audio over Ethernet, including audio, logic, control, and program associated data (PAD). Devices connect together using standard Ethernet cables; audio and control routing is accomplished with off-the-shelf Ethernet switches. Axia Livewire+ has built-in compliance with the AES67 standard. That's because Axia and Telos Alliance are committed proponents of AoIP interoperability—first as charter, supporting members of the X192 Working Group that defined AES67, and now as founding members of the Media Networking Alliance, a group of prominent equipment manufacturers formed to actively promote the adoption and implementation of the AES67 standard.
Today, Axia mixing consoles, digital audio routers, broadcast intercom systems, and routing control software—along with other Telos brands and 85+ partners—are powering broadcast studios around the globe, with more than 8,000 mixing consoles and 100,000 networked audio devices
Omnia Audio—part of Telos Alliance—was founded by Frank Foti, who used audio engineering/processing to enable stations to craft a unique ‘signature sound’ that was louder than anything else on the air, yet with clear sound and no distortion. This processing is at the core of Omnia products, allowing stations to stand out among the competition on a crowded dial. Omnia has continued to innovate with leading-edge and solutions-oriented broadcast audio technology and numerous accolades and awards under its belt. In fact, Omnia is now the brand leader in Audio Processing, Processing/Encoding for Streaming Audio, Voice Processing, Analysis Tools, and Studio Audio Processing. Its products are the choice of the majority of the Top 100 rated stations in America, and are used at most major stations worldwide. Omnia continues to push the envelope to give broadcasters the tools they need to amplify, customize, and perfect sound signatures.
Founded in 2003, 25-Seven Systems —a part of Telos Alliance—began with the idea to marry ultra-complex time compression algorithms that would allow radio stations more effective and efficient broadcast time management. The resulting product—Audio Time Manager—became radio’s preeminent solution for real-time compression and time-shifting, and has been used at some of the biggest talk stations in the world. Always on the bleeding edge, 25-Seven then reinvented the profanity delay with Program Delay Manager, adding the unprecedented capability to capture objectionable live content for future review. Now, 25-Seven Systems specializes in audio technologies and products that address unique problems in the industry. Most recently, 25-Seven has produced one of the most disruptive technologies in broadcast history—the Voltair line of water-marking enhancement products, which became one of the hottest and most game-changing products in the industry.
Linear Acoustic was founded in 2001 by Tim Carroll. The first Linear Acoustic product was the OCTiMAX 5.1 audio processor. With the onset of digital television came myriad problems involving loudness and digital audio control. Linear Acoustic turned their attentions to solving these problems at every stage of the digital audio chain and soon developed a product range that made digital broadcast sound work as it should. Audio over IP (AoIP) has been embraced by the radio side of broadcasting for many years where the myriad advantages of networked audio via the Livewire+/AES67 standard is well known.
Now, AoIP is available for television audio thanks to Linear Acoustic AERO.8000. The Linear Acoustic SDI xNode de-embeds two separate HD/SD-SDI inputs, converts it to up to 16 channels of Livewire+/AES67 audio, makes it available for processing, upmixing, and encoding in the brand-new AERO.8000 Processing Engine, and then re-embeds the audio into two independent SDI outputs. This provides unmatched flexibility, scalability and channel density.
In 2010, Linear received a Technical Emmy® for "The Pioneering Development of an Audio/Metadata Processor for Conforming Audio to the ATSC Standard," and has provided upmixing, loudness metering, encoding products, and technical support for NBC’s coverage of the 2008 Bejing Summer Games, the 2010 Vancouver Winter Games, the London 2012 Summer Games, the 2014 Sochi Winter Games, and most recently, the 2016 Summer games in Rio.
Founded by John Schur, Minnetonka Audio Software, Inc. (MASI) was formally incorporated in 1998 with the charter to produce professional quality digital audio editing products. As the technology evolved, MASI maintained a position as a technology leader, and was the first to produce a multi-track surround sound editor, Mx51. The discWelder series of products, for authoring DVD-Audio discs, continued the company’s lead in supporting high-resolution and surround audio formats. MASI continues its industry leadership with the development of the SurCode series of audio encoding products to support industry-standard formats including Dolby E, Dolby Digital, Dolby Digital Plus, Dolby Pro Logic II, DTS and DTS-HD. SurCode is known in the industry as the “go to” brand of ready to use, surround sound as plug-ins for major DAW’s, NLE’s and OEM.
In 2011 MASI introduced a first of its kind: an audio only asset management and automation platform, called AudioTools Server. It has quickly become the standard for major broadcasters because of the encapsulated audio expertise required for tasks, such as loudness control, in a file-based environment.
Expanding on the success of AudioTools Server, AudioTools CLOUD was introduced in 2015 as the first Amazon AWS “application” to offer audio specific workflow tools for broadcasters, post houses and more, allowing businesses to only pay for what they need, when they need it.