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Thursday, February 02, 2012

Stagetec NEXUS Supporting Jimmy Fallon Show Remote Production In Indianapolis

Tied into the upcoming Super Bowl game in Indianapolis, late night television host Jimmy Fallon is broadcasting four shows from the Hilbert Circle Theatre in downtown Indianapolis.

It presents a challenge in recreating the studio setup of the “Late Night with Jimmy Fallon Show,” which is normally broadcast from NBC Studios at 30 Rockefeller Center. 

Nathaniel Hare, front of house mixer for the show, was tapped as the sound designer for the four dates (three live-to-disc and then a live show after the big game). Wireless First, a Clair Global company, was selected due to their experience in both TV and touring sound to supply all of the necessary equipment.

Hare decided on Stagetec NEXUS to provide the backbone of the audio routing, with all audio signals from all stage sources to front of house and monitor— and to the Music Mix Mobile and Game Creek Trucks parked outside—are being transported through the NEXUS system.

The NEXUS network comprises of some 1728 inputs and 1984 outputs. Central to the system is the NEXUS Star, which connects 12 remote base devices throughout the theatre and the OB trucks. 

Further, several consoles connect via MADI, including front of house, music and main production, and the rest have direct connections to the NEXUS via AES/EBU.

“As the show after the Super Bowl is going to be live, I need to be 150 percent sure that there will be no equipment failures,” states Hare, “and the NEXUS not only has complete redundancy built in but it’s track record on reliability speaks for itself.”

Stagetec

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New Firmware Update For Roland Digital Snake System Expands Flexibility

Roland Systems Group is now offering a new Version 2.500 firmware update for S-4000 Series digital snake systems.

The new functionality allows the S-4000H 8 x 32 digital snake head to support samples rates of 48 and 44.1 kHz – in addition to 96 kHz. This enables it to be used in V-Mixing System configurations, especially as an analog breakout box.

In addition, the update provides control of pre-amps of the S-4000S set in REAC Master mode using the S-4000R or S-4000 Remote Control Software (PC/Mac) without the need for slave equipment or the M-48 personal mixers present.

This allows new uses of the digital snake head such as a 40 input front end to a SONAR REAC Recording system – all connected to a PC via a Cat5e/6 cable.

The S-4000 Series was the first digital snake system using the REAC protocol - a low-latency, high-quality digital transport system.

The S-4000 digital snake system Version 2.500 firmware update will be available in mid-February. Visit www.rolandsystemsgroup.com/updates for more specific information.

Roland Systems Group

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Tuesday, January 31, 2012

New Integrated Cores Provide QSC Q-Sys Technology For Smaller Applications

QSC Audio has announced the next generation of Q-Sys products, designed specifically to deliver powerful digital networked audio solutions for the widest range of applications.

The new Core 500i and Core 250i provide advanced centralized processing, routing and control for contractors and consultants needing a solution for smaller venues such as restaurants, nightclubs, stores, schools and churches.

These two new Core models are fully integrated solutions, each with eight card slots on-board. The Core500i is capable of up to 128 network channels while the Core 250i provides up to 64 channels. I/O is selectable via the various Q-Sys I/O cards. Options also include the MTP-64, and MTP-128 multitrack players.

Like all Q-Sys Cores, these systems run under a customized Linux operating system on Intel microprocessors and motherboards. IT connectivity is easily implemented utilizing Layer 3 Gigabit networking protocols and standard Gigabit Ethernet hardware.

The systems are capable of providing simple and fail-safe redundancy for mission-critical applications. All system design, configuration, administration and control operate under a simple and straightforward GUI. 

Additionally, custom user control panels are easily created and can be displayed on any Internet-connected PC, iOS device or QSC’s own Touch Screen Controllers (TSC-3, TSC-8). Any incoming signals may be mixed and routed to any output and nearly unlimited DSP is provided, including Acoustic Echo Cancellation.

Also newly announced is the I/O-22 analog I/O box. It is a compact, standalone unit designed for widely distributed audio sources or destinations such as individual rooms in a multi-room venue (judicial chambers, classrooms, VIP suites, etc.)

