Across modern workplaces, lecture halls, and collaboration environments, AV and IT systems are becoming more closely intertwined. What was a once a simple plug-and-play relationship has transformed into a vast web of interconnected devices, all competing for resources on the network.

This new landscape has led both AV and IT professionals to greater collaboration, but it's not without its challenges. One of the most significant issues is the absence of clear, continuous visibility into how networked technology behaves, especially across multi-site deployments.

As networked audio systems scale across hybrid workforces and multi-building estates, traditional methods of on-site monitoring and room-by-room oversight are unable to keep pace with operational demands. When teams lack a centralized view of device health, configuration status, and performance conditions, they are effectively working blind, leaving them to react to issues only after they disrupt communication.

Emerging Solutions

To address this shift in expectations, the industry has accelerated toward cloud-based device management. Visibility has become the foundation of reliability, enabling teams to anticipate problems instead of responding to them. This visibility helps AV/IT teams to understand their audio infrastructure as a unified living system rather than a series of isolated endpoints. In environments where uptime is essential, the ability to observe device behavior, detect inconsistencies, maintain firmware alignment, and track overall performance from any location has become a defining requirement for successful operations.

A new generation of centralized management platforms is emerging to solve this challenge. These platforms, currently in development across the industry, are designed to unify device oversight into a single, intuitive interface accessible from any location. They enable secure, role-based management across teams and campuses, allowing organizations to organize rooms and devices in ways that reflect how their environments function.

By operating entirely through a web browser, they streamline deployment and remove installation barriers, offering fast, flexible management for integrators, IT staff, and AV teams alike. While these systems represent meaningful progress, their deeper significance comes from how they evolve after launch. Cloud-based platforms do not remain static; they become living ecosystems shaped by the organizations that use them.

Real-time diagnostics, usage patterns, and operational insights create a feedback loop that informs future development. Instead of guessing what features customers may need, developers gain continuous visibility into emerging behaviors and challenges, enabling smarter, more targeted enhancements. Over several years, such platforms often become far more capable than anyone could have forecast at the outset.

Let's Add AI

As cloud-based visibility becomes the norm, the next phase of evolution will be defined by intelligence layered on top of that visibility. Centralized platforms already aggregate telemetry, configuration data, and performance indicators across distributed environments. As these data sets mature, they create the foundation for intelligent systems that can interpret conditions, recognize patterns, and recommend—or initiate—action. Rather than simply presenting status information, future management layers will increasingly function as active participants in system operations, reducing the burden on AV and IT teams and shortening the distance between insight and resolution.

Advances in AI agents and large language model–driven orchestration point toward a future where device management becomes intent-based rather than task-based. Instead of manually interrogating individual endpoints, teams will define outcomes—maintaining audio consistency across rooms, validating system readiness before meetings, or isolating anomalies before users notice them—and intelligent agents will handle the underlying complexity. Enabled by standardized APIs and secure context-sharing protocols, these agents will be able to understand device states, correlate events across vendors and systems, and execute corrective workflows autonomously while remaining governed by enterprise security and authorization policies.

This shift will further blur the traditional boundaries between AV, IT, and building systems. As intelligent management layers gain the ability to reason across audio, networking, control, and collaboration platforms, networked audio will no longer operate as an isolated discipline.

Instead, it will become part of a broader, software-defined environment in which performance, reliability, and user experience are continuously optimized by systems designed to learn and adapt over time. In this context, long-term value will be driven less by static feature sets and more by openness, interoperability, and the ability to participate in intelligent ecosystems that evolve alongside the organizations they support.

As hybrid work continues to expand and distributed learning becomes more entrenched, this shift will influence the entire lifecycle of networked audio deployments. Visibility will become as essential as sound quality, and the ability to oversee devices remotely will be viewed not as an advanced feature but as a baseline expectation. Organizations will invest in systems that can adapt over time, accommodate new spaces and workflows, and provide the kind of real-time intelligence that allows teams to stay ahead of issues rather than chasing them.

The future of networked audio will be defined by platforms that give organizations the ability to understand their environments holistically. When systems can be observed in real time, refined continuously, and secured centrally, collaboration becomes more dependable for everyone who relies on it. In an era where communication is mission-critical, the most transformative advancement is not any single device—it's the ability to finally see the entire landscape and act with confidence.

On February 13, 2022, the Los Angeles Rams defeated the Cincinnati Bengals 23-20 at SoFi Stadium in Inglewood, California. As one of the most highly anticipated sports events of the year, Super Bowl LVI had a record viewership of over 112 million. The event clearly was football's biggest Sunday of the year, and it featured a halftime show extravaganza right out of Hollywood to match.  This year's Pepsi Super Bowl LVI Halftime Show featured performances by Dr. Dre, Snoop Dogg, Eminem, Kendrick Lamar, and Mary J. Blige, with special appearances by 50 Cent and Anderson .Paak. Once again, ATK Audiotek, the live-sound provider for the Super Bowl for the past 24 consecutive years, had an all-digital audio signal path thanks to an extensive Dante networked audio infrastructure featuring components from Focusrite's RedNet range of Dante-networked audio converters and interfaces.

[Focusrite Ships Red 8Line Interface]

"For the past seven Super Bowls, we've employed RedNet with our Dante Audio-over IP network," said Kirk Powell, engineer-in-charge for ATK/Clair at Super Bowl LVI. "We started using RedNet years ago on a small scale, and then it's just grown and grown year after year. This year was just over the top, because we have to feed signal to so many different entities throughout the stadium, not to mention that we were being fed signal as well, so we've got to have connectivity back and forth. It's all about having strategically placed nodes so you can jump into and out of the RedNet system. We have a huge fiber backbone. We used mostly the SoFi Stadium's fiber, which is very nice because that's one of the big advantages of this venue. This new facility has tons and tons of dark fiber, so we're able to utilize the building infrastructure as opposed to running all of our own fiber. And RedNet is the key component that gives us that interconnectivity and flexibility."

[Focusrite RedNet Interface Employed for Arcadia Earth Art Installation]

ATK Audiotek's Focusrite gear setup for Super Bowl LVI included 16 RedNet D16R 16-channel AES3 I/O's; 25 RedNet A16R 16-channel analogue I/O interfaces; 17 RedNet D64R 64-channel MADI bridges; eight RedNet MP8R remote-controlled mic preamps and six RedNet AM2 stereo audio monitoring units. Additionally, the audio system included four DiGiCo SD5 digital audio consoles (two at front-of-house and two at monitor mix positions); 14 ATK PA carts that each employed six JBL VTX A12 Line Array Loudspeakers; four JBL VTX S28 Dual 18-inch Subwoofers; and four Powersoft M-Force subwoofers.

[Focusrite Ships Red 8Line Interface]

"The flexibility we have with RedNet is a game-changer," said Powell. "We're able to send any signal anywhere in the building; so, for example, if we need a microphone at a particular location, we just plug it into the network, and through RedNet it's there."

At Super Bowl LVI, RedNet A16R and RedNet D16R interfaces were used to connect digital and analog sources and feeds to and from the network. RedNet D64R MADI bridges were deployed for connecting signals to and from the various digital audio consoles in the system, and for connections between production groups. The RedNet MP8R's remote-controlled mic preamps were employed for audience reaction microphones, while the RedNet AM2s were used throughout the venue by various engineers to monitor their audio signals.

[Focusrite Launches ISA 828 MkII Preamp]

Clock management during the Super Bowl is important not only for the teams on the field, but also for audio production. The RedNet D64R blends a high channel count with the ability to convert sample rates between disparate audio systems on a multitrack scale, providing glitch-free inter-system audio transfer and sharing without a common master reference clock. While FOH and stage monitors could share a clock, Powell explained, "the production tracks are on a different clock, because they're not used all day long. The D64R allows me to break the clock between my system and the production tracks because they're done after halftime. They start to pack up, and I don't want to be on their clock and have them shut down."

When asked about the challenges of this Super Bowl versus others, Powell replied, "It's just the sheer magnitude of this gig. It's always challenging getting from point A to point B. With SoFi, everything's just a little farther away. This is a big stadium. We also had a really big house PA system that we had to interface with for our audio carts, and we had to meld our system into parts of the house system to cover higher levels. The other thing you have to remember is that even though it's considered an outdoor stadium, SoFi is still under a roof, so it's enclosed; hence the volume level was louder than it was last year in Tampa Bay, which is an open-air stadium."

There were also several advantages ATK had this year at Super Bowl LVI, since it was a local event for the company, which is based only about 38 miles away from the stadium in Valencia. "We did a lot of the programming at the shop this year, which really helped us out when the Rams had that championship game at home. That really threw a wrench in everybody's workflow, because then we weren't really allowed to start our normal production schedule until after that game," said Powell. "We set the entire system up in the shop. All the racks were next to each other, and we did probably 90 to 95 percent of the programming at ATK. Then when we were on-site, it was really just a matter of getting the nodes up and then doing whatever changes were needed. Another advantage was that since this event was in our own backyard, the cool thing was all these union guys we worked with on all the other TV shows were at SoFi, so we knew them all. Unlike other cities, we typically don't know anybody in that union in that city. In L.A., they know us, we know them, so it made things even more seamless."

Focusrite gear was ubiquitous at this year's Super Bowl; Powell noted, "It was very similar to what we've done before, but every year I feel like we just add more and more and more RedNet, and this year I tapped out our inventory. ATK has huge Focusrite inventory, and I tapped it out---hard to believe, but I did. In thinking about it, I am really blown away. We employed every RedNet unit we had, and there was nothing left in the shop. Each year it's just more and more RedNet, and that's a good thing."

To borrow an axiom from an ancient Greek, the only constant in digital audio networking is change. More accurately, the constant is not so much change but rather evolution—of network protocols, of applications, and of customers’ needs. As a result, manufacturers of networked products have to be nimble, constantly releasing new products and upgrades in response to the demands of the market and of the media itself.

According to one estimate, there are as many as a dozen different ecosystems supporting the transport of audio and video over an IP network. As a consequence, manufacturers typically support one or more protocols according to market demand.

“The one that is best is the one that makes the customer happiest. And we measure that by their willingness to purchase our products,” said Joe Andrulis, executive vice president of corporate development for Biamp, which supports the CobraNet, AVB, Dante, and AES67 protocols.

“No customer’s needs are satisfied by the protocol alone,” he added. “All it does is facilitate the transport of the media to the destination. Keeping a common protocol just makes it easier to integrate components together.”

During the past year or so, as some businesses took a pause during the pandemic, Biamp released a number of new audio networking products. Most notable among those were the latest additions to the company’s flagship open-architecture meeting room processors, the new TesiraFORTÉ X series, Andrulis noted.

“What’s neat about those products is that they are much more powerful and much smaller—30 percent smaller—than previous versions. They’re mounted in a new kind of environment, like conference rooms, so they’re more streamlined,” he said.

The new series, which supports AVB and Dante network connectivity and offers PoE+ device power, introduces Launch, Biamp’s one-touch automatic device discovery and tuning feature.

[ 5G, AI, and the Cloud: How Emerging Tech Is Shaping AV ]

“You connect all your devices to it, hit the button, and it detects everything, configures everything, and programs itself. It even acoustically profiles the room, tunes the system to the acoustic characteristics of the room, and gives you a report. That simplifies installation,” Andrulis said.

The automated setup levels the playing field, evening out the differing skill sets of those installing the equipment, or any differences in the environments into which they are being integrated. “A company deploying these globally doesn’t have to worry about variability,” he said.

In the 25 years since CobraNet was introduced, one network protocol after another has appeared on the market, each with varying success in terms of adoption. None has yet caught on quite like Audinate’s; the company boasts the availability of more than 3,000 Dante-enabled devices from more than 500 different manufacturers.

Audinate also expanded its product portfolio during the pandemic, with launches including a Dante AVIO Bluetooth adapter that pairs with any enabled device to provide bidirectional connectivity with the network. At its simplest, it enables quick and easy music playback through the network, whether in a conference room or an installed P.A. system: “Just pair your phone, hit the playlist, and go,” said Brad Price, Audinate’s senior product marketing manager.

[ New Dante AVoIP Comms Join Legacy CobraNet Tech at LaGuardia ]

Another new adapter offers USB-C connectivity together with the format’s power delivery. “We can do pass-through power from the network to a device, so you can run your iPad off PoE through the AVIO,” he said.

Most AV-over-IP solutions are LAN-based, working as a single subnet of a network, Price said. “That limits how far it can go but makes all kinds of sense when you look at the standards on which it’s based,” he said. But Audinate figured that there were ways to leverage those standards to more easily create multiple subnet crossings, which they did with Dante Domain Manager (DDM) a few years ago.

The creation of subnets via DDM enables networks to scale over greater distances while remaining transparent to users. “You don’t even have to touch any hardware; you do it in software,” Price said. “It lets you break your install into separate groups—domains—so that you can have separate things going on that cannot interfere with each other. They are all on one network and the administrator can see them all, but it’s as if you have separate Dante networks running.”

[ The Importance of Security on Audio Networks ] 

As the AV industry has continued to transition from purpose-built hardware to software-based products, Audinate saw an opportunity to deliver full Dante networking functionality more cost-effectively and flexibly on products powered by Linux and ARM processors. At ISE 2019, the company announced an initial cooperation deal with QSC, which was soon followed by agreements with other manufacturers. Products with the Dante Embedded Platform—Dante-as-software, if you will—are now making an appearance, Price reports, including StreamUnlimited Engineering’s SDK for its residential products.

“We’re going to be seeing a lot more of that going forward, I think, because it’s a less expensive way to do it. You don’t need to put up the money for the hardware. You don’t need to change the physical design of your box. You simply load the code, test it, and go,” Price said.

QSC has been busy of late, too, introducing Q-SYS NS Series Gen 2 network switches, Attero Tech by QSC I/O endpoints, Q-SYS NV-32-H (Core Capable) endpoints, and Q-SYS Core Nano/Core 8 Flex processors, according to Trent Wagner, audio product manager, QSC. The company supports network audio transports including AES67 and Dante, plus generic media streaming and QSC’s own Q-LAN protocol, he noted.

“QSC co-developed Software-Based Dante for the Q-SYS Ecosystem with Audinate,” Wagner said. “All currently shipping Core processors include an 8x8 channel capacity from the factory. With Software-Based Dante, integrators are not constrained by hardware as they can license additional channel capacity to meet their specific application requirements or expand a system already deployed. Dante is now fully integrated into the Q-SYS audio, video, and control workflow, offering device discovery, synchronization, control, and management for Dante audio alongside native Q-LAN, AES67, and other generic media streams.”

Much has been made of the promise of 5G for audio transport in the industry press, potentially extending networks over far greater distances. There are significant technical and commercial challenges to overcome before 5G’s capabilities might be leveraged, but meantime, of course, anyone with an enabled device can provide an onramp to the communications network.

“The use of 5G and similar wireless technologies is not widespread yet,” Wagner said, “but they are also more likely to be used for non-time-critical applications such as wide area distribution, monitoring, notification, management, and control, where latency and bandwidth variations are not as much of a concern.”

[ 12 Things to Consider When Deploying Networked Audio ] 

Speaking of evolution, AIMS, an industry consortium promoting an open standards approach to IP-based media environments, is building on the SMPTE ST 2110 broadcast standard, which integrates AES67 for audio transport, and AMWA’s NMOS APIs to develop a network protocol more suited to AV industry requirements. The AIMS Pro AV Working Group involves SMPTE, AMWA, the Video Services Forum (VSF), and the Joint Task Force of Networked Media (JT-NM), which together represent more than 70 member companies.

