Tag Archives: audio

Audinate Releases Dante Firmware Update

Audinate has released a major update of Dante firmware, version 4.0, for Brooklyn II Dante modules.

The new firmware provides support for Dante Domain Manager (DDM), performance improvements and bug fixes, the company said.

The firmware release allows manufacturers to provide field upgrades for products they have already launched so they can fully participate in Dante Domains.

More information is available on the Audinate website.

The Fox Sports Super Bowl Tech Setup

Fox Sports’ technical roster for production of Super Bowl LI is extensive. To support more than 20 hours of programming a day on multiple networks leading up to game coverage, Fox Sports has deployed:

  • Three production trucks
  • 36 HD cameras, including three wireless, two jibs and three robotic cameras
  • Extensive audio, include 36 wireless mics and 48 wireless intercom packs
  • 41 HD monitors
  • Miles of cable
  • 14 miles of tactical fiber
  • 986 strands of single mode fiber

The NRG Stadium and compound setup, includes:

70 Cameras, including:

  • Seven augmented reality cameras, including Skycam
  • Two high-speed 4K cameras
  • Four normal-speed 4K cameras
  • Four 3X Super Motion cameras
  • Two 6X Super Motion cameras
  • Three 8X cameras
  • 24 pylon cameras (eight pylons with three cameras, each)
  • One 8K camera

Audio:

  • More than 91 microphones
  • Mics on every camera, including Skycam
  • Three audio mixing boards
  • 5.1 Surround Sound

Other:

  • Real-time 3D graphics on or over the field using Skycam and Vizrt
  • 13 mobile units
  • 15 temporary structures
  • 180,000 feet of cable
  • 3 megawatts of power generation

Telos Alliance, QSC Audio To Teach AES67 Seminar

Representatives from The Telos Alliance and QSC Audio will present an Infocomm University seminar at Infocomm 2016 in Las Vegas on AES67 and network interoperability, the company announced today.

The class, entitled “AES67: Achieving Interoperability Between Audio Networks” will be held Friday, June 10, 9-10 a.m. at the Las Vegas Convention Center. The class offers attendees one CTS credit.

Marty Sacks, The Telos Alliance VP of sales, support and marketing, and Rich Zwiebel, VP of systems strategy for QSC Audio will conduct the class.

AES67 is an open standard that provides a means of exchanging audio between equipment from multiple manufacturers that are AES67-compliant using standard IP-based Ethernet network technology.

ATSC Tech Group Elevates A/342 To Candidate Standard Status

ATSC 3.0The ATSC TG3 Technology Group voted May 2 to elevate the A/342 audio standard — both AC-4 and MPEG-H AA audio — to ATSC 3.0 Candidate Standard status, an ATSC spokesman confirmed today.

In February an informal acknowledgement that both Dolby’s AC-4 and MPEG-H would be approved for ATSC 3.0 and that individual countries or regions would be allowed to select which to use was made during a presentation at the HPA Retreat.

At the 2016 NAB Show last month, Fraunhofer, one of the leading proponents of MPEG-H immersive and personalized audio, confirmed that AC-4 would be used in the United States and MPEG-H would be on-air as part of South Korea’s implementation of ATSC 3.0.

The Advanced Television Systems Committee also said TG3 members are in the process of voting to elevate the A/322 Physical Layer to Candidate Standard status. The ballot closes May 6.

The A/321 Bootstrap system discovery and signaling part of the physical layer already was approved by the ATSC member as a final standard on March 23.

Verance Accelerates Timetable For ATSC 3.0 Interactivity

TV broadcasters will be able to deploy many attractive ATSC 3.0 services like interactivity and targeted advertising long before the entire next-generation television standard receives final approval from the Advanced Television Systems Committee and FCC authorization thanks to the efforts of San Diego-based watermarking specialist Verance.

The company next week at the 2016 NAB Show in Las Vegas will demonstrate how television broadcasters can use its open watermarking technology, designed for ATSC 3.0 implementation, with today’s ATSC 1 (A/53) service to open up a world of new possibilities.