It provides two mic/line inputs and two line outputs and connects directly to the Gigabit Ethernet network. It is powered by PoE or 24 VDC and includes an 8.5 watt mono amplifier and mounting plate for discreet and compact installation.

QSC Audio

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Extron Introduces New Eight-Port Fiber Optic Audio Extractor

Extron Electronics has introduced the FOX AEX 108, an eight-port fiber optic audio extractor for independent processing and routing of audio signals in a fiber optic AV distribution system.

Each port accepts signals from a FOX Series transmitter to extract a two-channel analog audio signal for processing, and then re-transmits the original signal to a FOX Series receiver.

To simplify integration with mixers, DSP devices, and audio amplifiers, the FOX AEX 108 provides both balanced and unbalanced stereo.

Buffered loop-throughs feature output reclocking and full transmitter power levels to ensure signal integrity.

Available in multimode and singlemode models, the FOX AEX 108 is great for use in FOX Matrix system applications that require extraction of audio signals for local processing and independent distribution.

“System designers and integrators that rely on Extron FOX Series products for fiber optic AV signal distribution now have a new option to route audio within the equipment room,” says Casey Hall, vice president of sales and marketing for Extron. “The FOX AEX 108 provides an easy way to extract audio signals for independent processing while maintaining the integrity and convenience of the fiber optic link.”

The FOX AEX 108 is part of the larger, expansive FOX Series of fiber optic products from Extron. It is compatible with FOX Series matrix switchers, switchers, distribution amplifiers, and HDMI, DVI, VGA, VGA/YUV, and AV transmitters and receivers.

Housed in a compact 1U, half-rack width metal enclosure, the FOX AEX 108 is designed to provide convenient access for audio signal processing and routing from an equipment room.

Extron Electronics

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Wednesday, January 25, 2012

New Pivitec e32 Personal Mixer Provides 32-Channel Ethernet AVB Capability

Introduced at the NAMM 2012 Show, the new Pivitec e32 personal mixer is a 32-channel Ethernet AVB “listener” endpoint that can be used to build a stereo mix up to 32 channels of network audio sources that can then be controlled wirelessly from iPhone, iPod touch or iPad using Pivitec’s V2Mix app for iOS.

The e32 features a high-output headphone amp loud enough to work in loud stage environments as well as stereo line outputs for driving other devices, such as wireless IEMs, power amplifiers or powered loudspeakers.

Both are driven by a 24-bit/48-kHz digital to analog converter.

A built-in DSP provides three bands of EQ on each audio channel as well as a stereo three-band EQ and limiter on the master outputs.

The e32 also includes a “local” stereo line level input for connecting an MP3 player or click track for local listening.

Features:
—Stereo line level outputs on 1/4-inch TRS connectors
—High-output headphone amplifier
—Local 3.5mm line level input
—Rugged extruded aluminum chassis with black anodized finish
—Wireless control from Pivitec’s V2Mix App for iPhone & iPad
—Power from external 48VDC supply or PoE (802.11af)
—Made in USA

As an integral component in the Pivitec Audio Networking product family, the e32 is an ideal complement for the e16i input module. Multiple e16i and e32 units can be utilized to builde a personal monitor mixing system. 

Four e32s can be rack mounted in a single 1U rack, or a microphone stand adapter can be deployed for local mounting.

Pivitec

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Friday, January 06, 2012

Full Compass Systems Introduces Latest Production PC

Full Compass Systems has announced that its latest Quiet Speed Production PC is now available for sale. This new version includes the option of solid state hard drives, significantly increasing performance over the previous model.

The standard Full Compass Production PC boasts an Intel Core i7 3.20 GHz quad-core processor, 6GB DDR3 1333 MHz RAM, 650-watt power-supply and a Lightscribe DVD-RW drive. 

The solid state hard drive option gives the machine a 25 percent performance boost and a boot up time 50 percent quicker than its predecessor. 

Other options include a Blu-Ray recorder, nVidia GeForce 2000 high-performance video card, RAID-10 hard-drive configuration and a rack mount case.