IPMX, or Internet Protocol Media Experience, launched in 2019, will offer a unified set of open standards and specifications for multivendor AV over IP intended to simplify system installation and administration, increase quality, and dramatically accelerate adoption. A whitepaper recently penned by Andrew Starks, director of product management for Macnica and an AIMS board member, lays out the IPMX roadmap.

This article originally appeared in the November 2021 issue of SCN. Click here to read more stories from November 2021.

Resorts World Las Vegas, the first ground-up resort to be built on the Las Vegas Strip in over a decade, sits on the grounds of the former Stardust Resort and Casino, boasting 3,506 guest rooms and suites in three distinct hotels, over 40 world-class food and beverage outlets, a 5,000-capacity theatre, a two-story dining and retail promenade and state-of-the-art connectivity with an AV-over-IP system featuring Visionary-powered networked audio and video.

 “Resorts World Las Vegas has built what is probably the largest AV-over-IP network of its kind,” says Scott Freshman, chief operating officer for Visionary. “It encompasses almost every portion of the property, with more than 2,000 endpoints and growing. The size and scope of the project brought together multiple AV integrators, each of whom took on specific areas of the massive venture. It’s unique to have this many integrators who were once competitors coming together to put this wonderful project together.”

Technology West Group of Las Vegas was selected to oversee the project, including designing and implementing the overall AV system and property-wide network specifications. Richard Reisig, vice president for Technology West Group, worked directly with Resorts World Las Vegas to facilitate the design of the low-rise section (known as “the podium”), the west tower, The District and all outdoor areas. “A critical component in a network AV system in the network. The network at Resorts World Las Vegas includes over 2,000 PacketAV endpoints and 2,000 QLAN channels,” said Reisig. “The number of endpoints continues to grow as we build out the system. It’s a very large, purpose-built network designed to supply one gigabit of non-blocking bandwidth, end to end, to any location on the property with less than a millisecond of latency.”

“Technology West Group was chosen for the design phase and, at the time, the project was very fluid,” noted Reisig. “The final piece in the design was selecting a video solution. We chose a network-based video solution because Resorts World Las Vegas wanted to connect anything on the property to any location. Ultimately, we selected Visionary because they provided us with a reliable solution that filled each of the gaps. A key reason we selected Visionary was because of their robust network capabilities.”

Unique to Visionary, the PacketAV endpoints offer internal device VLAN tagging. Due to the complexity of the network and the different protocols, including video, QLAN, Dante, AES67, DMX and control, it becomes critical to segregate the traffic for effective network management. Reisig added, “With the size and complexity of the network,” Reisig added, “VLAN tagging was critical for us. Especially at the scale that we’re hitting, you can’t have 2,000 devices on a single VLAN network and just hope it works.” 

In another significant milestone for the project, Visionary rose to the occasion to create an innovative Bluetooth-enabled wall plate encoder implemented throughout the system. Reisig: “Visionary had an HDMI wall plate encoder with VLAN tagging. We reached out to Visionary and said, ‘that’s great, but we don’t need analog audio; instead, we need Bluetooth.’ Visionary was very collaborative--they jumped in and offered to make us a custom wall plate that incorporated Bluetooth audio. Their flexibility changed the game for us. It enabled us to reduce port counts, switches, power consumption and overall costs by integrating two distinct products into one.” 

Visionary’s PacketAV Duet Wall Plate Encoder with Bluetooth is the first of its kind, according to the company. The Duet Wall Plate Encoder combines powerful 4K UHD video and Dante/AES67 audio embedding and de-embedding over a single gigabit Ethernet port. Using Bluetooth 5.0 for extended range, faster data throughput and reliable connections, the Duet Wall Plate Encoder supports bi-directional smartphone connectivity for soft-codec web conferencing AV integration to eliminate the need for separate bridging hardware.

The new $4.3 billion property was developed to bring an elevated experience to the modern Las Vegas traveler seeking luxury, value and variety. Resorts World Las Vegas was designed as one of the largest AV integrations on the Strip. Resorts World Las Vegas can transmit a signal from anywhere on the premises and distribute it to the 100,000-square-foot LED screen (one of the largest LED building displays in the United States), the theater, the casino or anywhere else on the property, and vice-versa.

Each guest room in the resort’s three hotel brands—Las Vegas Hilton, Conrad Las Vegas and Crockfords Las Vegas—features an intuitive AV system designed by One Touch Living. “The scope of the project was to design the technology in the rooms to enhance the guest experience,” says Corey Brushia, president of One Touch Living. “Our goal was to create an environment that enables guests to interact with the rooms and the property. Visionary eliminated the need for a conventional HDBaseT matrix. Visionary allowed us to network from anywhere to anywhere. For example, we can take content from an executive suite, connect it with a meeting room or ballroom, or stream a special event into a villa. The possibilities are endless.”

National Technology Associates, a Las Vegas-based technology integrator, was selected for the integration in the resort’s first-floor common areas—including the hotel lobbies, registration, casino and gaming areas and underground levels. Shane Snell, project manager for National Technology Associates, said, “One of the largest challenges of this project was the scale. The property has nearly 2,000 video endpoints and thousands of loudspeaker channels. I’m not sure it’s possible to distribute those components in any way other than networking. Every system can now reach each other because the audio and video integration are on the same network. We’ve standardized Visionary and QSC to streamline the communication between the technology components.”

Resorts World Las Vegas features a state-of-the-art, 5,000-capacity immersive theatre. Global music stars Celine Dion, Carrie Underwood, Katy Perry and Luke Bryan will become the founding headliners for the venue. Scéno Plus, a Montreal-based theater design firm, was enlisted to create the design, and Solotech was selected for the technology integration. 

François Blais, vice president of technology and specialized equipment for Scéno Plus, said, “We have worked for 35 years to build theaters around the world. As theatre designers, our job is to make sure that everything is coordinated. We want artists to perform in this venue and say to us, ‘This is one of the finest venues we’ve ever played, and we want to return again.’ Visionary enabled us to rapidly and efficiently manage this large-scale installation.”  

Sébastien Larose, AV designer for Scéno Plus, added, “We have over 150 televisions in the theaters. The ability to put the content onto the network and run a single Cat 5 cable allows us to simplify the system. We have Visionary endpoints almost everywhere because Visionary allows us to take a signal from any location and transmit it to anywhere on the property.” 

Solotech was selected for the design-build for Resorts World Las Vegas’s Zouk Nightclub, Ayu Dayclub and the accompanying restaurants and lounges. “We have a mixture of displays throughout the restaurants, cabanas and bungalows in the dayclub and nightclub. We’ve integrated Visionary’s endpoints in all of those areas to enable simplified control for the guest to choose between sources and have content delivered to those endpoints,” explained Aaron Beck, business development manager for Solotech. “The overall capability for Visionary to deliver the technology for these endpoints to be connected on one global network is incredibly impressive.” 

Visionary's efficient endpoints use standard PoE power. This distinguishing feature ties directly into Resorts World Las Vegas’s sustainability initiatives. “Resorts World Las Vegas is focused on corporate social responsibility efforts that allow both the community and the environment to win,” noted Reisig. “We can use fewer products with Visionary’s Duet Wall Plate Encoder because it integrates multiple solutions into one. The solution also utilizes significantly less power than the competition because it runs off standard PoE.”  

Snell adds, “From a design and engineering perspective, standard PoE makes things very easy, whereas things that require PoE+ or even PoE++ makes it very difficult to work with. It adds an additional layer of cost and maintenance.” By integrating standard PoE power, Resorts World Las Vegas can reduce energy consumption and the correlated environmental impacts along with the added benefit of saving tens of thousands of dollars per year--for the life of the project.

Visionary's AV-over-IP technology has enabled Resorts World Las Vegas to achieve total flexibility to perform any video and audio routing. Visionary's standard PoE, a technology unavailable ten years ago, has enabled Resorts World Las Vegas to deploy this immense networked AV matrix at a fraction of the cost of traditional AV distribution methods. There are no matrix switchers anywhere on the property—they do not exist at Resorts World.

San Francisco Conservatory of Music (SFCM) was faced with a unique challenge that kept them from gathering during the pandemic. While the school’s violinists were able to play together while wearing masks, woodwind and brass instruments and vocalists could not. 

[Focusrite Ships Red 8Line Interface]

To unite the musicians virtually, the school installed a Dante network that runs throughout the facility, into classrooms, offices, practice rooms, and studio spaces, with Focusrite RedNet X2P 2x2 Dante audio interfaces serving as the system’s endpoints. The network was designed and installed by Emeryville, CA-based integration firm Advanced Systems Group (ASG). 

The project took shape last August, and RedNet X2P audio interfaces (32 in total) were the keystone components in the system. “The advantage of the RedNet X2P is that it’s an audio interface plus a headphone amp, so the musicians don't have to have monitors in the rooms,” said Michael Groh, sales engineer with ASG. “They could communicate with each other, with the orchestra leader who’s down on the stage, and with the audio mixer. The Focusrite RedNet X2P is just a perfect solution for this.”

Groh worked closely with Jason O’Connell, SFCM director of recording services, who has helped guide the school deeper into pro audio during the 13 years he’s worked there. These efforts have included the implementation of the Technology and Applied Composition program, which focuses on using technology to compose for video games and for mixed media, a curriculum that has attracted more students to the school’s programs. Last March, as the pandemic-driven shutdown descended on the country, he quickly realized its implications for music education. “Basically, anything to do with a singer, a woodwind player, a brass player—they can’t play in a room together during this pandemic,” said O’Connell, who studied audio at McGill University under renowned producer/engineer/educator George Massenburg.   

As the school’s leadership sought ways to reopen teaching, O’Connell looked for solutions. At first, they tried using standard videoconferencing to connect everyone, but the sonic quality and latency were a major problem from the start. “We struggled for a couple of months with that,” he said. Analog tie lines were another option, but running enough copper cabling to connect even a fraction of the school’s 400-plus students dispersed across more than a dozen performance spaces was daunting. Then, it occurred to O’Connell that a Dante network would solve the connectivity challenge, and a call to Groh brought the Focusrite RedNet X2P audio interfaces into the picture. Two RedNet X2P units arrived and were set up on the school’s VLAN as a proof of concept. 

“We brought some musicians in and had them play together, and they were amazed at how fluidly they went from getting the microphone and headphone levels, and then all of a sudden they were having a lesson, talking about phrasing, and talking about tone,” he said. “You just can’t hear these nuances on a standard videoconference. When they finished, they ended up asking to stay for a whole hour to do their entire lesson. They were just so happy to have been able to play with each other, and they were just so excited. At that point I was like, ‘Okay, this is the way that we need to move forward.’”  

And they did, in time for the fall semester. With Dante as the backbone of the project and using RME TotalMix FX software for routing and mixing, the school installed 32 RedNet X2P units (acquired thought Focusrite's educational program) in various classrooms and other spaces, creating a 64-channel stereo network, with a network latency of less than 5 milliseconds. The system is supplemented by Audio-Technica ATH-M50x and ATH-M40x headphones and an assortment of studio-grade microphones. 

“Basically, we've been supporting every single ensemble rehearsal, but also lessons, including one-on-one lessons between students and instructors,” said O’Connell, who added that RedNet features such as remote control of microphone preamps and levels further make it a perfect fit for networked application like the school. “Being able to remotely control all these boxes is super helpful for us and allows us to be much more efficient in our support of the lessons and rehearsals,” he said. Without the system, “Probably a third of our student body would probably be not able to be here and take classes as effectively.”  

“Over the past year of playing over Dante with Focusrite RedNet, all of our students have become more familiar and comfortable with essential recording studio technology such as audio interfaces, microphones, and monitors,” said Taurin Barrera, executive director, Technology and Applied Composition at SFCM. “Our students have been able to discover the fantastic possibilities enabled by state-of-the-art music technology and professional-grade recording equipment. Now that our entire campus can function as a giant modular recording studio, I’m really looking forward to seeing what new types of network-based music projects, collaborations, and performances we can develop in the future." 

The Vox Media portfolio features some of the most respected editorial properties in the business, including Vox, New York Magazine, The Verge, Eater, and more. The Vox Media Podcast Network is one of the largest collections of popular podcasts spanning technology, news, pop culture, and futurism. Vox Media Studios is the group’s award-winning nonfiction production and distribution studio for multiple TV and streaming partners.

Miles Ewell is the director of production technology for Vox Media. Ewell and his team of AV professionals manage all the internal equipment rental systems of the company, external sub-rental systems, all of the in-house studios, studio infrastructure design and building, and technical consultation across the company.

[LaGuardia Airport AV over IP Upgrade Opens the Door for Dante]

"A lot of our focus these days is on the podcast group, and the long-form studios team because they require a lot of tech support and consultation," Ewell said. "We also support editorial video across the company, as well as events technology."

Ewell and his team have supported the Studios division since launching a couple of years ago. The Studios division writes and sells shows to the likes of Netflix and Hulu, and other providers. The team also supports the Vox Media Podcast Network, which works with all of the company's editorial groups and writers to build an extensive catalog of podcasts. In all cases, the Production Technology team helps design, install, and configure the studios and spaces and then provides ongoing support for the studios.

“When I first started with Vox Media, I was running live sound for streaming sports shows, and when I joined, we were plagued with some challenging analog audio runs in our Bryant Park studio that were regularly impacting our live streaming work," Ewell said. "They had a Yamaha QL5, but were not using Dante for stage patching. I convinced them to buy a Yamaha RIO Stage Rack with Dante connectivity, and it was the best thing ever. All our audio signal problems were solved, and I was hooked on Dante from then on.”

When the Vox Media team decided to build a new facility in New York, Ewell helped design the audio infrastructure to use Dante as much as possible.

"I use Dante any chance I can,” Ewell said. “I don't even want to use broadcast headphone amps in our podcast studios anymore. I just want to use the [Focusrite] RedNet headphone amps. Being able to control everything remotely, like Dante coupled with certain manufacturers like Focusrite, you could do everything from somewhere else and that is so appealing.

[The Technology Manager's Guide to Networked Audio]

"I'm taking a fresh look at our podcast infrastructure. In San Francisco, we have a small studio, and we use Dante from the console to the computer. In D.C., we have two podcast studios that are both QL1s with RIOs, and those are fully integrated. I see a lot of opportunity for using Dante. In both New York and DC, in our multiroom facilities, they always shared Dante network. I set up our studios in each facility so that they were connected. So we had a primary control room, and then we could have a session with people in each room separately, and I was able to do that extremely quickly with our Dante setup."

Along with high audio quality, Dante delivers ultra-low latency and near-perfect synchronization. Dante’s user interface and network management features enable complex networks to be set up and configured quickly and easily, making system integration simple.

"At our Broad Street, New York facility, we have something like 24 Dante devices, including RedNet devices, in our server room to talk to our comms system and our Skype units," Ewell said. "We have a bunch of QL consoles throughout the floor and audio suites and live control rooms and podcasts control rooms, and we use a lot of AVIO adapters because they're so easy to deploy."

Available for analog input or output, for AES3 and USB conversion, Dante AVIO Adapters allow users to connect their favorite audio gear with any Dante-connected system—delivering the interoperability, performance, and scalability that only audio networking can bring.

"The AVIO USB adapters are great because in our podcast studio specifically, we do interfacing with people over Skype or Zoom, and we found that laptops running Skype are easier to manage, so we use AVIO adaptors to connect the laptops," Ewell said. "So, if someone in one room needs to hear audio from another room, we've already programmed the transmitters and receivers. We have a dedicated, completely separate Dante network, primary and secondary with ports in almost all rooms."

Ewell and the Vox Media team are looking forward to getting past the pandemic and back to a more normal level of business and creative interaction. But many lessons have been learned for the work-from-home experience, and Ewell is looking to leverage the benefits of remote connectivity and control in future audio systems and production plans.

