Next Generation Audio (NGA) is the set of technologies that moves audio beyond fixed-channel mixes into immersive, object- and metadata-driven experiences that are personalised, accessible, and scalable across devices. NGA lets a single programme carry discrete elements (channels, objects, dialogue tracks, audio description) plus metadata so that a receiver or renderer can adapt the sound to the listener’s playback system and preferences; for example, boosting dialogue, switching languages, or rendering height channels for a soundbar or headphones.
Among the technologies enabling this shift, MPEG-H Audio has emerged as a key standard, offering an end-to-end framework for object-based and scene-based sound that integrates seamlessly with broadcast and streaming workflows. It enables features like adjusting dialogue levels or choosing commentary tracks, and delivers audio efficiently across everything from broadcast TV to streaming platforms.
Two codec contenders
MPEG-H Audio is one of the leading NGA codecs designed with broadcasting and streaming in mind. It supports channel-based, object-based and scene-based representations, extensive personalisation and efficient delivery for live and file-based workflows. It is attractive for European broadcasters not only because it aligns with broadcast-centric workflows and standards, but also because it has seen successful real-world deployments in live sports, concerts, and streaming.
MPEG-H’s design aligns neatly with the operational priorities of public and commercial services, including accessibility, multi-language distribution, and live-event immersion, which are high on the agenda for European public-service media and regional networks.
The other leading technology is Dolby Atmos, which has achieved remarkable success in cinema and high-end home theatre installations; much of that brand prestige has trickled down to the consumer device level as well. Atmos is a comprehensive ecosystem: a creative format integrated into digital audio production toolchains, a marketing-strong brand, and a commercial model that spans device vendors and content platforms. That combination helped Atmos secure placement with major streamers and wide device support, which matters when broadcasters want on-demand content to play consistently across smart TVs, soundbars, phones, and tablets. This is one of the main catalysts for consumers wanting more NGA content and experiences.
Atmos’s strengths in cinema and the premium home theatre market make it a natural choice for content creators who want precise object placement, a familiar production workflow, and a recognisable consumer proposition.
Why do broadcasters often favour MPEG-H for delivery?
MPEG-H is increasingly appealing to broadcasters for several practical reasons. First, MPEG-H aligns with broadcast-specific profiles and integrates seamlessly with the Serial-Audio Definition Model workflows that broadcasters are adopting. Its open metadata and interoperability naturally fit into S-ADM based production and distribution chains, which are favoured by many public and consortium-driven broadcasters.
Second, MPEG-H tools prioritise live production and IP media workflows, facilitating integration into playout and live-mix operations common in sport and live entertainment. It is widely used for delivery across broadcast, streaming, and mobile networks because it is designed specifically for efficient transmission and flexible rendering under varying network conditions and diverse endpoint capabilities.
Finally, licensing and device certification for broadcast-grade rollouts of MPEG-H are often easier to align with broadcasters’ procurement and regulatory requirements (though specific commercial terms still require negotiation).
When operational costs, regulatory expectations for accessibility, and multi-device interoperability are key, MPEG-H is shown to be a pragmatic, standards-forward choice.
Technology comparison
MPEG-H strengths include a broadcast-first design, strong personalisation and accessibility features, native fit with production workflows, and an emphasis on efficient delivery over broadcast, streaming, and mobile networks alike; however, it enjoys lower consumer-brand recognition than Dolby and varying levels of consumer playback support across markets.
Dolby Atmos’s strengths are its established cinematic leadership, dominance in high-end home theatre, deep integration into creative toolchains, and a large installed base of Atmos-capable consumer devices. Its weaknesses for broadcasters include the vendor-centred licensing and certification model, potential fragmentation across codecs within the Dolby ecosystem, and additional procurement complexity for multi-vendor broadcast chains.
Both MPEG-H and Dolby Atmos are mature and powerful approaches to Next-Generation Audio. MPEG-H is strategically attractive to European broadcasters that prioritise standards-aligned workflows, live-event scalability, and open metadata interoperability, and it has become especially popular on the delivery side across broadcast, streaming, and mobile networks. Atmos brings cinematic mixing practices, a strong consumer-device footprint, and brand recognition that benefits on-demand and premium content distribution.
In the end, broadcasters should choose the technology that best aligns with their operational model. Standards-driven, delivery-centric broadcasting and live sport workflows naturally point to MPEG-H, while cinema-grade creative workflows and broad consumer device reach make Dolby Atmos compelling for OTT and premium on-demand strategies.
For viewers, the net effect is positive whichever route a broadcaster chooses: enhanced immersion, better dialogue clarity, richer accessibility options, and personalised listening experiences.
This article originally appeared in the December issue of TVBEurope, available to download here.