Full Compass product manager Kevin Peckham states, “We make every effort to stay on the leading edge of technology with our production workstations. The fast read/write capability, low heat and silent operation of SSD storage are ideal for the professional A/V workstation applications our computers are used for. 

“The capacity-to-cost ratio has reached the point where we feel it is time to offer this capability in the Quiet Speed product line.”

Full Compass Systems

 

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Thursday, December 29, 2011

Symetrix Room Combine 788 Adds Flexibility, Fidelty At Florida’s Lakeland Center

Known as one of Central Florida’s most popular entertainment complexes, The Lakeland Center (Lakeland, FL) includes venues for sports, entertainment, events, meetings and hospitality.

The facility recently upgraded with a Symetrix Room Combine 788 processor in one of its three modular meeting/event spaces, which allows the venue’s technical staff to merge or split any combination of rooms using an intuitive interface, with comprehensive digital signal processing as a bonus.

Using air walls, the 25,000 square-foot facility divides into as many as eight separate spaces of varying size. The old room combiner was installed in the mid-1990s and operated on outdated mechanical relays.

“It worked okay,” says Joseph Havens, the technical director at The Lakeland Center. “We installed it and used its limited flexibility to create a few common configurations. It had no DSP and no analog processing of any kind. Recently, the unit gave up the ghost.” Havens removed its carcass and committed to finding a modern replacement.

Based on its flexibility and power, he chose the purpose-built Symetrix Room Combine 788, which takes up to 12 inputs and matrix mixes them into 8 outputs.

“As many of the technicians on my staff do not have expertise in the arena of installed sound, I had to have a combiner that was intuitive to operate,” notes Havens. “The user interface on the 788 is second to none. The new system is very friendly and not at all intimidating.”

Symetrix’ simple-to-use software allowed Havens to draw a schematic of the event space on the user interface with each of the eight smaller sections outlined. To combine or un-combine sections, his technicians simply highlight the relevant sections on the schematic.

To allow clients a measure of control, Havens positioned a Symetrix ARC-K1 rotary encoder in each of the 8 sections to control volume. Because each ARC-K1 receives its power and communicates with the Room Combine 788 via a single Cat5 cable, the installation was straightforward.

“At each position, we used the cable from the old system to pull a fresh Cat5 into place,” Havens explains. “That allowed us to keep the power supply in the main rack with the 788. The ARC-K1s communicate with the processor and, ultimately, each other (their controls become redundant when sections are combined) via a star topology. It couldn’t have been easier.”

Although the primary goal was, first and foremost, installing a new room combiner, the additional signal processing capability proved a bonus.

“The existing loudspeakers and amps were in good shape, so we left them alone,” says Havens. “Nevertheless, just hooking up the Symetrix Room Combine 788, without turning any processing on, significantly improved the system’s fidelity. Before, it had always had that ‘ceiling speaker’ sound, with an emphasis on the midrange. Now it was fuller and richer.” Havens didn’t stop there however, he used the Room Combine 788’s collection of filters, equalizers, and dynamics processors to dial in an even finer sound.

Symetrix

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Tuesday, December 20, 2011

Altinex Debuts TP115-201/202 Video+Audio Transmitter/Receiver

Convenient signal transmission over a single CAT-5 cable

Altinex has announced the introduction of the TP115-201/202 Video+Audio+IR+RS-232 To Twisted Pair Transmitter/Receiver.

The ideal solution for transmitting video (computer or component), stereo audio (analog or digital), RS-232, and IR signals over a single twisted pair-type (CAT-5) cable, the TP115-201/202 enables AV integrators to take advantage of existing cable infrastructure to contain costs while providing an effective means of distributing these signals up to 300 feet, making these units well suited for conference facilities, lecture halls, presentation spaces, and similar venues.

With a compact form factor, the TP115-201/202 transmitter/receiver can be installed in areas behind desks, displays, etc., wherever free space is limited.

The TP115-201 transmitter provides buffered local outputs for both video and audio—with the local video and audio output in the same format as the input. This enables the presenter, for example, to have a personal monitor and loudspeakers nearby while the audience views a larger display and listens through the house audio system.