"We're excited to get people back into our studios on a more regular basis,” Ewell said. “I'm taking a deep look this year at how we can build really clean remote-controllable studios. I'm looking forward to seeing our use of Dante grow and seeing how I can have a studio in California controlled by a producer in New York—we just mix/match what we need to make a project happen. I have no doubt that Dante will play a big role in those concepts."

Audinate has made its Dante Embedded Platform available for ADI’s SHARC audio digital signal processors.

The collaboration is made possible by Audinate’s introduction of DEP, which offers Dante audio-over-IP as on-chip software. By adding DEP to a multi-core application processor such as the SHARC ADSP-SC5xx, manufacturers can deliver Dante connectivity with high performance, low latency, and deterministic audio processing. The result is a single-chip solution with greater system design versatility.

[Audinate Ships Dante AVIO USB-C Adapter]

“Audinate sees a shared opportunity as the AV industry migrates to products running on standard computing architectures,” said Bob Ehlers, vice president of product management at Audinate. “The Analog Devices ADSP-SC5xx processors extend the premium audio quality of professional AV systems by adding the industry-standard Dante connectivity to more workflows. The addition of the validated support for Dante-as-software is truly a win-win for developers and end customers alike.”

With minimal additional hardware and low marginal costs, Dante Embedded Platform provides flexible software-based solutions with Dante audio networking already on board. The result is interoperability with the thousands of Dante-enabled products from hundreds of OEMs already installed in countless installations.

The Dante Embedded Platform for Analog Devices’ ADSP-SC5xx DSPs is validated by Audinate for Dante performance and enable OEMs to design for Dante with confidence. The ADSP-SC5xx offers an ARM Cortex core, up to two high-performance SHARC audio DSPs with high on-chip RAM, and audio connectivity peripherals. This is well suited for AV-over-IP applications and provides a single-chip system solution.

Additionally, the SHARC DSPs provide a rich ecosystem of audio processing algorithms enabled by Analog Devices’ Sigma Studio graphical programming environment that shortens customer time to market.

“Analog Devices is pleased to work with Audinate to bring Dante software to the ADSP-SC5xx SHARC DSP processors,” said David Dashefsky, director consumer AV at Analog Devices. “We can now enable an ecosystem of SHARC DSPs with Dante connectivity, providing a powerful and compelling solution for the professional AV industry.”

The Dante Embedded Platform SDK for Analog Devices’ ADSP-SC5xx processors is expected to be available this month. 

The What: Audinate has announced the immediate availability of the Dante AVIO USB-C adapter, which allows the latest mobile devices and computers to connect to any Dante audio network for playout or recording.

The What Else: The Dante AVIO USB-C adapter connects to devices with USB-C or A ports (cables included) to deliver and receive two channels of audio over a Dante audio network. It requires no additional drivers and works with any application, making it well suited for rapid setup of conference rooms, background music, and more.

[Audinate’s Dante Adds At-Home Capabilities to Broadcasts at The University of Miami]

The Dante AVIO USB-C adapter may be powered via USB or PoE. When connected to a PoE Ethernet switch, 7.5 watts of power is available to USB-C compatible mobile devices, enabling smartphones and tablets to remain charged while connected to a Dante network.

“The new Dante AVIO USB-C is the logical evolution of our immensely popular USB model,” said Mark Gerrard, senior product manager at Audinate. “With native support for the ports on the latest tablets, phones and computers, Dante AVIO USB-C adds pass-through power to make it the indispensable tool for connecting devices to Dante audio networks.”

The Bottom Line: Compact and rugged, the Dante AVIO family of adapters allow users to use non-Dante analog, USB, AES3/EBU, or Bluetooth audio equipment with a Dante audio network.

Estadio Unico Madre de Ciudades is the largest stadium in the Argentinian province of Santiago del Estero with a capacity of 29,000. Completed in October 2020, the stadium will host matches for upcoming editions of the Copa America and the Supercopa Argentina. 

To meet the project’s deadline, the AV integration firm working on the stadium, Equaphon Sistemas de Sonido SRL, used Audinate’s Dante audio network platform to integrate the stadium’s audio system while still adhering to all health and safety restrictions in place due to COVID-19.

Related: AV over IP Enables Powerful Digital Signage Upgrade at Lucas Oil Stadium

Better workflows, effective setup

“Dante saves on costs and ensures the stadium can expand and scale the system as needed,” said Francisco Maiocchi, member of the Equaphon Engineering Department. “Dante also offers many great audio control and management benefits. Dante was always part of our integration plan.”

What wasn’t part of the plan was the global pandemic. Equaphon management was faced with reducing the number of staff it had on site during the integration process due to social distancing requirements. They discovered that Dante would enable a modified number of staff to be on site without compromising the quality of work or timeline.

“We quickly realized that with Dante we could work on all the routing, programming, and testing from our headquarters, which is located 600 miles away,” said Alberto Escriña, member of the Equaphon Engineering Department. “We sent a small team to the site for just a few days of installation, adjustment, and measurement and we did most everything else remotely. When we finished, the system sounded incredible.”

More efficient operations

The Equaphon staff at the company’s headquarters in Buenos Aires used remote desktop-sharing software to access Dante Controller software running on site at the stadium. Dante Controller provides essential device status information and powerful real-time network monitoring—including device-level latency and clock stability stats, multicast bandwidth usage, and customized event logging.

The Equaphon team was able to use Dante Controller to back up, restore, move, and reuse Dante network configurations through presets. The ability to edit Dante routing configurations—both online and offline—was also beneficial. This process allowed for an efficient and effective remote setup, resulting in less time on the road for the Equaphon team.

“Our team only had to be on site for a few days for the physical installation,” Escriña said. “That further reduced the cost of the project as it lowered travel and lodging expenses.” 

Dante-backed workflow

The project features a robust Dante network throughout the stadium’s audio workflow, all running on a local fiber-optic network. Included in the installation are 19 Powersoft Quattrocanali 4804 DSP+D amplifiers and two Powersoft Mezzo 322 AD amplifiers, all of which use Dante networking. The main matrix is a Xilica Solaro FR1 digital signal processor with Dante connectivity. Two Xilica Solaro XIO-8 I/O expansion frames are used where analog audio signals may need to be added into the Dante system.

Eight STS Linea V15i loudspeaker arrays are mounted around the stadium, providing audio coverage of the stands. The V15i speakers use Quattrocanali 4804 DSP+D units for amplification and to connect to the Dante network.

“The system sounds amazing and the client is very happy,” Maiocchi said. “Without Dante we would have had a lot of challenges here. Instead, we used Dante, and we were able to get an amazing system working very easily.”

Audinate recently celebrated the milestone of more than 3,000 different products now incorporating its Dante audio-over-IP standard. According to research from RH Consulting, 3,034 Dante-enabled devices are available from 361 different manufacturers as of January 2021. The data from RH Consulting indicates Dante is the protocol of choice in more than 91 percent of the networked audio products currently on the market.

Audinate announced in January that the total number of OEM brands now working with Dante has reached 518, with 133 OEMs currently developing their first Dante-enabled product.

Related: Audinate Ships New Dante AVIO Bluetooth Adapter

“It’s inspiring to see how many manufacturers and product lines have aligned around Dante,” said Joshua Rush, SVP of marketing at Audinate. “And with 133 OEMs working on their first Dante-enabled product, it’s exciting to think about how much more the number will grow. This milestone shows how important Dante has become in creating an interoperable audio ecosystem.”

The numbers further solidify Dante as the industry-leading protocol for digital audio networking. Dante enables the distribution of hundreds of uncompressed, multi-channel digital audio channels via standard Ethernet networks, with near-zero latency and perfect synchronization. Dante also allows audio, control, and all other data to coexist effectively on the same network.

Prior to 2020, The University of Miami redesigned its live sports production workflows to ensure all audio feeds were on the network with Audinate’s Dante. From field mics to mixers, and from basketball to soccer, the University made the choice to use Dante for all audio-over-IP capabilities.

“We don’t have a single XLR patch anywhere in our workflow,” said Anthony Lestochi, director of production services at the university. “Moving to Dante was clearly the better way to operate. It made building out our production really easy and effective. And, when COVID happened, Dante made it easy to quickly adapt.”

Related: The Technology Manager's Guide to Audio in the New Era of UC

Dante has proven its flexibility over the course of 2020. As productions needed to drastically alter their approach to adhere to COVID-19 safety guidelines, the ability to use Dante audio-over-IP as a connective fabric was a crucial enabler. 

“When we looked to bring production back, the first thing we did was knock walls down in our control room,” Lestochi said. “We totally rearranged the space and put up new physical barriers to allow for effective social distancing in the new control room. Because it was a Dante-backed system, we could run all of our new positions for equipment onto the network and know it would work quickly. It was a very easy change, and one that wouldn’t have been so quick if we were using traditional cabling.”

The control room continues to make use of the same broadcast technology in place prior to the change in physical layout. Two Yamaha CL5 mixing consoles and a Behringer X32 mixing console provide all mix capabilities for the many Dante signals on the network. 

Field and announcer microphones located on site are made Dante-native using Shure ANI4IN audio network interfaces. Multiple Studio Technologies 45DR Dante to 2-Channel Party-Line Intercom Interfaces—which are Dante native—are also used to allow two-way communication.

In total, Lestochi said there are roughly 60 Dante devices in use in the production—and on any given day, multiple productions can take place with around 100 Dante signals running seamlessly across the local network.

Of course, that’s just for the on-site capabilities. In the University of Miami’s broadcast buildout, Dante is also working from home.

Remote announcers have become increasingly common as a result of COVID-19 social distancing and travel recommendations. Lestochi said it’s a practice that many viewers likely don’t even realize is taking place. The Miami production team’s largest events are men’s and women’s basketball in the winter season—and to produce them, Dante is heading into the home. 

Glensound Inferno commentator’s boxes—which are Dante-native kits built specifically for live announcer commentary—are sent to an announcer’s home. The system then interfaces with an in-home Mac computer using Dante Virtual Soundcard and Unity Connect software—which facilitates sending a Dante signal at the highest possible quality over the public internet.

“That setup allows for bidirectional channels and two-way communication,” Lestochi said. “The talent can talk to each other as they watch the game, and the director and producer can also talk with the talent. Without that setup it would be nearly impossible for us to do this. It enables the talent to work the games from their home without much difference in the quality of the broadcast.”

The control room located on The University of Miami campus brings in the audio signal and provides mixing and audio-to-video embedding—using an Evertz Scorpion-4 Media Processing Platform—before sending the final product via a direct line to the university’s production partner.

Lestochi considered what it would require to make the same changes had the university not utilized Dante.

“It would definitely be a lot more expensive and require a lot more hardware and cabling,” he said. “And the management of the system, and some of the technical aspects to the audio signals, would be very, very tricky if we were doing this with copper. It would likely be far too complex to feasibly do.”

Lestochi said with Dante, not only were changes made rapidly and affordably, but the system allowed for considerations on how to best manage the increasingly remote nature of the work. For example: Lestochi said he can log in to a university system remotely from his house and quickly make a change on Dante Controller software to ensure the system is working effectively.

“It’s those little moments in the process where you realize how much you’ve gained with Dante,” he said. “All of it comes down to confidence. And we have a lot of that right now with our system.”

The What: Audinate has announced the immediate availability of the Dante AVIO Bluetooth adapter, which allows mobile devices and computers to wirelessly connect to any Dante audio network for playout or recording.

The What Else: The Dante AVIO family of adapters allow users to easily use non-networked audio equipment on a Dante audio network. Dante AVIO is available in one- or two-channel analog input or output configurations as well as AES3/EBU, USB, and now Bluetooth versions.

Related: The Technology Manager's Guide to Networked Audio

The Dante AVIO Bluetooth adapter brings Bluetooth 5.0 performance, delivering high-quality audio from phones, tablets, and computers to any audio devices on a Dante network. Pairing devices is straightforward, allowing for automatic connections to paired devices when in range. 

“The new Dante AVIO Bluetooth adapter provides a cost-effective way for audio professionals to get the benefits of networking while using the familiar devices they already own,” said Mark Gerrard, senior product manager at Audinate. "Bluetooth connectivity brings Dante audio networking to the world of wireless devices."

In addition to Bluetooth, a USB-C compatible version of the Dante AVIO USB adapter is slated for release soon.

The Bottom Line: Dante AVIO Bluetooth is well suited for playback to larger sound systems, and for connecting networked speakers and microphones to mobile conferencing software running on tablets and smartphones.

When it comes to transporting AV signals over the network, it’s audio that’s been leading the way. But with this pervasive deployment of networked audio comes concerns of security. This was the subject of the AV Network Nation panel “Securing Your Networked Audio,” which tackled the many ways systems can become exposed, and what you can do to keep them locked down. 

Moderated by AVNation’s Tim Albright, panelists included Bradford Benn of Advisist Group, Bob Ehlers of Audinate, Rebecca Sullins of Pro Media Audio Video, and Ronald Rousseau of Shure.

The panelists agreed that the biggest hurdle to overcome in a secure system is the users. “The first thing is being able to have an educated user and support base that knows about network management from top to bottom,” said Audinate’ Ehlers. “It doesn’t do any good for us to talk to people about security when they don’t really understand what good security hygiene is.” 

Benn agreed: “The first thing I would say is that security starts with the user. It’s way before any of these layers that get put on top of it; that’s the good hygiene. If everyone has the same password, if everyone has the same login name, your security is pretty broken.”

Human error extends to the person setting up the tech, as well. “Be aware of everything you’re putting on the network and how it can be accessed,” said Sullins. “And that even gets down as far as buildings that don’t allow wireless microphones, because that audio can be intercepted. It starts with understanding the level of physical securities for the design before you even get into encryption certificates, passwords, and the like.”

Beyond user training, it’s also key for integrators and tech managers to have a better understanding of the technology. “I think we need to have certification training around network administration and security,” Ehlers said. “There is a level of base understanding that everyone should have and we [Audinate] try to impart that in the training that we do.”

“We really care about education,” Shure’s Rousseau echoed, urging AV techs to reach out to vendors to inquire about their educational offerings. “You’d be surprised the quality of training they have,” he said. “And it’s from people who either developed the product or product managers, so those people can not only tell you how it works, but why we’ve decided to make it work that way.”

Benn argued that the best kind of understanding is higher level: “Learn the concepts, not the commands,” he said. “I do not know how to configure a Cisco switch, an HP switch, or a Netgear switch; however, I know to tell people ‘I need to go in and set up quality of service, we need advanced encryption standards.’ I made sure I understood what the acronyms meant and how they were being used.”

In addition to a lot of discussion over acronyms, other topics included balancing the tradeoffs between security and ease of use, and using Wireshark to understand network traffic. 

“One thing I stress is that this doesn’t have to be difficult,” Benn said. “If we start talking with the IT partners and working with them, we can solve a lot of these issues.”

All of the AV Network Nation content—including the exhibit hall—is available on demand for the next four weeks. To learn more, visit avnetworknation.com.

Communications has continued to be a critical part of the infrastructure that drives business, education, health care, and government.  Whether you’re a business with project teams whose members are scattered around the globe or a hospital with doctors and nurses delivering patient care online, effective and reliable communication is more important than ever.  There is constant pressure to make it easy to connect to collaboration tools and networks with as few barriers as possible.

Want to hear more about networked audio from Ronald Rousseau? 

Join us at AV Network Nation.

For many users, the act of enabling more collaboration and ease of access also carries a risk of opening the door to malicious actors.  Whether their goal is to steal data or simply disrupt operations, safeguarding your IP network is a top priority.  As AV conferencing equipment becomes increasingly network capable, IT managers need to consider both productivity gains and potential security issues.

To help customers address these types of concerns, Shure has worked to develop technology that helps to safeguard audio content without compromising audio quality.  To do this, the company relies on a mix of proprietary and standards-based approaches that deliver secure audio over wired and wireless connections.

