Pro Audio Review - June 2008 - (Page 48) CONTRACTING | Feature NETWORKING Continued From Page 46 -Dante: A new digital audio networking technology by Australian film Audinate, Dante is compatible with standard Internet Protocols — not just Ethernet — with no compromises in performance, assures Audinate. Features include sample-accurate synchronization and low latency. Dolby/Lake and Lab Gruppen are among the licensees of this technology. -EtherSound: The creation of French firm Digigram, EtherSound uses current 100 Base-T Ethernet hardware to provide bidirectional transmission of up to 64 channels of 24bit digital audio at 48 kHz (or 32 channels at 96 kHz), plus bi-directional control/monitoring data. Like protocol competitor CobraNet, EtherSound has a host of well-known licensees, such as Allen & Heath, Focusrite Audio Engineering, InnovaSON, Klein + Hummel, LAcoustics, Martin Audio, NetCIRA by Fostex, Nexo, Peavey Electronics Corporation, Whirlwind, XTA Electronics; Yamaha, and others. -HiQnet: Harman’s own HiQnet, a plugand-play system shares characteristics of both industry-wide, shared protocols and tightly grasped technology, as it uses CobraNet to transport audio, but the Harman Pro System Architect, a comprehensive core PC application, to control every detail component of a detailed, intelligent signal chain. It’s a perfect solution to those who will have a system comprised of Harman-badged gear: AKG, BSS, Crown, dbx, JBL, Lexicon, Soundcraft, and Studer. -REAC: Designed by and for RSS by Roland, REAC (Roland Ethernet Audio Communication) technology is designed to act as a ‘plug and play’ system for its associated brands. Up to 40 channels of 24bit/96kHz audio, plus MIDI and remote control data, are part of the REAC stream. -U-Net: Mackie’s proprietary protocol was designed to transfer 32 channels at 96 kHz and control data in the midst of its own products such as the TT24 digital desk and DS3232 digital snake. TYING IT ALL TOGETHER: THE DIGITAL SNAKE In the midst of various protocols, standards, and processing methods, key manufacturers build the physical connections that make digital audio networks work. These system builders offer freestanding products for getting digital signal here to there in interesting ways. Relatively new manufacturers such as Media Numerics have developed their own special take on trafficking signal via CAT5 with its roadworthy RockNet system, while ‘legacy’ cable manufacturers such as Whirlwind have jumped into the deep end of CAT5 networking as well, offering such gear as their ESnake. A particularly hot subcategory in digital network products is fibre optic snakes. Companies such as Aphex, LightViper by Fiberplex, and Optocore offer products varying in features and components, yet each are based upon providing lightweight fibre optic cable runs with comprehensive, flexible I/O options. WHAT’S RIGHT FOR YOU? Jumping into digitally networked audio is a process chock full of key decisions and hopefully, the fundamental information provided here can be a good start for further investigation by networking newbies. Meanwhile, stay tuned to Pro Audio Review and sister publication Pro Sound News for reviews of digital network-associated gear and systems, and crucial protocol advancements, product releases, and associated announcements, respectively. Strother Bullins is a Contributing Editor for Pro Audio Review. 48 | ProAudio Review | June 2008 www.proaudioreview.com http://www.dwfearn.com http://www.proaudioreview.com
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