When a local monitor is connected, the TP115-201 passes the EDID (Extended Display Identification Data) data from the monitor to the computer video source; otherwise Altinex’ built-in EDID data is passed to the video source—thus ensuring a proper signal match.

The TP115-201 and TP115-202 support analog audio with RGBHV video and optical/digital audio with YPbPr component video. The TP115-202 receiver accepts the twisted pair signal from the TP115-201 transmitter and decodes the video, audio, and control signals for output to a projector, display, amplifier, speakers, etc.

The transmitter has a 15-pin HD female connector for video input (RGBHV or YPbPr) and a 3.5 mm optical mini jack for audio input.

Local outputs use a 15-pin HD female connector for video and a 3.5 mm optical mini jack for audio. The transmitter’s female RJ-45 output provides the main drive to the twisted pair cable that is accepted on the receiver’s female RJ-45 main input connector.

The receiver also has a 15-pin HD female connector for video output (RGBHV or YPbPr) and a 3.5 mm optical mini jack for audio output.

These latest generation devices enable IR (Infrared) or RS-232 data to be transmitted bi-directionally. RS-232 data transmission requires the construction of a simple 3-conductor cable.

IR transmission is easily achieved with the purchase of the optionally available AC301-110 IR Receiver and AC301-111 IR Emitter, which both connect to the control terminal block connector. The IR capabilities enable one to run their presentation either locally or from the display location.

The TP115-201 and TP115-202 can be configured to transmit IR and RS-232 data, though not simultaneously.

“The Altinex TP115-201/202 Transmitter/Receiver are outstanding tools for addressing a variety of audio, video, and data transmission issues in a presentation space,” says Larry Drum (CTS), Altinex regional sales manager for the Central United States. “These latest generation Twisted Pair devices use an innovative, patented technology developed by Altinex that enables the transmission and reception of fully equalized computer video signals and stereo audio signals over long distances.

“With an assortment of LEDs and an illuminated Altinex logo to provide visual feedback for operational status, this transmitter and receiver pair make a compelling choice to address a wide range of presentation space audio/video transmission challenges.”

The Altinex TP115-201/202 Video+Audio+IR+RS-232 To Twisted Pair Transmitter/Receiver each carry an MSRP of $445. MSRP for the AC301-110 IR Receiver is $12 and the AC301-111 IR Emitter is $12. The equipment is available now.

Altinex

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Monday, December 19, 2011

Symetrix DSP Provides Sophisticated Paging And More At New Montreal Concert Hall

Solotech programs and installs Symetrix SymNet-based signal processing and interface technology at La Maison Symphonique de Montréal

The La Maison Symphonique de Montréal, new home of the Montreal Symphony Orchestra, was built to exacting acoustical standards by Tateo Nakajima of Artec Consultants and will host a wide range of musical and theatrical performances.

While most of the publicity surrounding the building’s opening is justifiably centered on the acoustics, La Maison is just as sophisticated behind the scenes, with Artec Consultants designing a comprehensive yet intuitive paging system.

Philippe Beaudoin of Montréal-based A/V integrator Solotech programmed and installed the Symetrix SymNet-based signal processing and interface technology that makes the powerful paging system possible.

Six zones comprise the paging system. The lobby zone conveys pages for patrons, typically before performances and during intermission and retransmits the audio captured within the hall for late arrivers. (Basically, there’s a camera that captures the video and sends to displays on all 3 levels of the lobby and a microphone gets the audio and sends to the paging system.)

Based on their physical layout and intended usage, there are two separate dressing room zones. The stage manager’s booth, the recordist’s booth, the house audio mixer, the follow spot operators and the lighting board op, get their own zone. The venue managers’ offices get their own separate zone.

The final zone patches through the main audio mixer into the house sound system. Over three-hundred McBride 820CXB paging loudspeakers powered by two QSC Audio CX-204V and two QSC-1202 amplifiers deliver the paging system’s output.

The lynchpin of La Maison’s paging system is the Symetrix ARC-SW4 and ARC-XLR, a pair of wall panel remotes with integrator-programmable push buttons and an XLR jack.

Room managers and stage managers have their own Symetrix ARC-SW4 and ARC-XLR to handle outgoing pages, and each one is configured the same way.