Security measures need to be considered in both wired and wireless contexts since many audio systems include both of these formats.  For example, the room seating layout or usage patterns might require the convenience of wireless microphones, which make it essential to encrypt the signal during transmission and maintain security of the encryption key used by the transmitter and receiver.  Further downstream, audio flows need to be encrypted as they pass between Dante-enabled components like mixers, DSP’s, amplifiers, and even loudspeakers.  Management of audio security must be robust enough to be effective, yet easy enough to implement and administer for technicians and staff.

Ronald Rousseau is speaking at AV Network Nation on the "Securing Your Networked Audio" panel on December 10, 2020. 

Click here to register for free for AV Network Nation.

A common question I hear is, “What is the difference between a theme park and an amusement park?” Not to be flip, but it is the theming of the areas. Some parks just have rides and a few shows; some parks have fully immersive worlds with rides and shows. The needs for both are very similar, with the theme park needing more attention to detail. There are multiple park sizes and brands, and each has its own set of requirements. As in all things, there is no one-size-fits-all solution. A key item to remember is that parks are entertainment venues, and they use their AV systems to make money. If a conference room is not working, people can move to another one, but if a theme park attraction is not working, the park will lose revenue.

When I speak with people about theme park design, it becomes clear that not everyone is aware of the technology and effort put into crafting the guest experience. My belief is that if the design is working well, the AV becomes a part of the scene and the image. It becomes the “invisible background.” However, there are other times that technology should be clearly seen and experienced. The decision about what to show and what to hide is a creative one made by the design team. That is the start of the process: having a story or idea about what the guest will experience. It can be a highly themed experience that transports guests to another place, or it can be an encounter with no theming and just background music.

Knowing the goal and boundary conditions will guide every decision. The goal of almost every park is to get people into and through the park as easily as possible. That ease is for the guests, not always the staff. That is also where AV technology can help in ways beyond simply entertainment. 

Hear more from Bradford Benn at the AV Network Nation event on Dec. 10. 

Some parks overlook the importance of having digital signage and wayfinding starting at the ticket windows. It is not just about telling people about prices; signage can convey what attractions are busy that day and where the shortest lines are.

Park entrances serve as an important welcome spot, providing a sense of place and mood for the guests. If people hear the sound of traffic, they may not be able to relax. Having audio playing is a great way to set the mood and provide noise masking at the same time. 

The criteria for selecting speakers for this use is the same as for any other project: we ask what sound pressure level (SPL) and bandwidth will be needed. There are now extra things to think about, like color, size, and hide-ability. One also has to think a little more about placement, as having a wide-open pathway means that there might be larger areas to cover than expected. Speaker locations might be a light pole or a planter. One needs to be aware of what else might be occupying those spaces, such as wireless access points or theatrical lighting.

Technologists also need to consider the environment when making the equipment selection—and it’s not just about the color. Mounting a speaker on a light pole might seem like a great way to get it out of the way, but you’ll still need to consider the smallest details. If an adult has a child on his shoulder, will the child’s head hit the bottom of the speaker? How does one provide a safety cable for the equipment? Does the device need to be protected from lightning? Is it in direct sun and will the color fade? Is it paintable so it can match the color of the light pole? There are a lot of things to consider and the process can be overwhelming, though the questions you need to answer here aren’t much different than what you’d think about for any outdoor project.

You’ll also need to decide whether the speaker system should be high or low impedance. While there’s no one-size-fits-all answer here, there are factors that will guide the decision, with budget being a primary one. If the park has mobile vendor carts, it might be advantageous to be able to turn down a speaker if a cart is parked underneath it that day. If there are parades or pop-up shows, it could be beneficial to be able to directly adjust each speaker or a zone of speakers.

The use of video in the park can easily enhance the guest experience, with applications including interactive wayfinding and showing current wait times in lines. Yes, much of this information could be accessed via a mobile device instead, but the tradeoff is that the mobile device will remind people of the outside world.

Don’t overlook the importance of video for information transfer with regard to queue lines and load instructions. Using video, park personnel can give instructions that are accurate and in a language that everybody can easily understand. People in a queue may have a long wait, and entertaining and informing them with video can reduce their perceived wait time.

Video is also a powerful tool for creating effects inside a ride and outside during a nighttime show. Projection mapping has been demonstrated successfully in many places. Unexpected projection mapping is a great tool for adding mystery and surprise. The ability to transform a static scene into something with motion using video is powerful. A misconception is that video effects can be too expensive; instead, look at it as part of the overall cost. Is the use of video reducing the cost of scenery or other items?

This article has touched on just a small part of the process of designing audio-video systems for amusement parks. If there is nothing else you take away from this piece, remember that AV is there to support the overall story and experience. While it might not be the reason people are going to the park, it will definitely be missed if not there. The whole process starts with one question: “What is the experience you want to create for the guest?”

The What: Barix is now shipping its IP Former for transforming analog loudspeakers into networked IP speakers. 

The What Else: Replacing the 70/100V transformer traditionally used with analog loudspeakers, IP Former adds IP networking capabilities to new or existing speakers. It provides an IP network interface, audio stream decoder, and amplifier front-end for a 2- to 8-ohm speaker, with power supplied over PoE for streamlined cabling and installation. Current analog speaker installations can be retrofitted by simply switching their transformers with IP Former units, maximizing the lifecycle of customers’ existing investments.

Related: The Technology Manager's Guide to Networked Audio

IP Former is well suited for bringing IP capabilities to applications ranging from background music and in-venue announcements to paging and emergency warning systems. The flexible device decodes audio streams delivered via HTTPS, RTP or UDP in codec formats including PCM, AACplus, MP3, Opus, G.711, and G.722. SIP negotiation provides compatibility with VoIP phone systems and enables each speaker to be addressed individually, while pre-recorded messages can be stored within the device for fast playout. Native support for the Singlewire’s InformaCast and Syn-Apps’ Revolution platforms enables speakers equipped with IP Former to integrate as endpoints for the popular mass notification solutions.

Built on Barix’s programmable and secure IPAM 400 IP audio module, IP Former can be extended with new or custom functionality, providing future-proof flexibility. The solution's standards-friendly, open architecture enables it to integrate into multi-vendor environments.

“Many end-customer projects include advanced IP audio features among their requirements, but they already have perfectly good analog loudspeakers in their facilities,” said Davide Nossa, product manager, Barix. “IP Former lets integrators and systems designers simply upgrade those existing speakers with powerful IP functionality, saving the customer significant money compared to new speakers while avoiding the environmental impact of discarding the old ones.”

The Bottom Line: Enabling upgrades of existing audio deployments to support advanced IP functionality, the new module lets systems integrators and installers offer customers a digital audio environment without jettisoning their current speakers.

Sound Frame recently outfitted Lord of the Drinks’ Kolkata location with a complete Harman Professional audio system to provide exceptional audio quality and coverage for patrons.

With 12 outlets across India, Lord of the Drinks is one of the most highly rated nightclubs in the country. Located in the South City Mall, Lord of the Drinks Kolkata is a new dining lounge and bar that becomes a high-energy nightclub in the evenings. With ceilings stretching over 24 feet above its patrons, it’s the tallest bar in Kolkata. Lord of the Drinks hired Sound Frame to install a state-of-the-art sound system that wouldn’t distract from the aesthetics of the elegant design.

[The Integration Guide to AVoIP]

It was imperative that Sound Frame worked around the height of the space as well as an elevated DJ booth and bar seating. They also had to ensure that the sound system would not obstruct important decorative elements on the walls, a request from the designer of the space. To accomplish this, Sound Frame worked within the space restrictions and negotiated with the Lord of the Drinks’ designer to situate the sound system. They were able to carve out space in the smoke lounge for the main front of house subwoofers and loudspeakers were set in place via a steel-rope suspension method rather than traditional wall mounts. 

“The client requested a versatile solution that could deliver superior sound through the venue,” said Milind Raorane, electro-acoustic design consultant, Sound Frame. “The JBL Professional networked audio system we installed ensures class-leading tonal quality, power response and sustainability. This dynamic setup provides the clarity and volume required in full-house scenarios.”

Sound Frame installed four AM7215/95 loudspeakers to provide even, balanced coverage throughout the main dining area. Two ASB6128 subwoofers provide additional low-end support for powerful bass. Two EON615/230 PA speakers were selected for their portable size and Bluetooth control. A Crown-DCI Amplification system consisting of two GDCI4X1250N-U-IN power amplifiers and one GDCI2X2400N-U-IN DriveCore series amplifier, chosen for their versatility and compact size, was also installed. These were tuned with a BSS-BLU100 DSP 12x8 signal processor with BLU link and a DBX260V Drive Rack loudspeaker management system. 

“We were initially going to have another solution,” said Amit Bajoria, owner, Lord of the Drinks Kolkata. “However, we then met the team from Harman Professional Solutions who suggested the new JBL Professional AE Series speakers, which we ultimately chose. I am very happy with the sound system and its performance. We get loud and clear output from the speakers, and the subwoofers are amazing."

The What: Extron has announced the immediate availability of the NetPA U 1002 stereo audio power amplifier. This Dante enabled amplifier delivers 100 watts per channel in a half rack, 1U, convection-cooled, plenum-rated enclosure that includes rack-mount hardware. 

The What Else: The NetPA U 1002 combines the feature set of Extron’s XPA Ultra amplifiers with the power of Dante network audio distribution. This ENERGY STAR-qualified amplifier also offers integrated DSP, allowing a single device to function as a complete audio system endpoint.

Related: Extron, Poly Partner on Scalable Meeting Experiences

"We knew we'd get strong demand for Dante connectivity on the XPA Ultra amplifiers when those were announced,” said Casey Hall, vice president of sales and marketing. "It's exciting to fulfill that demand with the NetPA Ultra amplifiers that combine the XPA Ultra technology with Dante audio networking along with integrated DSP for even more flexibility."

The Bottom Line: NetPA Ultra power amplifiers are designed to provide system scalability, easier installation, and simplified wiring, while meeting the stringent quality requirements of professional audio installations. 

AV Technology: How long has Sennheiser been producing networked audio products? 

Ron Holtdijk: Sennheiser has been offering networked products for decades. The benefit of networked products is that you can access the features and benefits of a solution remotely over the network. This is the case for control over the network but also audio over the network. Sennheiser started with proprietary solutions and is now supporting state-of-the-art standards and technology such as Dante, AES67, IEEE 802.1x, and others.  

Related: The Technology Manager's Guide to Networked Audio

AVT: What does IT-friendly audio mean, and why does it matter? 

RH: What we have observed is that IT is increasingly in charge of AV products in corporate and education installations. In general, being in charge means it has to work. The IT world requires different skills and backgrounds than audio and wireless transmission. Traditional audio skills in business and education environments aren’t always readily available. IT-friendly audio, therefore, refers to audio solutions that are easy and seamless to integrate in the IT world and that provide audio intelligence, so as a user or responsible caretaker you can focus on what matters: content, not technology. Let’s face it, where would we be without IT right now?

AVT: What technologies and/or standards are being used to create digital audio? 

RH: With the use of modern chipsets, almost every audio product these days (you could exclude sophisticated pure analog recording microphones such as Neumann’s legendary U87) is working with digital audio. It is easier to transport, process, and work with a digital signal. For the installed audio applications, we support Dante and AES67 as audio over IP solutions. For digital wireless transmission, we rely on DECT for secure and license-free transmission in our dedicated-to-speech wireless microphone family, SpeechLine Digital Wireless.

AVT: What is the benefit of having room microphones on the network? 

RH: There are two key benefits. With a digital signal on the network, you can decide after installation where to route the signal. With analog, the signal flows where the cable goes. Digital lets you change that after installation but also, to route the signal easily to multiple destinations. 

The other key benefit is the ability to fully remote control. You can monitor, control, and maintain your installation and hundreds of devices easily, remotely, anywhere on the network with solutions like our free-of-charge Sennheiser Control Cockpit. It is designed to optimize daily business routines by managing and monitoring microphones on the network and you can remotely troubleshoot if necessary. 

AVT: Can the microphones in a meeting be managed from a centralized location, and what would the benefit be, or would you still want an AV Tech running the meeting from inside the room? What types of things would be controlled? 

RH: Yes, you can monitor the status and functions of all supported products. The Sennheiser Control Cockpit is the central touchpoint of every relevant Sennheiser product for any campus-style installation. You can remotely monitor the “30,000-foot view” but you can also drill deep into every setting of the supported device. The most common applications are simple things like battery life information, mute status settings, or RF conditions. All accessible on any portable device, as long it is in the same network. This renders the need to physically walk to a room unnecessary. Depending on the network setup you can even use the benefits on your commute. You have all the status information available before you even arrive at your desk. With notifications via email or text message, the system can also stay in the background and support you with a “heads up” before you get a support request to provide a spare battery—as one of many examples. 

AVT: Is there a room or application size in which you would not use network-audio?

RH: It depends on the use case. The biggest benefits of networked audio are unlocked in bigger campus-wide installations. However, even a single room remote control over the network during events can justify the use of networked audio. 

AVT: How do tech managers choose the right system?

RH: The good thing is that more and more standardized solutions are being provided. The broad availability of different Dante- and AES67-enabled devices lets you choose based upon your individual needs. Sennheiser supports with several current products like TeamConnect Ceiling 2, our adaptive beamforming ceiling mic, SpeechLine Digital Wireless, Digital 6000, and others—all with the latest and most in-demand IT standards and protocols. 

The University of Southern California (USC) has deployed a vast AV network to over 248 learning environments that will be foundational for a new hybrid distance/on campus educational program the school will roll out this fall. According to Joe Way, USC director of learning environments, the systems, which all feature Dante networking, enable faculty to simultaneously give lectures on campus, on-stream, and also archive for future use.

Way said that the system also facilitates classroom overflow—a result of classroom occupancy levels being dropped by up to 70 percent to accommodate social distancing. In this scenario, the faculty member will be present in a classroom with a small group of students with additional small groups participating in the same lecture from adjacent rooms. The overflow rooms are equipped with cameras, microphones, displays/projectors, and networked sound systems to facilitate interaction.

Related: The Technology Manager's Guide to Distance Learning and Streaming

The system also supports situations where the faculty member is uncomfortable or unable to be on-campus. In this instance, the faculty member will present from home to students in classrooms and those attending remotely.

“The system needs to be flexible to change at any time,” Way said, acknowledging the dynamic nature of the pandemic. “We are moving to all-network-based AV that will allow us to transmit any signal to any location. Dante is critical in our ability to lecture-capture and microphone-share.”

Way and his team developed a templated approach that can be modified to facilitate varying workflows depending on the subject, department, and lecturer preferences. The core of the system, however, is a Crestron Flex UC Engine (the B140-Z or C160-Z, where Z stands for Zoom). These allow users to take a Zoom Virtual Room and make it live—using all NVX352s to encode and decode Dante. Dante-enabled Shure networked mics—either MXA 910s or 710s—are used for lecture and student capture. Dante AVIO units are also widely used as encoders with some handheld mics and as output when the team needs to zone the room and cut the speakers near the microphone.

Dante Domain Manager network management software enables user authentication, role-based security, and audit capabilities for Dante networks while allowing seamless expansion of Dante systems over any network infrastructure. Way said the flexibility of the system is impressive, noting he expects to manage up to 1,100 nodes of Dante when the integration is complete.

“It’s critical that our system be as cloud-based and software-based as possible,” Way said. “By using Dante Domain Manager, we’re able to ensure we have complete observability, control, and security across the network. And we’re able to utilize it both with the scheduling system we have and with individual instructor preferences. For the most part, faculty will be able to walk in at their scheduled time and the room will be ready for the way they want to teach. With things like Dante’s audio routing at our fingertips, we can set it all up ahead of time.” 

