Pro Audio Review - June 2008 - (Page 46) CONTRACTING | Feature by Strother Bullins Digital Networking: Standards for Live and Installed Applications res multichannel audio interconnection. SuperMAC offers up to 48 channels bi-directionally over CAT5, while HyperMAC offers up to 384 channels bi-directionally over CAT5/6, or fibre. Currently, K-T promotes the use of AES50, SuperMAC and HyperMAC; SuperMAC and HyperMAC are used extensively within the Midas XL8 digital mixing console. -A-Net Pro: Aviom’s network audio protocol combines bidirectional audio with virtual data cables for control purposes. It is based on the physical layer of Ethernet, so it uses familiar CAT-5e cables and RJ-456 connectors. A-Net Pro comes in two Series varietals: Pro 16 and Pro 64. Aviom’s Pro 16 Series hardware is designed to be ‘plug and play’ for simplified setup and configuration; Pro 64 adds features for higher-end installs, such A nalog versus digital’ is a topic amongst pro audio professionals that will probably never go away. After all, audio signal must be analog in order for us to hear it, thus most of us aren’t naturally fond of ones and zeros as we are ‘the real thing.’ However, there’s no debating that digitally networked audio within long, complicated signal chains can dramatically improve both hardware, and human, efficiency. Digitally networked audio can very noticeably improve the overall sound quality of larger, more complicated systems, too; one simple analog-to-digital signal conversion means that a now-digital signal is suddenly impervious to change. Based on the quality of the conversion point, this audio at your FOH’s main outputs, for example, is exactly what will be there at the end of the line when it ultimately hits a D/A converter before amplification and loudspeakers. This can be considered a joy of ‘lossless audio.’ Finally — and what most digital network users, installers, and financiers would agree is a most important factor — a head-spinning amount of discrete signals can be delivered in comparatively miniscule bandwidth rather than through traditional (heavy, expensive, and hard-to-upsize) analog copper-based audio distribution systems. For these and other reasons, digital audio networks have become an aspiration in nearly every corner of pro audio — and, rather quickly, a norm. For sophisticated installed and live audio networks, going digital rather than going in and out of analog devices — requiring more conversion for necessary equalization, compression/limiting, feedback suppression, electronic crossover, etc. — makes for easy and nearly-finalized audio for any audience. Thus, sophisticated installed audio systems are now largely digital. Manufacturers of digital audio distribution products have gone a long way to reduce headaches for pro audio types and end users; if it is configured, implemented, and explained to the user correctly, it just works (so head’s up, installers). Sure, the engineer holding the aural reins still must use his ears to provide just the right mix for the gig. But in a digitally networked system, whatever’s on channel 32, for example, will get there as intended: cruising on that unrestricted, well-protected virtual highway that high-resolution digital audio via Ethernet — and increasingly, fiber optics — can provide. PROTOCOLS AND STANDARDS Here are the most common protocols for installed and networked digital audio systems: -AES50: Last year, Klark-Teknik purchased rights to SuperMAC and HyperMAC audio networking technology, previously owned by Sony Oxford. SuperMAC technology is the basis of AES standard “AES50-2005 for high- as higher channel counts and sample rates, integrated control data (remote mic pre and network management), and the Aviom’s Virtual Data Cables for distributing user control data. Aviom’s ideas are catching on; I/O cards for Yamaha digital consoles have been enthusiastically received by the industry, and, in January of this year, the Aviom announced a partnership with Digidesign led to the ANO A-Net Output Card, an option for the VENUE Stage Rack. -CobraNet: A longstanding protocol developed by Cirrus Logic and presently licensed nearly every pro audio manufacturer you could name — Crest Audio, Bosch companies (Dynacord, Electro-Voice, Midas, Telex, et al), Harman companies (BSS Audio, Crown, dbx Professional, JBL Professional, et al), Mackie, Peavey (for their MediaMatrix brand), QSC, Rane, Yamaha, etc., etc. — the widespread appeal of CobraNet is simple; offers Cirrus-Logic, “Regardless of the product’s manufacturer, all products using CobraNet version 2.0 are compatible with one another. All products are capable of receiving software upgrades, and will therefore continue to be compatible as features are added to the CobraNet protocol.” NETWORKING continues on page 48 ➤ 46 | ProAudio Review | June 2008 www.proaudioreview.com http://www.proaudioreview.com
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