Two mobile racks can be plugged and patched from different areas of the venue for temporary needs of traveling productions and events.

Of its eight buttons, six are labeled by zone. To deliver a page, the user pushes a button for each of the zones that he or she wants to include. Then a push-to-talk button, combined with a Shure 527B microphone, executes the page.

Additional features include a push-button chime, which calls patrons to the hall prior to a performance or after an intermission, and a volume control override button.

Although it may find other uses, the volume override button’s intended purpose is to deliver urgent messages, such as when a musician or the conductor needs to be called from the dressing room to the stage.

An open-architecture Symetrix SymNet 8x8 DSP, supplemented by a Symetrix Control I/O, sits in the middle of the system. It ably handles the complex routing required of the system, along with all of the frequency and dynamics processing nuances that make the pages not only functional, but also pleasant.

“Symetrix delivered on two essential features that make the paging system at La Maison comprehensive, easy-to-use, and cost-effective,” says Beaudoin. “First, it has a wealth of flexible logic modules, which meant that I could design the system to hang together robustly. Second, the ARC remotes convey logic controls and audio on a single Cat5 cable with very liberal distance restrictions. That made the physical installation as easy as it could possibly be.”

Symetrix

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Tuesday, December 06, 2011

Open Control Standard For Audio Gear? Looks Like The Time Is Arriving

The time is right for open public media networking standards. There is simply too much potential to continue ignoring them...

While the topic of audio media transport has been (and continues to be) examined extensively, the area of control standards has not been as adequately addressed.

As a result, Open Control Architecture (OCA) is being developed and promoted by the OCA Alliance, a group of nine audio manufacturers working toward the goal of creating an open public standard for control operations of media networking devices.

Previously (here), I discussed the scope and goals of OCA, but there is another question that must be asked: How exactly will this benefit the industry at large, and what advantages could an open public control standard provide to end-users, designers, specifiers and manufacturers.

Different groups have different views of what proprietary control protocols bring to the party. Traditionally, they have provided closed ecosystems of equipment that work well within their specific environment.

However, anybody who has ever had to integrate equipment from different manufacturers or expand existing systems has quickly found the other side of that coin - if a product is not part of “the club,” it’s going to be difficult to get it to play along.

The reality of our industry is that different equipment from different manufacturers is frequently used together to create a complete system, and the components of that system need to operate as a unified entity to get the job done.

Not The Same
One concern about standardizing things like control is that it will result in a homogenization of products from different manufacturers. As mentioned earlier, it’s important to understand that standardizing control is in no way the same as standardizing features or functionality - elements of a product that are unique and exciting will remain that way, but the industry will have a whole host of new options for how they interact with those features.

From the customer’s perspective, this means that a product can be examined and specified on the merits of its performance, features and unique properties, rather than concerns about it being able to function in a given system under a certain set of proprietary rules. Customers can really pick the best tools for the job without dealing with artificial restrictions.

From a manufacturer’s perspective, the same holds true. It is easier for customers to specify and purchase equipment for use in situations or systems where they previously could not. The reality of a manufacturer’s proprietary systems is not that they lock others in; far more often, they lock others out.

Standardization Concerns
There is a whole segment of the professional AV industry that is devoted to solving the problems of getting two or more pieces of equipment to communicate, even though they were never intended to. Whether you’re talking about a systems professional or a manufacturer who makes equipment for this purpose, there is sometimes a concern that standardization of control protocols will damage these businesses. It won’t.

This area of the business is always going to exist, because at the end of the day, customers are not purchasing a pile of random boxes - they are purchasing a solution to a problem. Sometimes the problem is simple, but sometimes it’s very complex and requires special expertise to really deliver a superior experience.

It’s a cold, hard fact, but customers really doesn’t care about the clever script or hack that an integrator came up with to finally get those two pieces of gear to communicate. What they do care about is how many billable hours went into creating that hack, and that when they push button x, function y happens consistently and reliably.

An open public standard for control will allow integrators to become more creative and efficient in how they create solutions, it will add value to their services, and this section of the industry will prosper and thrive.