For students who are on campus but constrained by isolation requirements, AV-over-IP provides high-quality access to lectures and content directly over the school network. For those who are taking classes off-campus, AV-over-IP helps school IT to implement robust streaming services, eliminating unnecessary hardware and complexity so that students can get to the content they need wherever they are. 

“Elite institutions like USC have earned a reputation for excellence based on the quality of the education traditionally delivered in campus lecture halls,” said Joshua Rush, Audinate senior vice president of marketing and product management. “Now, as they seek deliver the same high-quality educational experience remotely, the AV network is what connects the faculty and student body. A stronger network means a better connection, a better experience, and better education.”

Way will join Audinate’s Rush on a webinar to discuss the changes forced on educators and how network technologies can facilitate pivots to remote, hybrid and online learning models. To learn more or sign on for the webinar visit audinate.com/edu.

In honor of Independence Day, we asked pro AV manufacturers to tell us about their Made in the U.S.A. products.

Scroll through the gallery below to see pro AV products proudly made in America.

*Editor's Note: These products were all made in America, according to the companies, at the time of publication. 

The What: Audinate has announced the addition of two new models to its line of Dante AVIO audio adapters, offering USB-C and Bluetooth connectivity for use with Dante networks.

The What Else: The Dante AVIO USB-C adapter allows devices with USB-C ports to deliver and receive two channels of audio with a Dante audio network. It is a class-compliant USB audio device that requires no additional drivers and works with any application, making it well suited for rapid setup of conference rooms, background music, and more. The Dante AVIO USB-C adapter may be powered by the connected device or via PoE and it works with common USB-C to USB-A adapters. When using PoE, it features power pass-through for mobile devices, enabling smartphones to remain charged while connected to a Dante network.

Related: The Technology Manager's Guide to Networked Audio 

The Dante AVIO Bluetooth adapter provides wireless connectivity to Dante networks for mobile devices and computers and is well suited for both playback from smartphones to larger sound systems, and for connecting networked speakers and microphones to conferencing software. Once configured, a user may rely upon Bluetooth to switch from local smartphone audio to a complete conferencing system to share what is being said with others.

“With the addition of those two models of Dante AVIO, we’re continuing to expand the availability of cost-effective ways to utilize non-networked equipment,” said Joshua Rush, SVP of marketing and product management at Audinate. “Both of our new models bring unheralded connectivity to mobile devices by embracing popular USB-C and Bluetooth technologies.”

The Bottom Line: The Dante AVIO family of adapters allow for the use of non-networked audio equipment on a Dante audio network. Dante AVIO is available in one- or two-channel analog input or output configurations as well as AES3/EBU, USB, and now Bluetooth versions.

The Dante AVIO USB-C and the Dante AVIO Bluetooth adapters will be available from authorized resellers in Q3 of 2020. 

The What: Extron has begun shipping the XMP 240 Expansion Matrix Processor, featuring an extensive mix matrix with 24 channels of AEC (Acoustic Echo Cancellation) and 48x48 Dante connectivity in a half-rack space. The XMP 240 can also be used standalone for matrix processing in an all network audio system. 

The What Else: When connected to a DMP Plus Series processor via Dante or the EXP expansion port, a complete system is created that offers up to 36 channels of AEC, a USB audio interface, analog connectivity, and optional VoIP. A system expanded with an XMP 240 is capable of supporting multiple beamforming microphone arrays alongside numerous other Dante sources, with enough outputs to support multiple zones and destination devices. Designed for network audio systems based on Dante or AES67, the XMP 240 allows for high-channel-count audio input and output processing.

Related: The Technology Manager's Guide to Networked Audio 

"The ability to add 24 channels of AEC via a Dante network to a DMP based system gives our customers powerful flexibility and scalability for larger systems,” said Casey Hall, vice president of sales and marketing at Extron. "This much processing power is unprecedented in a half-rack device that can be placed under a table or virtually anywhere requirements dictate."

The Bottom Line: With connectivity for up to 48 sources and 48 destinations via Dante or AES67, the XMP 240 is well suited for applications that utilize many network audio devices. Dante Domain Manager support provides user authentication, role-based security, and expansion of Dante systems over any network infrastructure.

Lawo, a German audio, video, network, and control company, and Bogota, Colombia-based Caracol TV recently devised a solution enabling the company's engineers to monitor and meter critical audio signals from home.

Remote production has been a core piece of Lawo’s IP solutions for years thanks to involvement worldwide with TV and streaming productions of major sports or cultural events around the world. Now, remote FAT (Factory Acceptance Testing), training, and equipment demonstrations are a part of the portfolio as well.

Related: FOR-A HVS-2000 Switcher Enables Large-Scale Streaming Production with a Small Crew

Caracol recently purchased a 48-fader mc²56 mixing console with DALLIS frame for its News Studio, another mc²56 for their new OB van, and a mc²36 console for its Studio 10 facility. 

Caracol safety protocols during COVID-19 require that the company’s engineers be able to work remotely, so they contacted Lawo for a solution. On April 30, Lawo engineer Daniel Egea demonstrated remote monitoring solutions for Caracol engineers via two possible monitoring methods: one employing Lawo AoIP Stream Monitor software, and a second using RƎLAY VPB software. Both solutions use RAVENNA/AES67 connectivity to monitor the mc² consoles.

Since the demonstration of both setups met Caracol’s requirements, both software packages will be configured for long-term tests, and eventually will be a permanent part of their studio installation.

“The question for us was, how can the engineers both listen to and meter the audio signals while not on site?” Egea said.

The solution was an infrastructure that allowed the mc² console core to supply its audio signals to a facility computer. “Audio signals were supplied to the streaming network via the RAVENNA card in the core and collected from the network on a PC using AoIP Stream Monitor or RƎLAY VPB software. By accessing this computer via Teamviewer or Remote Desktop through a second NIC, Caracol engineers can now conveniently monitor the most important signals from home. This setup offers a very flexible monitoring situation and has intuitive GUIs to quickly create a suitable monitoring overview.”

Lawo's solutions can not only broadcast world championships and other games remotely but are also well suited for customer-oriented services, according to Jesús Lozano, CEO of Lawo solutions partner Videoelec.

“The corona pandemic has certainly pushed the advancement of remote infrastructures, but Lawo has placed much importance on developing products and solutions for remote purposes for years,” Lozano said. “Now we can use them not only for production but also, under adverse circumstances like the pandemic, for keeping project timetables and delivery schedules, and for enabling customers to remain on air or in production.” 

The What: QSC has released Software-based Dante for the Q-SYS Ecosystem. As part of its partnership with Audinate, these feature licenses allow integrators to enable Dante networked audio integration on Q-SYS Core 110f processors running Q-SYS Designer Software v8.3.1 or higher. 

The What Else: Q-SYS Core 110f processors sold after March 30, 2020 will include 8x8 Dante network audio channel license (while Core 110f processors sold prior to that date can purchase the 8x8 channel license). Furthermore, all Core 110f processors are capable of licensing higher Dante channel counts options (16x16 or 32x32). Software-Based Dante for the Q-SYS Ecosystem will be available on the remaining current models of Q-SYS processors (Core 510i and Core 5200) later in 2020.

Related: QSC Ships Q-SYS NV Series, Optimized for Connected Meeting Spaces

“We were thrilled to work with Audinate to deliver the industry’s first software-based Dante implementation on a DSP processor,” said Trent Wagner, audio product manager, QSC. “This launch delivers on our steadfast commitment to software innovation within the Q-SYS Ecosystem. Software-based Dante expands the capabilities of the Q-SYS Core 110f processor, and allows integration of Dante devices into those smaller Q-SYS systems that might have been cost prohibitive with our larger Core processors.”

“The goal of offering Dante-as-Software is to bring new, flexible ways for Dante to be deployed,” said Joshua Rush, SVP, marketing and products at Audinate. “QSC is a natural partner in this space as they are an industry leader in software-based strategy. The introduction of Software-based Dante in the Q-SYS Core 110f will allow the AV industry to more effectively utilize software-based solutions operating on standard computing platforms.”

The Bottom Line: This software implementation eliminates the need for additional hardware I/O to integrate Dante into the Q-SYS audio, video, and control workflow and increases platform interoperability between Q-SYS and Dante-enabled devices.

To create an immersive AV solution for a wide range of events, Mahajak Development Co., Ltd. equipped Modena By Fraser Buriram Hotel in Buriram, Thailand with a cutting-edge Harman Professional Solutions networked audio system.

Constructed in 2018, Modena By Fraser Buriram is known for its sleek blend of functionality and style. Located within walking distance of the renowned Chang International Circuit racetrack and Chang Arena football stadium, the Modena By Fraser Buriram hotel is ideally located for sports fans. Behind the property’s distinctive façade are 152 guest rooms, a spacious foyer, and a large ballroom used for weddings, high-profile product launches, car shows, business conferences, and more. To deliver clear, detailed sound in the ballroom and throughout the hotel, Modena By Fraser Buriram hired AV integrators Mahajak Development to design and install a premium networked audio solution. Mahajak Development designed a Harman Professional Solutions networked audio system featuring class-leading solutions from JBL, Crown, Soundcraft, and BSS.

Related: Integrating for the Hospitality Experience

“To ensure consistent sound throughout the facilities, we installed a networked audio system using Harman’s industry-leading AV solutions,” said Pongsakorn Kanchanachayphoom, director of project, Mahajak Development Co. Ltd. “With the grand ballroom serving as a multi-purpose venue, we developed a highly customizable audio system with superb clarity for any event. We selected JBL Professional sound equipment along with Crown and Soundcraft because Harman’s sound equipment met all of the hotel’s environmental demands.”

Mahajak Development equipped the ballroom with JBL CBT 200LA-1 line array column speakers. With Constant Beamwidth Technology, CBT 200LA-1 speakers deliver clear sound with consistent coverage. To provide additional low-end support, Mahajak Development selected JBL AC118S high-power subwoofers, which feature an extended frequency response down to 32Hz. Additionally, Mahajak Development installed JBL Control 226C/T ceiling speakers throughout the facility to provide balanced, even coverage. The system is powered by Crown CDi 2|1200 and CDi 2|300 amplifiers, which feature pre-loaded JBL speaker tunings to help make installations quicker and easier.

Signals on stage are routed through a Soundcraft Mini Stagebox 32R into a Soundcraft Si Impact digital mixing console. With versatile routing options, advanced DSP processing, and color-coded FaderGlow technology, the Si Impact makes it easier for staff to quickly dial in their desired sound. To distribute signals throughout the facility, Mahajak Development installed a BSS BLU-100 signal processor, which provides low-latency streaming for up to 48 channels of audio over traditional Cat-5e cabling. 

“We wanted to create immersive audio and visual experiences for our guests and Harman Professional Solutions has helped us achieve that objective,” said a hotel spokesperson. “With the latest equipment installed by Mahajak, we can now deliver exceptional sound quality throughout our multi-purpose ballroom, with exceptional control.”

“Harman is extremely privileged to be associated with Modena by Fraser Buriram, providing effective AV and controls solutions powered by our iconic brands,” said Ramesh Jayaraman, VP and GM Harman Professional Solutions, APAC. "Harman would like to thank Mahajak Development for understanding the requirements of the client and deploying a successful design and for an outstanding AV experience for their guests.”

Audinate is launching a catalog of free, live webinars and online learning opportunities—some available in a variety of languages—over the coming month. The webinars will allow participants to officially obtain new Dante Certifications, learn about Dante Domain Manager and other Audinate solutions, and join interesting discussions on case studies and Dante design principles.

Registration for the webinars is available here. 

The webinars are currently scheduled between this week and April 30. Additional courses may be announced at a future date.

Related: Meyer Sound Launches Comprehensive Daily Online Training Program

Topics in the series include:

Designing and Managing the World’s Largest Single-Room Speaker System at the Royal Albert Hall

Join us for a discussion with the manufacturers, solution designers, integrators and the Royal Albert Hall Head of Production. Learn how they addressed challenges in a recent make-over of acoustics, reinforcement and infrastructure, leading the way for live events in to the 21st century.

Design Advice: The Art of the Streaming Mix for Houses of Worship

Join us for a discussion with industry experts about making the most of streaming by making it more engaging even with modest budgets and limited staffing. Discuss everything from positioning, communications, AV capture elements, and getting the mix and video editing right.  

How to Record Using Dante

Discuss the process of using Dante in recording, both for live events and in a studio environment. Options explained include Dante Virtual Soundcard, hardware options to link to the computer, and standalone hardware. 

Dante Domain Manager

These courses are ideal for Dante system designers, as well as those interested in being users or resellers of Dante Domain Manager. Participants should possess Dante Level 2 Certification (Level 3 preferred) or have a background in networking.

Dante Certification Program

The Dante Certification Program lets employers and customers know that you have the knowledge and skills to implement Dante networks. It also ensures consistent vocabulary, set of methods, and knowledge are in common as individuals work together on design, operation, and maintenance. Level 1, 2, and 3 will be offered. Courses will be offered in English, Spanish, German, and Italian, and are eligible for AVIXA CTS RU Credits.

Ask Audinate Anything

Do you have any questions for Audinate? Now is your chance to get answers! Come to this open forum, where we will take questions and comments from the audience on just about anything. 

Texas A&M Athletics' 12th Man Productions, which handles the television production needs for Aggies sports—including content for 12thMan.com, TV shows, videoboard presentations, and ESPN’s SEC Network productions—recently moved into a new facility at the south end zone at redeveloped Kyle Field. 

[New Dante AVoIP Comms Systems Join Legacy CobraNet Tech at LaGuardia]

The new facility was created with a nearly $12 million investment in the electronics infrastructure to serve Texas A&M athletics, and features four HD control rooms, an ESPN bureau cam studio, a main studio set area, a radio broadcast room, and six post-production edit rooms. 12th Man Productions—which employs 18 full-time staff members and up to 90 Texas A&M undergraduate students—produces 110 events a year, and the facility's multiple control rooms allow the staff to produce side-by-side productions for the SEC Network from different venues as well as support in-venue shows at the same time.

With the Kyle Field renovation, the team began moving toward an IP infrastructure for their audio network. In total, the new infrastructure has 48 fiber optic runs that tie the control center to the school's seven main sports venues. Over the last few years, they have been working to control all venues from the centralized area.

"When we started the renovation, we had to choose our audio network platform, and it was obvious that Dante fit our immediate needs and was also supported by the industry enough to cover our future plans," said Zack Bacon, chief broadcast engineer for Texas A&M, who oversees all technical support for the 12th Man Productions facility. "We definitely have an extensive Dante deployment, and we're trying to grow it as much as possible. It's a great technology, and we can vouch for its flexibility and how using the IP infrastructure allows us to do a lot of things we wouldn't otherwise be able to do."

Bacon explained that as a centralized facility, audio from all facilities is transported to the production control rooms via Dante, and nearly all audio for broadcast is on a Dante network as well. The team produces everything essentially through Dante with Yamaha consoles. The audio signals are mixed, married to the video, and then either used within the venue or broadcast out. The team also has a direct fiber connection to ESPN, allowing them to share audio and video content directly.

"We have four control rooms, so we're able to do two sports at a time," Bacon said. “That means two big-screen shows and two ESPN broadcasts simultaneously, so things can get pretty hectic—and we're relying on Dante more and more so we can be as efficient and responsive as possible."

Recently, the team upgraded their Studio Tech 214 announcer consoles to be Dante native, improving audio quality and signal flexibility. The team has also integrated this type of Dante connectivity into their intercom system and are able to directly patch the announcer consoles into the intercom system as well as the audio mixer. Now, when they need to feed audio in and out of the intercom, they can do it straight through the Dante network and into whatever source or destination desired.

