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LeAudio

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mandates support for higher quality qos settings requiring support for all of the low latency
and high reliability khz qos modes defined in table of bap to and
to for a broadcast media receiver and both and qos
configurations for a broadcast media sender it also mandates that a broadcast media sender
section public broadcast profile
must support at least one of the or ms frame codec configurations and one of
the or ms frame codec configurations
tmap requires that broadcast media receivers support a presentation delay value of ms
within their ran ge of presentation delays for both low latency and high reliability qos
modes
tmap also increases the mandatory support for broadcast audio c onfigurations requiring
that a broadcast receiver can accept any of the broadcast audio configurations defined in
table of bap these are shown in table th e bms requirements are unchanged
from bap
audio
configuration stream direction
initiator acceptor bms bmr
m m
m m
o m
table audio configuration requirements for broadcast media roles
public broadcast profile
the public broadcast profile pbp is a simple but very interesting profile it is intended to
support the audio sharing us e case providing a guarantee that a broadcast audio stream is
configured such that any acceptor can receive it it contains a new uuid the public
broadcast service uuid which is added alongside a basic audio announcement as an
additional service type this means that it appears in an extended advertisement allowing
a device to read it without having to synchronise to the periodic advertising train and then
receive and parse the base this reduc es the amount of work for the scanner reducing its
power consumption essentially it acts as a filter which a broadcast sink or broadcast
assistant can use to limit its scanning reducing the power and time required to identify
broadcast source s which th ey know the broadcast sink can decode
pbp defines three roles the public broadcast source pbs public broadcast sink pbk
and public broadcast assistant pba the only requirement on the pbk and pba roles is
that they are able to recognise and inte rpret the pbp uuid in an extended advertisement
a public broadcast source may only include the pbp uuid in its basic audio announcement
if at least one of the bises included in the associated big has been encoded using one of
mandatory qos set tings defined in bap for a broadcast sink ie
chapter top level bluetooth le audio profiles
or the big may contain bises encoded at other qos settings but the pbp uuid
can only be transmitted when a bis with these mandatory settings is active
the reason for pbp is to alert bluetooth le audio sinks to a broadcast audio stream which
can be universally received
that concludes our coverage of the bluetooth le audio specifications the final chapter will
look at some of the new applications they enable
section public broadcast profile
chapter bluetooth le audio applications
chapter bluetooth le audio applications
the whole point of developing bluetooth le audio was to support new audio applications
not just to produce a slightly lower power alternative to the existing bluetooth classic audio
profiles part of that was driven by th e need to catch up with proprietary extensions
particularly for true wireless stereo the bigger prize was to allow innovation in audio to
keep up the momentum which tws and voice assistants had generated making audio more
universal and allowing greate r flexibility in how we can listen to it
broadcast is the child of the telecoil the telecoil system has been around a long time it
performs well but it is remarkably basic it is mono has a very limited audio bandwidth and
you can only hear it if youre located within the confines of the inductive loop whilst the aim
of bluetooth technology was to provide a more capable successor it very quickly became
obvious we could expand significantly on the user experience of telecoil
an initial concern with replicating the telecoil experience i s that a bluetooth transmission is
not confined by its installation area being wireless it penetrates walls meaning that people
in adjoining rooms and spaces can also hear any broadcast audio in many situations such as
public halls and places of wors hip thats not a significant problem because the only source of
broadcast audio will be the one that is relevant for that particular venue however in other
situations such as tvs in hotel rooms or systems within conference centres with multiple
meet ing rooms that becomes a major issue as broadcasts will overlap with the result that
people will have difficulty in understanding which broadcast is the one they want to connect
to and potentially hearing things which they shouldnt
that led to the i mplementation of encryption within a broadcast stream so that only a user
with the correct broadcast code to decode that stream is able to listen to it although t he
broadcast streams overlap the broadcast code provides an access mechanism where only
authorised listeners can decode a particular broadcast audio stream thats akin to how wi
fi works today where users are given an ssid name to identify a particular wi fi network
and then need to key in an access code to be allowed to connect to it whi lst people have
become used to doing that with wi fi its a pretty basic and often frustrating user experience
everyone wanted bluetooth le audio to do it better
tackling that needed a better mechanism for a user to access the code than a scrap of paper
on a coffee shop table or a notice on the wall it led to the development of the broadcast
assistant and the commander providing ways for that information to be s ent from a
broadcaster that is trusted or known to an individual listener as the specifications developed
it quickly became obvious that this provided a very powerful mechanism for users both to
pick up broadcast codes and gain access to individual br oadcasts in a far more flexible manner
than we have ever seen with previous bluetooth connections
section changing the way we acquire and consume audio
changing the way we acquire and consume audio
changing the way we acquire and consume audio are important points for developers to
understand for most of the last two decades the evolution of personal audio has been driven
by mobile phones initially we stored files that wed acquired from music sharing networks
on our phones m ore recently with the growth of audio streaming services the phone became
the router supplying music to our ears on demand however that experience largely depended
on an interaction with the phone to select what we wanted to hear with the features of
bluetooth le audio and the predicted availability of multi ple bl uetooth le audio sources
that is going to change those sources may be personal in the case of our phones laptops
and tvs public such as a broadcast transmitter thats installed in a restaurant pub gym or
office or commercial as in a cinema or when were listening to a live performance
commanders mean that we will be able to do far more in terms of selection and control
without touching our phones it will be interesting to see what effect that has on the devices
we carry with us and wear if we can do more without touching our phones their importance