Lift All Ships
Now let’s think about manufacturers for a moment. I work for one, and I want to sell equipment. I want that equipment to be valuable and desirable, and I want to run a profitable business. 

Our industry is made up of a lot of entities, applications and needs. Innovation and competition are important to drive both the products that are available to the market as well as the methods, techniques and solutions that we provide to end users. So let’s take a look at a couple of challenges that may exist for manufactures and purchasers alike.

Creating and industrializing a great product isn’t free. If a company’s only option is to develop all technology from the ground up, it may be cost prohibitive (particularly for smaller companies), or the final version of the product may have been diluted to hit a certain development cost. 

Alternately, to recover those development costs, the product might be priced out of its market. By being able to implement and adopt an open public standard for some of this development, the cost of entry is lower, and we can expect to see new and innovative ideas flourish in the market.

To illustrate another challenge, let’s say a new company has developed the coolest controller for a DSP that you’ve ever seen, but in today’s environment, connecting that device to other manufacturers’ equipment can require some pretty complex and time consuming methods and programming. Further, this can still lead to limitations or compromises in actual functionality.

All of it increases the real cost of the product for everybody - the system professional must spend more time programming and configuring, the end-user must pay for those additional billable hours, and the manufacturer might have a higher support load. But if that product could hit the market ready to talk to anybody’s hardware, it suddenly becomes much easier, more attractive and more economical for all parties.

Open Ecosystem
So now, let’s come back around to my original question posed last time: Why are we doing this? Simple – it’s good for the AV industry. Manufacturers benefit from lower development costs, new sales channels and happier customers, while customers benefit from more competition, new innovation, greater flexibility and reduced integration time.

The time is right for open public media networking standards. There is simply too much potential to continue ignoring them. Open public standards will provide a way to make our entire industry more agile and more profitable.

This conversation will continue for years to come, but for the first time, we can begin to see some of the fruits of our labor.  I believe in a matter of years, we will look back and the question will not be “Why?” but rather, “What took us so long?”

Ethan Wetzell has worked in audio for over 20 years, in positions ranging from front of house and studio engineer to global product manager for Electro-Voice DSP. He currently works as platform strategist for Bosch Communications Systems and works with the OCA Alliance.

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Monday, November 21, 2011

Audinate Partners with Inter-M, Licenses Dante Networking

Company plans using Dante end-to-end throughout its systems

Audinate has announced that Inter-M, South Korea’s largest PA and installed sound manufacturer, has agreed to collaborate to produce a line of products that will feature Dante, Audinate’s patented media networking technology.

The Audinate Dante audio networking solution that is built using standards based IP over Ethernet.

“Inter-M is a great brand in Korea and is expanding rapidly around the world.” says Lee Ellison, CEO of Audinate. “Inter-M has an aggressive plan to connect their wide variety of products into an integrated system using Dante.”

“We believe having Dante in our systems gives us a definite competitive advantage” states Wonho Lee, director if R&D at Inter-M. “We selected Dante because it provides us with an audio over IP solution today, and Audinate is the only company that can offer a viable transition path to AVB for the future.”

Inter-M plans using Dante end-to-end throughout its systems, from Dante-enabled paging microphones, through mixers and distribution units, to Dante-enabled powered speakers.

Audinate
Inter-M

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Monday, November 14, 2011

Audinate Co-Sponsoring AES 44 Audio Networking Conference In San Diego

Largest event on audio networking coming up November 18-20

Audinate will be a co-sponsor at this year’s Audio Engineering Society’s 44th International Conference on Audio Networking. 

The conference is being held from November 18-20 in San Diego, California and is anticipated to be the largest event to date on audio networking.

AES 44 features 17 papers on diverse topics related to networked audio, including five panel discussions industry veterans, plus three major technology demonstrations highlighting audio network control protocols, distributed performance, and a networked post-production master class.

Audinate’s Dante networking will be demonstrated during the event. Dante is recognized for delivering a tightly synchronized, low latency media network over standard TCP/IP network infrastructure.