"There are multiple ways we could get it into Dante and to the PA mixer, but we run it through our console and do direct out, then we set up the shared audio group within Domain Manager," Bacon said. "Then we just do the patching in the Dante Controller, and as long as we have the network infrastructure set up, everything just works."

The PA systems are distributed audio DSP networks that are all interconnected by Dante because of the large distances covered. The Dante network delivers the signal to a network of Harman London BLU DSPs, and from there to the individual amplifiers.

"With Dante Domain Manager in the football stadium, we've already seen the benefits integrating the PA and being able to send multiple sources to the PA mixing console, as opposed to previously, we would only be able to send two," Bacon said. "We're currently working with and sending about six audio signals, but we can obviously send a lot more. This has been a very convenient and efficient way for us to improve our workflow to make sure we're getting audio to the PA and the football stadium so that the show can go smoothly, and everybody can hear it cleanly."

Dante Domain Manager is network management software that enables user authentication, role-based security, and audit capabilities for Dante networks while allowing expansion of Dante systems over any network infrastructure. Dante Domain Manager organizes a network into zones called "domains" that each have individual access requirements, making it clear who can access any area of the system. All activity is logged, tagged, and date-stamped so problems can be quickly identified and solved.

With Dante Domain Manager, Bacon and the 12th Man Productions team is able to route their audio signals across subnets to cover the multiple venues and the production areas. Donte Domain Manager enables the team to create management groups and to segment areas, venues, subnets, and production rooms as needed. The team is now able to create some very granular control and security parameters across the network.

"Our student workers do many functions for us—everything from operating cameras to post-production—and we have about 20 student engineers as well who are out in the field making sure everything is working and are actually connecting everything and mixing the shows," Bacon said. "Our student engineers are trained on Dante Domain Manager, and they now do the routing and patching for the various productions, and we don't want operators mistakenly going into Dante Controller and re-routing anything that might impact other simultaneous events."

Dante Domain Manager coordinates multiple subnets, allowing Dante audio to be used across networks of nearly any complexity or size. Dante Domain Manager enables audio to be plugged into any Ethernet jack, anywhere on campus, and route the audio data to where it needs to go. Users of Dante-enabled devices do not have to perform any special configuration; Dante Domain Manager completely automates this task.

Audinate has won a Technology and Engineering Emmy Award for its contributions in enabling the production industry’s transition of analog audio and video onto the network.

[Audinate Releases Major Update to Dante Domain Manager]

Used in thousands of products from hundreds of manufacturers, Audinate’s Dante is the de facto standard for modern AV connectivity. Dante has revolutionized the AV industry by replacing legacy audio and video connections with easy-to-use, high-performance computer networking.

Dante’s ability to handle hundreds of uncompressed audio channels over a single network cable is why the protocol has become so popular in media production. Television is evolving with demand for additional audio as viewers seek an immersive experience. Producing a reality TV show might require dozens and dozens of microphones to capture all of the action going on simultaneously. Likewise, live sporting events are incorporating more audio as players and coaches are now employing live microphone feeds.

Dante is used in high-profile television productions, including this year’s Super Bowl LIV halftime show and the 2020 Grammy awards. It is used extensively in stadiums, performance halls, concert tours, and commercial buildings worldwide.

The National Academy of Television Arts & Sciences recognized the company’s work with an Emmy Award for the “development of synchronized multi-channel uncompressed audio transport over IP networks.”

“The title of the award speaks directly to the core of Audinate’s innovation and engineering goals from the founding of the company in 2003 and on to today,” said Aidan Williams, co-founder and CEO of Audinate. “We remain focused on improving the way the world sounds in every application where audio matters. From the local performance space to the voice conferencing solution you use for work, there is a good chance Audinate touches your life to provide better audio. Our work in the broadcast and television space is critical: we want all audio to be more effectively utilized by the people who have a message to share. It’s an exciting time and we greatly appreciate the National Academy of Television Arts & Sciences recognizing the importance of our work.”

IP audio and control company Barix has opened a new research and development center for intelligent audio solutions. Based in Aveiro, Portugal, the Barix Innovation Center focuses on innovative technologies including audio analytics, anomaly detection, predictive maintenance, and environmental sound monitoring.

[Barix Integrates IP Audio and Control Hardware with Syn-Apps’ Notification Platform]

Barix Founder and CTO Johannes Rietschel identified Aveiro as the ideal location given its proximity to the University of Aveiro, one of Europe’s leading technical institutions. Barix has been aggressively hiring local engineering talent, including recent university graduates, to fill key engineering and research roles. The close proximity to one of Barix' long-term strategic production partners, HFA SA, will further accelerate Barix’s ability to quickly build custom solutions at this new facility.

Barix’s business headquarters will remain in Zurich, and will retain its local engineering talent alongside all sales, marketing, product management, and other staff.

“Aveiro is known as Portugal’s ‘digital city’ and produces a high rate of digital technology innovations, many of which originate from university students and graduates,” Rietschel said. “Our new Innovation Center places Barix in the center of European digital development—a perfect home for Barix, which has brought audio-over-IP innovations to broadcast, commercial AV, security, retail, and other markets for 20 years. This new location does not replace our Zurich operation; rather, it will propel Barix innovation in new directions. And we will use our latest generation modular platforms to build very powerful, reliable, compact, and energy-efficient solutions that serve a continually evolving set of end user requirements.”

At ISE 2020, Barix offered a preview into its next-generation intelligent audio-over-IP solutions. These include environmental audio monitoring, detection, and analytics solutions for everything from general concerns (noise measurement) to highly sensitive operations (global, universal emergency intercoms, and government facility monitoring).

“The new age of intelligent widespread devices that understand and hear their surrounding is only beginning,” said Reto Brader, CEO, Barix. “We expect widespread adoption of AI and adaptive learning innovations in all of our markets, and we are proud to have secured highly qualified talent in Portugal for our next-generation research and development team.”

Barix has a large base of installed products worldwide, including custom-developed OEM products for other companies. In recent years, the company has accelerated product development for its core markets, including multi-site audio distribution (RetailPlayer, SoundScape), intercom and paging (Paging Cloud, IP Former), and broadcast audio transport (SIP Opus hardware codecs, Reflector uncompressed streaming service).

Barix will demonstrate these now-shipping products, along with next-generation prototypes from the new Barix Innovation Center at the 2020 NAB Show (April 19-22, Las Vegas Convention Center, Booth C1139) InfoComm 2020 (June 17-19, Las Vegas Convention Center, Booth C6150), and ISC West (July 2020, Sands Convention Center, Las Vegas, Booth 19140; rescheduled from March 17-19).

The What: At ISE 2020, Biamp launched the TesiraCONNECT TC-5D, a dual network device engineered to allow designers to incorporate both AVB and Dante into their AV solutions.

[Biamp Adds Wireless USB and Content Sharing With Purchase of HRT]

The What Else: TesiraCONNECT TC-5D features the same plug and play simplicity of the recently introduced TC-5 connectivity appliance and adds the interoperability of Dante. With the TC-5D, designers and integrators can easily connect and power via PoE+ both Dante and Biamp AVB devices in the same system with no configuration required.

The new appliance allows connected Dante devices to be managed using Dante Domain Manager as well as configured in Dante Controller. Once installed, the TC-5D can be monitored and maintained using Biamp's SageVue management platform like other Biamp products.

Both TC-5D and the existing TC-5 model come with five network connections, four of which are PoE+-powered RJ-45 ports that support single-cable connectivity. An additional unpowered RJ-45 port is included to easily pass all signals back to a Tesira DSP such as the TesiraFORTÉ. For more complex installations requiring greater port capacity, integrators can daisy-chain up to four TesiraCONNECT devices. Both the TC-5 and TC-5D feature a compact enclosure, which gives integrators the flexibility to mount them under a table, in a cabinet, or behind a monitor. The TesiraCONNECT TC-5D and the TesiraCONNECT TC-5 integrate with Biamp's SageVue management and monitoring system for incredible ease of management.

"No matter which components are selected, Biamp is committed to supporting the network protocols that our integrators prefer to use," said Joe Andrulis, executive vice president of corporate development at Biamp. "TesiraCONNECT TC-5D ensures networking protocol and product selection decisions stay firmly in the hands of designers and integrators while providing them with all the benefits of the Tesira platform. Integrators now have the flexibility they need to create the most effective system without burdening IT departments with special network considerations and lengthy installations."

The Bottom Line: The new TC-5D is designed to support a range of use cases, from customers utilizing a Dante enterprise backbone to bridge multiple Biamp conference rooms together, to solutions that need to combine Biamp Tesira products with common Dante devices such as mixing consoles or wireless microphone systems.

Audinate has helped enable the University of Colorado, Denver to streamline audio production workflows, manage student projects, and advance the university’s curriculum thanks to a Dante audio network. Dante and Dante Domain Manager have become integral technologies within the school's Music and Entertainment Industry Studies department (MEIS), which offers a series of programs focused on contemporary music styles, commercial music business, and music production.

"We teach a variety of skills in our recording program designed to help students prepare for careers in the live and recorded music industry, as well as in film and television and sports media, so technology is crucial for us," said Scott Burgess, the manager of recording labs and live sound, and a lecturer for the department of MEIS. "We started using Dante in our department a few years ago to reduce setup times for events, but it's such an important technology that achieving Dante Level-One certification is now part of our curriculum, and we're looking to expand that.

"Our setup times are very limited, so anything we can do to save time is a big deal. So, I got a Dante card for our Soundcraft mixer and a license to Virtual Sound Card, we plug in one network cable, and we're ready to record the event! That's how we started."

The MEIS production team realized quickly that Dante was a big step forward for their workflow, and they began to think of ways to incorporate more audio networking on campus, including using it to connect their six main studios, which are spread across two large buildings.

The CU Denver campus covers a lot of ground, and if the team is asked to put on a show in the Student Center, for example, the ability to jump from the departmental network and onto the campus network is a significant capability. The challenge with making this jump to another subnet, traditionally, was a work order needed to be filed with IT to trigger a process that would eat up the resources of both his department and the IT department. But with Dante Domain Manager, that process is now unnecessary.

"This is where Dante Domain Manager comes into play,” Burgess said. “While it's possible to work with campus IT to put everything on the same subnet, we can more efficiently use Dante Domain Manager to just set up and manage our own domains."

Dante Domain Manager is network management software that enables user authentication, role-based security, and audit capabilities for Dante networks while allowing seamless expansion of Dante systems over any network infrastructure. Dante Domain Manager organizes a network into zones called “domains” that each have individual access requirements, making it clear and easy to know who can access any area of the system. All activity is logged, tagged, and date-stamped so problems can be quickly identified and solved.

"And Dante Domain Manager also means that if we move to a different location, which happens often, we don't have to bother campus IT to reconfigure the network," Burgess said. "We just get into Domain Manager and find the device, or better yet, if the system pulls the same address then we don't have to do anything, which is the glory of Dante."

Over the next few semesters, as part of the expanding networked audio curriculum, the MEIS team has the goal of being able to produce a live concert in a venue anywhere on campus, and then record that band or event from several other rooms at the same time—each with different purposes in mind. The idea is for everyone to grab a mix and then upload them to the server so the teams can compare notes and see how everyone did.

"We're still mulling over all the possibilities, but we're in the middle of implementing a major rewrite to our curriculum, so it's a perfect time for us to explore all the possibilities of the Dante network," Burgess added. "Dante is part of our workflow and infrastructure now, and it's an important part of our curriculum. I've had alums come back and say that that they are really glad we have a focus on networked audio because in the real world, they are up to their ears in Dante, making the experience here very valuable."

The What: QSC has begun shipping the new Attero Tech Synapse D32Mi networked audio interface and released a supporting update to uniFY Control Panel software.

The What Else: This newest model in the Synapse series of 1U rack-mount network audio interfaces provides 32 mic/line analog inputs with studio-grade microphone preamps and Dante/AES67 connectivity, including up to 24-bit, 96kHz analog-to-Dante conversion. The inputs are available either as terminal block or DB25 connections.

[QSC Acquires Attero Tech]

The newest Synapse model offers front-panel and network control of mic preamp gain, phantom power, and muting. Easily assignable front-panel headphone volume control and source selection enable local input and Dante confidence monitoring at the rack position.

Redundant SFP expansion ports enable fiber connectivity for long-range signal extension, eliminating the need for media converters or switches in some applications. The redundant SFP expansion combines with a fully redundant Dante interface to enable simplified networking infrastructure. In addition, the DM32Mi can also be interfaced to an additional Synapse family I/O device creating a complete digital snake solution and eliminating the need for additional switches.

As with other many products in Attero Tech line, the Synapse D32Mi quickly integrates into the Q-SYS Ecosystem via its control plugin (available through the Q-SYS Designer Asset Manager within Q-SYS Designer Software) allowing for full device control.

This shipping announcement comes in tandem with the release of unIFY v3.4.0 Control Panel software, which adds monitoring, device configuration, and firmware update capabilities for the Synapse D32Mi and Axon C1 3rd Party Mode configuration.

The Bottom Line: The D32Mi's combination of high performance, channel density, flexible control capabilities, and native integration with the Q-SYS Ecosystem makes it well suited for studio, live event, and fixed-installation applications.

A roundtable discussion exploring the transformative effects networked AV has on learning and higher education will take place at 11 a.m. PT on October 29. The event includes an in-person discussion between multiple AV experts. A live Q&A, where webinar attendees can ask questions of the participants, will occur immediately after the discussion. Registration for the webinar is open now here. 

The roundtable event is hosted by Audinate, developer of the Dante AV networking technology, and brings together experts from the University of Southern California, University of Oregon, Arizona State University, University of Colorado, Denver and Brigham Young University-Idaho.

“When we talk with our partners about how they are using networked AV we always come away impressed at their innovation and ingenuity,” said Joshua Rush, senior vice president of marketing at Audinate. “This is especially true in the higher education market. We realized it would be incredibly beneficial to bring together some of the leading minds utilizing networked AV in higher education—and then share that discussion with the industry at large.”

Those taking part in the discussion include:

• Joe Way, director of learning environments at the University of Southern California
• Guy Eckelberger, director of information technology at the University of Oregon
• Sean Snitzer, senior systems analyst at Arizona State University
• Scott Burgess, manager of recording labs and live sound at the University of Colorado, Denver
• Will Davidson, media systems engineer at Brigham Young University-Idaho

Networked audio continues to play an ever-expanding role in a wide variety of pro audio applications, from recording and production, to live sound, installs, and more, with a near ubiquity of network capabilities on new gear and the bridging of proprietary standards by the AES67 and AES70 protocols. The Audio Networking Track events, taking place during the AES New York Convention, October 16–19 at the Javits Center, are set to connect the latest technologies and techniques with attendees looking to take their audio networking skills to the next level. 

“Networking technology in audio systems are increasingly becoming the norm and not the exception,” said AES New York Networked Audio Track chair Bob Lee. “We in the audio industry have been fortunate to be able to leverage the off-the-shelf technology developed by the IT industry to meet our needs reliably and economically. I’ve assembled this program to provide many varied opportunities for convention participants to learn from and interact with the experts in a range of topics. If you’re in audio and want to come away with less uncertainty and more confidence in using networked audio in your work, this is the track for you.” 

Networked Audio events kick off on the convention opening day with a premier panel “Solution-Based Approaches for Networked Audio in Live Production” moderated by Dan Ferrisi (Sound & Communications) with panelists Tim Boot (Global Brand Strategist, Meyer Sound), Genio Kronaue,( L-Acoustics), Morten Lave (Adamson Systems Engineering), Patrice Lavoie, (Solotech), and Jamie Pollock (Kore Audio Design). The panel will cover topics including scalability, IT expertise and planning, along with insights from the panelists’ years of industry experience. 