In addition, Audinate CTO Aidan Williams will speak on topics such as product design and control protocols. “Dante shall remain the industry-leading media networking solution and that also includes support for AVB,” Williams says, “People choosing Dante as a ‘future proof’ solution are expressing confidence in Audinate’s ability to deliver an easy to use media networking system supporting AVB.”

Conference chair Nathan Brock notes, “The conference is the best chance to learn about audio networking from the engineers who are designing and building the devices currently in use, as well as the next generation of networking technologies.” 

Social events include tours of the audio, visualization, and networking facilities of the University of California, San Diego, which is hosting the conference and banquet for all participants.

Click here to find out more about the AES 44 Conference.

And click here to register on-line for the conference.

Audinate

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Friday, November 11, 2011

AES X192 Audio Network Interoperability Standard Connects With Manufacturers

Will provide manufacturers with the means to remain with the network technology they are invested in, while also seamlessly interfacing with products that support other networks

An AES standards task group chaired by Kevin Gross is currently developing an interoperability standard for audio networking. The focus of the project, which is called “X192,” is addressing the need for interoperability between products of many different manufacturers.

Once implemented, X192 will provide manufacturers with the means to remain with the network technology they are invested in, while also seamlessly interfacing with products that support other networks.

There are currently a number of existing and work-in-progress protocols, each with a distinct heritage. These include the IEEE 1733 variant of AVB, Dante, Livewire, Q-LAN and RAVENNA.

With an “interoperability mode” built from existing protocols and compatible with existing network equipment, system integrators and end-users will be able to select and interface the products that best meet their design goals with confidence that the X192-enabled devices work and play well together. And by “interoperability” Gross means the ability for devices operating under various proprietary Layer-3 protocols to easily exchange audio data.

Alternately, manufacturers may find that X192, once fully developed will meet all their criteria and may decide to implement it as their only networking protocol. QSC Audio Products, LLC and Telos Systems’ Axia Audio division have become sponsoring members supporting Gross’s work.

Manufacturers and users of networked audio products are recognizing the benefits of using Layer 3 network technology and applying existing IP protocols such as IEEE 1588, RTP and DiffServ to the challenge of distributing high channel-count, low-latency, uncompressed digital audio. The benefits of such an approach are numerous and include compatibility with off-the-shelf network hardware, scalability, manageability and acceptance by IT professionals.

Gross, who conceived and developed the CobraNet system for transport of real-time, high-quality audio over Ethernet networks, describes the genesis of the effort. “When you’re working in the IP environment there are a limited number of ways to mix and match existing pieces to implement an audio network,” he explains. “So it’s inevitable that IP-based solutions will have similarities. As I surveyed various implementations it became apparent that these similarities provided an opportunity for interoperability.”

Gross is also active contributor to the AVB standards efforts, has helped QSC deploy Q-LAN, holds several patents, and has written papers and articles and presented on numerous AV networking topics. In 2006 he was awarded an AES fellowship for his contributions to digital audio networking.

The task group membership is comprised of representatives from prominent audio manufacturers including ALC NetworX and members of the RAVENNA consortium, network equipment and component manufacturers and key end users.

“We strongly support Kevin’s efforts,” states QSC VP of marketing Gerry Tschetter. “Two years of field experience with the Q-LAN protocol used by Q-Sys networked audio products have proven to us that an IP based approach to networked audio is the right solution. We are looking forward to working with Kevin on an interoperability definition that expands options for the industry.”

Clark Novak, marketing manager for Telos Systems and Axia Audio states, “Telos and Axia have advocated standards-based audio networking since we pioneered Livewire in 2003. The development of a networking standard whose benefits all broadcasters can enjoy is the logical next step for the industry. We’re delighted to be a charter member of the X192 group.”

Find out more about project X192 here.
QSC Audio

 

Contacts

Project website:

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Tuesday, November 08, 2011

Audinate & Brit Row Team Up To Deliver Pristine Audio For NFL Game At Wembley Stadium

The use of fiber optic cabling to deliver both Dante audio and control remotely gave real benefit

Last week, for the fifth consecutive year, the NFL (National Football League) held a football game in London, and once again Britannia Row Productions provided live audio for the event to the 86,000 crowd inside Wembley Stadium, utilizing Audinate Dante technology distributed audio to the sound reinforcement system.