The AES70 networked control standard will be examined in “An Introductory Tutorial to AES70” later that day. Presenters Jeff Berryman and Ethan Wetzell from Bosch Communications, and representing the OCA Alliance, will team up with Simon Jones from Focusrite to introduce participants to AES70, the AES standard on Open Control Architecture (OCA). This session is partnered with the Product Development session “How to Add AES70 Control to Your Products” on Saturday, October 19. 

Also on Saturday, Patrick Killianey (Audinate) will present “What Audio Engineers Need to Know about Media Networks,” a reprise of a popular session in the Networked Audio track. Killianey is an engaging and entertaining educator specializing on the growing integration of network and AV technologies. Audio engineers increasingly need to become familiar and conversant with how to use IT resources in their work, and this session is designed to illuminate the concepts behind structurally designing a medium sized network for an installation, recording studio, or live production. 

Additional featured sessions taking place include: “Introducing A2B—A Low-Latency Digital Audio Bus Standard” with Joseph Beauchemin (Analog Devices) and Denis Labrecque (DeLab Consulting); “Network Audio Strategies: Charting Software, Hardware, Internet Requirements” presented by Sarah Weaver (NowNet Arts); and Saturday’s “Network Media Open Specifications (NMOS)—How They Relate to Audio Networking” with Andreas Hildebrand (ALC NetworX). 

For more information on the entire program for the Networked Audio Track, please visit http://www.aes.org/events/147/networkedaudio. The Networked Audio Track is open to attendees with an All Access badge, available through 11 pm EDT, Monday, October 14, at Advance Registration discount pricing with AES Members and Students receiving significant savings. Find out more about the AES New York and register now at aesshow.com.

It would be difficult to name a single business where audio isn’t an integral component of the overall experience—so it should never be treated as an afterthought. At the initial planning stage, business owners need to consider a wide range of possible applications as well as the appropriate SPL (sound pressure level), sound coverage, and quality, and introduce an easy-to-use control system that any employee can manage. The following are some tips to consider when planning, testing, and executing on pro audio deployments.

1. Test first. Just as we once knocked out hum over analog, the network has its own unique needs. 

2. Ensure that all analog interconnections in each area are clean and quiet. While there is no traditional hum associated with networked AV, checking analog components is still critical, or that noise will carry over the network along with the audio. 

3. Sample rates must be matched on all audio equipment on the network. Otherwise they will not be able to understand or reproduce the audio signal that is transmitted.

4. The minimum latency of the network protocol has to be taken into consideration when choosing a platform for networked AV. Likewise, considerations for potential segregated network traffic, remote access for system support, and possibly even network redundancy for mission-critical applications must be planned in advance with the IT department—especially when integrating the audio system with the building’s existing business IT infrastructure. One way to hammer this out effectively is to utilize a manufacturer that implements a technology that is dominating the space. For pro audio, that solution could be Audinate’s Dante platform.

5. Latency increases with each switch hub involved with the system. If the latency settings are not properly set to accommodate the delay in signal transportation created by the increasingly complicated network interconnection, audio will become sporadic and intermittent drop-outs will result. 

6. Not all network audio protocols will play nice on a network with other traffic. Some network protocols are proprietary and will not lend themselves to incorporating other manufacturers’ gear into the system. Some network protocols add so much inherent latency they are not suitable for live sound.

7. Plan ahead. What should you have in your toolkit on the day when things go wrong? And yes, you should always prepare for things to go wrong. This list will look a little different than your traditional box of tools, as the network is now in play. While it’s still a great idea to have batteries and backup microphones, there is now a demand for spare switches, routers, and Ethernet cables to make sure any form of network control is stable and can be expanded as needed.

8. Wireless and network audio don't generally mix. It isn’t for the faint of heart to set up and get working under the best conditions. Unless you have a lot of time available, honestly, you really shouldn’t try it. Wireless should be reserved for control only. 

9. A redundant network is recommended. If you want to be 100-percent network-proof, then redundancy is your friend. However, not all network audio protocols have the ability to detect an issue and automatically change over (although, the previously mentioned Dante does have this capability).

10. A network-scanning application is always a handy tool. Just like any network printer or computer device, if IP addresses are out of range or duplicated accidentally, audio will not flow. An app like Fing will scan the network and tell you the MAC ID and IP address of every piece of gear on the network—an incredibly valuable tool when things aren't working as expected.

11. Have a strong support system. Do you have someone on call, and do they have remote access to your system? It is helpful to work with manufacturers that maintain open lines of communication between their technical support, engineering, and IT departments. Such an entity may be a bit of a rarity in today’s world of call centers and outsourcing, but it should be what you seek out when your business is on the line.

For end users, the expectation should be to have the ability to call either the integrator or the manufacturer. Traditionally this has meant an integrator rolling a truck to provide support; however, the world has changed. Products now exist that allow for a remote connection to a system. A remote connection allows the support technician to view all the devices on the network and their settings, and make corrective changes in real time.

12. Keep things simple. What steps can you take to effectively troubleshoot a system? It's a good idea to plan a system around managed switches, but to begin with all features disabled. Choose a network switch that will easily accommodate or exceed the amount of data traffic required. A DHCP server that is active on the network may also be beneficial—meaning a router instead of a switch. But, in general, Link-Local will sort addresses out.

Everything should be set by default to automatic configuration (DHCP) to obtain IP addresses automatically. A single device with a static IP on a new network can create big problems. If no DHCP server is active on the network, it is best to bring one new item online at a time, let Link-Local sort things out effectively, and then bring the next piece of gear into the equation. 

When troubleshooting, use the same approach: take one item out of the chain at a time and see if that fixes the problem. In many ways, the advice given for standard troubleshooting applies here as well: keep your cool and don’t yank all the cables at once! Troubleshooting by dissection is always an effective tool. Simplify to the most direct possible equation and go from there. If need be, connect a computer directly to a device with a known good cable, then connect a computer to the device through switch, and move incrementally toward the more complex setup. 

Networked AV is an absolute game changer. It will enable better audio across more locations and, as a result, improve businesses across the board. Understanding how to support, operate, and deploy networked audio with effective service and support will be key as we all move forward into the new era of professional audio.

Jim Schwenzer is director of technical support and service for Ashly Audio.

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Download The Technology Manager's Guide to Networked Audio.

The decision to use Ethernet as a method of transporting audio is well established at this time. However, little discussion has been given to the way audio can impact the IT network. These effects will be our focus in this column. After voice, video was the first media type to be placed on the network. At first, getting it to be acceptable in the IT department took some time as it was not well understood. Large amounts of audio on the network may face the same challenge.

There are three broad categories of Ethernet audio: Dante, AVB, and the others. Dante is a licensed technology that uses the IP packet format, unicasting, and multicasting. Its proponents state that it follows well-established IP standards and doesn’t require special Layer 2 switches. These positions are true. However, from the perspective of the IT department, there are nevertheless some unanswered questions. What are the criteria for using VLANs in Dante networks? Using a VLAN to isolate the audio traffic is generally possible. But what requirements are needed in the routing structure to allow remote control or configuration? What should the guidelines be for the use of QOS relative to other time-sensitive traffic like voice, video surveillance, or manufacturing control? Also, if typical LAN monitoring tools such as those from Netscout, tcpdump, Solarwinds, or Wireshark are used, what information would be evident? Will a network support person get the same detail that they probably could get about an IPTV flow?

[Byte-Sized Lesson in AV/IP: Packet Structures]

AVB is a Layer 2 method of delivery. That is, the packet format must be that which is specified in the IEEE 802.3 standards. However, IP is optional. The composition of the data field is entirely up to the manufacturer who is following the AVB standard. AVB requires switches that implement the standard but not all Layer 2 switches do that. The same questions about VLANs and remote access can be posed about AVB. When the IT tools mentioned above are used, all that will be apparent is that there are many raw Ethernet frames on the network. No information about the audio will be apparent.

One of the confusing points in the discussion of AVB and Dante is about the issue of multicasting. Dante uses Layer 3 multicasting. It uses the 224.x.x.x address scheme and should require IGMP snooping in the switches if the flow is one source to many output devices. On the other hand, according to Daniel Reed at Biamp, AVB uses Layer 2 multicasting. This technology has been available in Ethernet since its inception, but it has only recently become popular. Often it is used in data centers. Here, it is referred to as a fabric network. One advantage to using Layer 2 multicasting is that in the event of a network link disruption, the recreation of correct paths (called reconvergence) is likely to be quicker than it is with Layer 3 multicasting.

The What: Audinate has announced the availability of Dante Virtual Soundcard for installation in virtual Windows environments using Type-1 hypervisors. 

The What Else: Dante Virtual Soundcard turns any computer into a Dante endpoint for networked audio. It provides a standard WDM or ASIO audio interface that allows any installed audio software to send and receive up to 64 channels of lossless audio over a standard 1Gbps network to any Dante-enabled AV endpoints, including other instances of Dante Virtual Soundcard. Dante Virtual Soundcard is well suited for computer-driven media playback, multi-channel recording and lecture capture, and is 100 percent compatible with the more than 2,000 Dante-enabled products available from multiple vendors.

[Dante Audio: A Brief History]

“Dante Virtual Soundcard is already the gold standard for professional recording and playback on thousands of networks around the world,” said Nick Mariette, senior product manager at Audinate. “We want to ensure using virtualized environments get the same reliable high performance that has made Dante Virtual Soundcard the workhorse of the audio industry.”

The Bottom Line: This update enables customers such as broadcasters, educators, and corporate users to deploy Dante networked audio throughout data centers, studios, server clusters, and campuses. Dante Virtual Soundcard interfaces directly with audio software running on virtual machines, allowing distribution of media playback, centralized recording, and more.

Dante Virtual Soundcard with support for installation on virtual machines is available from Audinate in multi-activation license editions only and may not be purchased from the Audinate web store. 

The What: Focusrite has released RedNet Control 2.4, a free software update that adds Dante Domain Manager (DDM) and AES67/AES70 compatibility, as well as an AES3 Kill Switch function, background mode, and other enhancements.

The What Else: RedNet Control 2.4 makes all Focusrite Red audio interfaces, plus RedNet devices with Audinate Brooklyn 2, Ultimo, and Ultimo X architecture, compatible with Dante Domain Manager. Specifically, RedNet Control 2.4 recognizes the four distinct levels of system access granted within DDM: Site Administrator, Domain Administrator, Operator, and Guest. As a result, users can be granted access only to the RedNet Control features necessary for their workflow. Those who just need to record audio from an existing subscription, for example, will not be able to make admin-level adjustments such as sample rate changes, or create new audio subscriptions.

[Focusrite Launches Third-Generation Scarlett Range]

Also new in RedNet Control 2.4 is AES3 Kill Switch control for RedNet D16 and RedNet D16R. Currently a RedNet D16R always sends information (a series of zeroes) on its AES3 outputs, making it impossible for downstream devices, such as amplifiers, to distinguish between “mute” and “fault” status. With the new Kill Switch feature, users can set channel pairs to automatically cut the AES3 transmission from the D16R in certain conditions, meaning that downstream devices can identify a failure and deal with it appropriately.

Another new feature in RedNet Control 2.4 is AES67 compatibility for RedNet X2P and RedNet AM2 Ultimo X interfaces. RedNet AM2 and RedNet X2P join RedNet and Red devices as AES67 compatible. This enables interoperability between Dante and different audio networking standards, including RAVENNA. The update also provides AES70 compatibility—the control and monitoring open standard for audio-over-IP devices—for RedNet interfaces.

With version 2.4, RedNet Control 2 can now identify and update specific devices that require a firmware upgrade, as opposed to upgrading all system devices en masse. Lastly, RedNet Control 2.4 can now run as a background application if needed, so MIDI control continues to function when the software window is closed. 

The Bottom Line: RedNet Control 2.4’s new functionality brings advantages to administrators of large networked audio systems, who can now assign the privilege structure of Dante Domain Manager to RedNet Control users.

RedNet Control 2.4 is available now for free download on Mac and PC via your Focusrite customer account if you have a registered Red or RedNet product.

The What: Audinate, Dante AV networking technology, has announced version 1.1 of Dante Domain Manager. This update to Dante Domain Manager brings key improvements and new features to users and integrators, including new flexible installation options, improved email alerts and notifications, support for SMPTE 2110 devices, and secure access to LDAP and SMTP servers.

The What Else: Version 1.1 is now delivered as a complete ISO package, making it easier for users to install and set up Dante Domain Manager to suit their needs and applications. The ISO package may be used in virtual environments such as VMWare ESXi, Oracle VirtualBox, and Microsoft Hyper-V, or it may be installed directly onto a “bare metal” server with no additional software required.

Broadcasters can now combine SMPTE 2110 and Dante devices for seamless workflows, bringing Dante’s “one-click” ease of connectivity to radio and TV studios with secure, user-authenticated access. New GPS clock synchronization enables Dante connectivity between facilities over long distances, allowing broadcasters, educators, and IT managers to distribute real-time media at distance and scale.

[Dante Audio: A Brief History]

Improvements to email notifications and alerts mean that integrators and managers can stay on top of changes to their systems from wherever they are, addressing issues before effects are felt. Support for LDAPS and SMTPS brings greater security and confidence to network managers by encrypting communication to those servers.

"We are excited to introduce new features in Dante Domain Manager in response to customer feedback," said Neil Philips, senior product manager at Audinate. "The introduction of SMPTE 2110, GPS synchronization, LDAPS and SMTPS support, and improved email alerts make Dante Domain Manager an invaluable tool for administrators across multiple markets, enabling them to efficiently manage large-scale Dante systems."

The Bottom Line: Dante Domain Manager is a software that gives integrators, AV specialists and IT managers the ability to better manage Dante AV networks by creating groupings of Dante devices called “domains,” which are zones of products. It enables administrators to secure their systems with user-level authentication by domain and to scale their installations by supporting Dante audio across routed IP networks with multiple subnets. Administrators looking to route audio between studios, buildings, or even across entire campuses may now do so regardless of network topology.

Dante Domain Manager 1.1 is available for immediate download for new customers and existing customers with active support agreements.

Dante firmware 4.2 is required to enable SMPTE 2110 and GPS functionality in Dante Domain Manager 1.1. The latest firmware is now available to Audinate manufacturing partners for Brooklyn-II, with releases for Broadway and Dante HC modules soon to follow.

More than a century old, St. Thomas High School enjoys a gorgeous campus on prime Houston real estate. The Catholic institution's current building dates to 2002 and includes a gymnasium with a surprising history: The gym originally was an aircraft hanger for B-29 bombers, located 110 miles north of campus, until it was donated by an alumnus, moved to St. Thomas, and reassembled.

The gym's sound system has been through changes over the years, too, culminating in a new Dante-enabled system designed and installed by Houston multimedia systems-integration firm Touch Thirty Three. The current system features two Renkus-Heinz loudspeaker clusters managed by a Symetrix Prism 16x16 DSP. 

"This installation started out very piecemeal," said Touch Thirty Three owner and principal design consultant Bruce Coffman. "They had a terrible-sounding system in here and asked us to see if we could do something to improve it. The first thing we did was to install a new AMX control system, which dramatically improved how they were able to use the old sound system. Once we made it easier to use, they recognized the limitations of the system's sound quality."

As a result, about three years later, St. Thomas asked Touch Thirty Three for a more extensive upgrade to the gymnasium sound system. Because it's the largest indoor gathering space on campus, the room periodically doubles as a sanctuary for masses, hosting up to 1,200 worshippers. "For mass, they put carpet over the entire floor, they bring in folding chairs, and they have a stage that goes at the far end of the room," Coffman said. "It's completely different than when the room is used for sports. Because of the room's dual use, we couldn't put in a typical sound cluster over center court, so we put a big Renkus-Heinz T15-series Reference Point Array cluster at one end of the room." 

To feed the array, Touch Thirty Three installed a Dante network centered on the Symetrix Prism 16x16 DSP. The Prism is equipped with a Symetrix xIn 12 12-channel analog input expander, which accommodates the school's existing 12-channel audio snake. With this rig, Coffman said, "If they want to have a choir or a musical ensemble, they've already got the wiring, and it all shows up on faders on the AMX control system."

The Renkus-Heinz T15-series array consists of four self-powered full-range point-source loudspeakers, each with a 15-inch woofer and a Complex Conic horn. "The cluster acts like one big speaker," Coffman said. "You can walk the floor, and you don't hear any seams between coverage." Coffman also specified two Renkus-Heinz two-way, 8-inch down fills to cover the "money seats" at the edge of the main pattern from the main cluster.

The single array, managed by the Symetrix Prism 16x16, sounded great and delivered good coverage but challenges remained. During basketball and volleyball games, it seemed odd to have the sound coming from the far end of the room. And during mass, when less-experienced users turned the system up to reach the back of the room, they encountered feedback problems with wireless lavalier mics and the PZM mic atop the altar. So recently, when the school was doing a major renovation, Touch Thirty-Three addressed the directionality and feedback issues by installing a second, identical Renkus-Heinz T15-series array over center court. The central array operates as the main system for sports events and serves as a delay fill for the center and back of the room during mass, enabling the front cluster to operate at a lower volume and averting feedback.

Adding the second array and unifying the system went smoothly, thanks in large part to the Symetrix Prism and SymNet Designer software. "The great part about Symetrix equipment, along with the AMX controller, is that we were able to give the school anything they wanted," Coffman said. "All we had to do to expand the system was reprogram the Prism, and Symetrix' phenomenal support staff helped us do some of that reprogramming work. SymNet lets us tailor how the components operate together to turn it into a single, seamless system."

Coffman especially likes the combination of Symetrix and Renkus-Heinz products. "Symetrix processors and Renkus-Heinz speakers are a great match for each other," he said. "The Renkus-Heinz clusters sounded great just the way they came from the factory, so I could use SymNet to tweak the system's functionality, rather than its sound quality. The Symetrix Prism processor determines how the components work together, depending on how the room is set up and the purpose for which it's being used."

The system is also designed to be easy to operate for the end user. "Symetrix allows me as a system designer to do some pretty amazing stuff in the background to make the system simpler for a user," Coffman said. "Whatever the school wants to do, whether for sports or mass, the Symetrix processor, Renkus-Heinz loudspeakers, and AMX controller allow them to do it seamlessly, and someone with a minimal amount of experience can get very consistent, good sound. This works very well for St. Thomas High School."

The What: Audinate has released the Dante Controller 4.2.3 with Dante Updater.

The What Else: Dante Updater is a new feature designed to make it easier to update firmware in Dante devices. Firmware files are hosted by Audinate so they are always up to date. Dante Updater allows product manufacturers to more easily bring critical updates to customers by making them available directly in Dante Controller with one-click installation.

[Audinate Teams With NXP on Dante Design Kit for i.MX 8M Mini]

The Bottom Line: Dante Updater automatically discovers and associates updates with connected devices in a clear, unambiguous interface. It allows users to take advantage of new Dante features and capabilities without hunting for product-specific installers and enables the deployment of updates to an entire system at once.

Dante Controller with Dante Updater is free for all users and is available now.

The What: Extron has announced the immediate availability of the DMP 128 FlexPlus series of compact Dante Digital Matrix Processors, featuring 12 FlexInput channels with full DSP, including AEC, and Dante connectivity, in only a half rack space. 

The What Else: With an extensive mix matrix, a USB audio interface, and analog compatibility, the DMP 128 FlexPlus provides the ability to connect and route multiple types of source signals to accommodate diverse analog and digital system requirements. For collaboration applications, the V model includes up to eight VoIP lines. Featuring an ACP bus for audio control panels, an expansion port for bidirectional digital audio connection with a DTP CrossPoint or another DMP, eight audio file players, and configurable macros, the DMP 128 FlexPlus can be used anywhere from a collaboration space to a large conference room.

"System designers want more from DSP processors that can route signals to and from Dante devices," said Casey Hall, vice president of sales and marketing at Extron. "The DMP 128 FlexPlus addresses these needs with full-rack features, including AEC and Dante, in a half rack space."

All 12 main DSP channels of the DMP 128 FlexPlus offer FlexInput source selection to route any Dante input, expansion input, or one of the four mic/line inputs, to a main DSP channel. This enables the DMP 128 FlexPlus to process audio from any source with the full range of DSP capabilities, including AEC.

The Bottom Line: The Dante-enabled DMP 128 FlexPlus series is well suited for applications that utilize Dante ceiling microphone arrays and other Dante‑enabled devices. With network connectivity for up to 48 Dante sources and 24 Dante destinations, the DMP 128 FlexPlus, featuring a built‑in two‑port gigabit switch, enables the creation of simplified, cost effective audio systems.

At the recent Intel Extreme Masters Championship (IEM) 2019 in Katowice, Poland, a variety of RedNet Dante-networked audio converters and interfaces from Focusrite were employed to provide connectivity solutions across multiple stages over the festival’s two and a half weeks. The IEM Championship represents the world championship for e-sports games, and this year’s competitors vied for top honors in Starcraft 2 and Counter Strike: Global Offensive, among other titles. Much of this competition was live-streamed, and RedNet interfaces provided a key solution in keeping the audio content properly networked.

“An event of this scale requires the use of reliable, scalable, easy-to-use audio solutions,” said Domninik Samborski, brand manager and marketing specialist for Audiotech, the Poland-based firm that provided AV solutions for the festival. “For a few years now, Dante has become the leading standard in audio-over-IP. The benefits that come with the use of Dante technology are the lack of degradation of audio signal and avoiding artifacts like ground loops, because it is a digital signal, and global management of the system clock. Focusrite was one of the first companies to implement Dante technology in their audio converters. Focusrite RedNet can be a bridge between analog and digital audio formats, thanks to their interfaces for AES / EBU to Dante, MADI to Dante, Pro Tools HD to Dante, or analog to Dante. The wide range of input and output formats supported by the RedNet system makes it the most versatile Audio-over-IP system on the market.”

Sound engineer Marcin Kondziela of the firm 120dB Sound Engineering, who served as the on-site tech for the festival, remarked, “At IEM 2019, we are using Focusrite RedNet devices at approximately 15 points, which gives us a total of about 200 connections in the entire network. Everything comes back down to one OB truck and is manageable on the network. Thanks to that, we gain the flexibility of having multiple connections accessible, with functionality and scalability across the entire system.”  

Fellow sound engineer Michal Mika, also from 120dB Sound Engineering, added, “Focusrite RedNet converters are used to take the signal from microphones in a given location and return the signals back to the host or the reporter. We also use RedNet to collect signals from the commentators' desks or studios with pre-match or post-match analysis. We also provide signals back to the commentators so that they can hear each other and that they can be in contact with production staff. Some of the converters are used in control rooms to send and receive signals to communication systems. We use Riedel communication systems, and we are connecting to this system through RedNet converters via analog.”

Mika added that 120dB has been employing RedNet devices in a variety of different applications. “We’ve used Focusrite RedNet not only for television and e-sports, but also to fulfill the needs of a large stadium event where we had to send signal to the roof of a stadium. We also use some of them in recording studios, and they are also great interfaces for post-production studios. We have been using Focusrite RedNet converters for 3-4 years. We chose these devices because they are easy to use—they are very reliable and they have never let us down. They are very durable and travel with us all over the world. A few days ago, the entire system returned from Montreal, Canada, by air. A few months ago, the whole system was with us in Rio, Brazil, and now it's in Katowice and as you can see, it's doing great!”

Audinate will demonstrate how networked audio can revolutionize conferencing and collaboration at Enterprise Connect 2019. The inaugural Dante AV Networking Pavilion will showcase how Dante-enabled products from Bose, Sennheiser, and SoundTube can transform enterprise conferencing and collaboration. In addition, Zoom Video Conferencing will be demonstrating how Dante networking can bring increased flexibility and audio quality to conference spaces with a Dante-enabled Zoom Room demonstration in their booth.

Unified communications and enterprise collaboration have magnified the importance of improved audio quality and manageability. Audinate’s Dante networking distribution technology is designed to make AV for conference rooms simple by running over existing network infrastructure, replacing bespoke analog cabling and USB with straightforward IP networking. Multiple channels of high-quality, uncompressed audio can be routed anywhere with the click of a mouse using software, rather than installing traditional analog or USB cables throughout a building. 

Dante is the most widely deployed AV-over-IP platform for the professional audio industry with over 1,750 products from more than 430 manufacturers, making it easy to select gear for any conference space or application. It is a completely standards-based networking solution that includes a complete set of tools for AV routing, security, diagnostics, and more. 

In the Dante AV Networking Pavilion, Bose will be showing the new Dante-integrated PowerShare amps and expanded ControlSpace EX line of DSPs. Sennheiser will demonstrate the new Dante-enabled TeamConnect 2 beam forming ceiling microphone, and SoundTube will display their revised lineup of Dante-enabled PoE powered loudspeaker systems with ceiling, pendant, and wall-mounted variations to suit any space. Audinate will be highlighting Dante Domain Manager and the Dante AVIO series of adapters. Visitors may also attend education sessions about Dante AV-over-IP, while experts from Audinate will be on hand to answer questions.

In addition, the sponsors will be holding daily drawings in the booth for a variety of free products, including Sennheiser Momentum Free Headphones, Bose Frames Audio Sunglasses, MSE Audio Phase Tech Outdoor Speakers, and Dante AVIO USB adapters.  

“This is a great opportunity for people to learn about the benefits of AV-over-IP,” said Joshua Rush, SVP of marketing at Audinate. “Unified communications and conferencing are rapidly becoming the province of IT departments, and the huge ecosystem of Dante-enabled products gives IT managers enormous flexibility to assemble AV systems with guaranteed interoperability and seamless integration with their networks.”

The Dante AV Networking Pavilion is located at booth 535. Visitors can also see Dante being used for Zoom Rooms in the Zoom Video Communications in booth 213 at Enterprise Connect at the Gaylord Palms in Orlando, FL March 18–20.

The What: Bose Professional is now shipping the two newest models in its line of PowerShare adaptable power amplifiers: the PS604D (600 watts divisible into four channels) and PS404D (400 watts divisible into four channels) featuring Dante networking capability. 

The What Else: With the initial introduction of PowerShare adaptable power amplifiers in 2016, Bose Professional armed installers with a powerful new advantage: the freedom to put amplifier power where it’s needed and waste less of an amplifier’s drive potential where it’s not. “The notion of a multi-channel amplifier that breaks free from the fixed-power-per-channel architecture has been well received,” said Bose amplifier product line manager Ashraf Elghamrawi. “Integrators told us that ‘power-sharing’ makes their projects more responsive, and they asked for digital input options for even more flexibility.”

The Bottom Line: Both new amplifiers support four audio input channels from a Dante network, have the ability to mix onboard analog inputs with digital Dante inputs, and give installers the freedom to place the amplifier away from the source location.

The What: QSC has introduced the CX-Q Series of four- and eight-channel amplifiers that offer drag-and-drop integration with Q-SYS. 

The What Else: CX-Q Series amplifiers are capable of delivering customized power output loading and a total maximum power of up to 8,000W. Low impedance, 70V or 100V direct drive are available on all channels. They feature fifth-generation high-efficiency, Class-D hybrid powertrain design built upon the PL380 PowerLight amplifier platform, offering both high voltage and high current operation with excellent audio quality and thermal performance. Built-in energy saving modes help ensure that CX-Q Series amplifiers draw the minimum amount of AC power while still providing high performance.

Two QSC technology innovations (FlexAmp and FAST Technology) are combined to allow for asymmetric output channel loading and support a wide variety of load options, making for a more versatile amplifier platform and eliminating the need for multiple specialty amplifiers. 

The Bottom Line: CX-Q Series network amplifiers combine advancements in high-efficiency output devices, and native network transport, control, and monitoring capabilities of the Q-SYS Ecosystem.

The What: Clear-Com’s V-Series Iris Panels, which provide Eclipse HX users with low latency audio over IP (AoIP) using AES67, are now shipping.

The What Else: The V-Series Iris panel can monitor and send communications over three concurrent AES67-compliant uncompressed audio IP streams, enabling systems to deliver high-quality, uncompressed audio from intercom user to user with significantly reduced latency. When connected to Clear-Com’s new high-density E-IPA card, which is natively AES67 compliant, users can deploy up to 64 Iris panels per card. The Iris panel also offers fully user-configurable color OLED displays, providing the user label, tally, and port information. EHX Supervisor Mode real time control allows label updates and monitoring on the fly.

In addition, production teams can take advantage of the flexibility offered by combining V-Series Iris panels and multiple E-IPA cards: for example, a large sporting event might use a single frame with many wireless/panel connections on the same intercom network to cover an entire stadium, or megachurches may create multi-region intercom networks via LAN, WAN, or the internet to help broadcast services to churches around the world.

“As the adoption of IT-centric communication continues, Clear-Com’s extensive IP intercom range ensures that the widest range of communication requirements can be met,” said Stephen Sandford, senior product manager, Clear-Com. “The addition of the V-Series Iris panel makes the Eclipse HX lineup even more accommodating and flexible for customers’ varying needs.”

The V-series Iris panel is optimized for use with EHX 11.0 software to fully implement its AES67 connectivity, real-time control, and color tallies; it also has I.V. Core IP and four-wire connections for backward compatibility with Eclipse frames running EHX 10.0 or earlier. 

The Bottom Line: The V-Series Iris panel is well suited for productions that have fully converted to IP-based communications for distribution of video and audio. Live production teams will also benefit from the full-color OLED displays, allowing teams to quickly view and process channel information simply by the colors displayed, keeping their focus on the performance.

The What: Crestron debuted its newest additions to the DigitalMedia product family at ISE 2019 in Hall-2, Stand C20. The new products include a DM NVX encoder and decoder with POE+ support, and DM NVX encoders/decoders with Dante audio networking. 

The What Else: The DM-NVX-E30(C) and DM-NVX-D30(C) are encode or decode-only units that support HDMI connectivity and analog audio. Compatible with all other DM NVX products, they deliver flexibility for basic endpoints when only video and audio are needed. The DM-NVX-E30(C) deliver: high-quality video with exclusive new Pixel Perfect Processing; support for the highest quality formats (4K60, 4:4:4, HDR); PoE+ support; a fan that can be switched off when not in use (ideal for bedrooms); and use of standard switches and Cat-5e cabling.

With the new DM-NVX-352(C), the DM NVX product line now bridges the digital audio and video worlds. The DM-NVX-352(C) offer the same feature set as the DM-NVX-350(C), while eliminating the need for complex third-party analog audio devices that receive or transmit AES-67 or Dante audio. The DM-NVX-352(C) connect to analog audio input/output ports on DigitalMedia devices.  

Now supporting 4KZ (4K60 4:4:4 HDR), the new DM-RMC-4KZ-SCALER-C provides a one-box interface solution for a single display as part of a complete DM system. It functions as a DM receiver, 4K60 video scaler, and control interface, providing a single HDMI output, an analog audio output, plus Ethernet, RS-232, IR, and relay control ports. With a compact, low-profile design it can be installed discreetly behind a display.

The Bottom Line: Crestron’s new DM NVX encoder and decoder with POE+ support, and DM NVX encoder/decoders with Dante audio networking are designed to provide integrators and end users with additional system design flexibility and functionality.