An event of this magnitude incorporates large amounts of media, ranging from the pre-game show to video feeds, replays, referee microphones, PA announcements, and live satellite linkups to other games in the league.

The home stadiums of NFL teams are designed with this in mind, but as a soccer venue, Wembley Stadium is equipped to meet different demands. As a result, additional infrastructure is required to deliver the production needs of a regular season football game, incorporated with the fixed installation already in existence.

System engineer Sergiy Zhytnikov explains,“Signal distribution around the field was achieved using Dante-linked Lab.gruppen LM 26 and LM 44 processors. A total of 14 of these units were deployed for the game.”

“The use of fiber optic cabling to deliver both Dante audio and control remotely gave real benefit instead of using 2000 meters of analog cabling, which due to necessity was placed in cabling conduits at field level, along with every other kind of electrical cable imaginable,” he adds.

Dante also solved the problem of signal degradation over long distances. “Using Dante on the Lab.gruppen platform is reliable, presents an easier control system is faster to connect and remove, and most importantly, delivers higher quality audio,” Zhytnikov says.

These sentiments were echoed by veteran front of house engineer Roger Lindsay: “This was the cleanest audio distribution system we’ve ever used for an NFL game weekend.”

Lindsay went on to comment that he had received some very positive feedback from the visiting NFL production team on the smooth running of the event and the continual improvements in delivery of this complex task.

Audinate

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Friday, November 04, 2011

DiGiCo Launches Expanded I/O Distribution With New MINI & NANO Racks

Instead of all the I/O connections having to be in one place, they can be distributed throughout a venue at the most convenient points

The new DiGiCo MINI and NANO racks offer a wide range of input and output options for any DiGiCo SD audio system.

Multiple DiGiCo mixing consoles can be positioned in an Optocore 2G optical loop, ideally suited to complex live or broadcast productions where multiple consoles need to share and sub-mix I/O. An example of how this can work in the real world is a scenario of front of house, monitors and a live broadcast feed.

Where the MINI and NANO racks come into their own is that, instead of all the I/O connections having to be in one place, they can be distributed throughout a venue at the most convenient points.

“With a digital system it makes no sense to have long lengths of analog cabling between your audio sources or amplifiers/loudspeakers and a central I/O rack,” says DiGiCo marketing director David Webster. “In a theatre you might want 56 mic inputs and 24 outputs as a main I/O rack, then a few more each side of the stage, perhaps a few for an event in the foyer and some more in an adjacent rehearsal room.

“Now you can use an SD-Rack for the main onstage I/O rack, but have a NANO rack each side of the stage, another in the foyer and a MINI rack in the rehearsal room, all communicating and working with up to five redundant consoles.”

Alternatively, at a sports broadcasting event, a combination of I/O racks can be distributed about the field of play, all backed up on a redundant single or multimode optical loop. Up to 14 rack IDs can be defined on each loop providing a full optical distribution system. 

The MINI rack has 4 x standard SD hot swappable I/O card slots. These can be populated with any combination of the SD-Rack I/O cards; currently these include Mic/Line, Line output, AES I/O, AES IN, AES OUT, ADAT, AVIOM, DANTE and an in development HD-SDi card. Standard on the rack are MADI I/O connections along with the choice of either HMA, OpticalCon or ST optics.

Half the physical size of the MINI rack, the NANO offers two SD hot swappable I/O card slots, with the same card options. Optical connections are again user defined with HMA, OpticalCon or ST options. 

With DiGiCo’s Gain Tracking, all consoles can share the inputs of all racks, while any slot of eight outputs on any rack can be allocated to any console on the optical network, provided it has not been previously allocated by another console.

“Another advantage of the system is cost savings,” continues Webster. “For example, if the FoH engineer only needs eight outputs, he can use a slot of outputs on the rack that the monitor guy is using - so it means you don’t need to buy two racks.”

Together with DiGiCo’s SD and D racks, the MINI and NANO racks provide a completely flexible I/O rack solution for any situation.

DiGiCo

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