A field upgrade of the Linear Acoustic AERO audio processor is all that's needed to begin delivering ATSC 3.0 features like personalization in an ATSC 1 signal.

A field upgrade of the Linear Acoustic Aero audio processor to support Verance open watermark embedding is all that’s needed to begin delivering ATSC 3.0 features like personalization in an ATSC 1 signal.

“While the broadcast industry waits for ATSC 3.0 to come out, we have a way to deliver some of the benefits of 3.0 in the 1.0 framework,” says Verance CEO Nil Shah.

That method relies on inserting open watermark signaling into an ATSC 1 transmission to deliver to the smart TVs already in viewers’ homes instructions to activate the broadband capabilities of ATSC 3, says Verance EVP and CTO Joe Winograd.

In essence, the watermark triggers an HTML5 run-time environment on TVs.

“All that is needed is a TV to receive the watermark signal and a broadband connection to contact the broadcaster’s servers to receive instructions as to what enhancements are available,” says Winograd. Watermark triggering is available for TV signals delivered over the air, over the top, via cable and from direct to home satellite providers, he adds.

Verance has partnered with Linear Acoustic to make it simple for broadcasters to embed the watermark signaling that’s needed. All that’s required is a field upgrade of the Linear Acoustic Aero audio processor to insert the watermark, making it possible for TV broadcasters to begin delivering advanced ATSC 3.0 services years before they would otherwise become available to the public.

“What we found is there are enough pieces that have been published and are openly specified that you can actually build working systems today,” says Winograd. “In fact, they are systems that can be fielded today that are not reliant on FCC approval of the RF transmission that will constitute ATSC 3.0 broadcasts.”

The open watermarking brings several ATSC 3.0 services to today’s TV broadcast ecosystem, including: personalization capabilities that, among other things, will allow viewers to select dialog in languages not transmitted as part of the program stream; advanced advertising to target individual households; and interactivity to provide access to information to supplement the TV presentation or give viewers real-time feedback to broadcasters via polling.

A Verance press release issued today quotes Pearl TV Executive Director Anne Schelle on the importance of the opportunities watermarking creates: “Open watermarking standards power content discovery, advanced advertising and audience data opportunities across distribution paths. It is a central enabler with the potential to allow local broadcasters to realize substantially increased revenue in the years following broad deployment.”

Verance’s new watermarking technology has been field tested by television stations and shown to work, adds Shah

The company will show its open watermarking in action in the NAB Show’s ATSC Pavilion in the south upper hall of the Las Vegas Convention Center (SU15811.)

More information is available on the Verance website.

AES67: Are Two Ships Passing In The Night?

“Ships that pass in the night, and speak each other in passing,
Only a signal shown and a distant voice in the darkness…”
— Henry Wadsworth Longfellow, Tales of a Wayside Inn

A funny thing happened on the way to IP audio interoperability. The Audio Engineering Society committee that developed the AES67 standard for IP audio couldn’t agree on a discovery mechanism, so it included four optional methods, says Aidan Williams, CTO of Audinate, developer of the Dante networking tech used by more than 200 OEMs in products for the professional audio and broadcast markets.

Just to review, AES67 is supposed to provide a way for audio equipment with an IP connection from one manufacturer to hook up to a piece of IP-enabled audio gear from another and communicate.

At a very basic level, before that sort of IP communications can happen, each device needs to know what it’s connected to — a process known as system discovery.

In a pure sense, AES67 provides for interoperability because all a user or vendor has to know is which system discovery options manufacturers have chosen, write some custom code to translate between the different discovery options in use and voila, the devices can communicate.

Read On

Lukas Hurwitz Joins Wheatstone

Lukas Hurwitz.

Lukas Hurwitz.

Wheatstone has appointed Lukas Hurwitz as its newest sales engineer.

Hurwitz will work out of the company’s San Francisco Bay Area office and will be responsible for Wheatstone’s line of digital signal processors, consoles and audio network systems .

To learn more, visit the Wheatstone website.

New Pro Skype Platforms Integrate Dante Audio

Yesterday, I wrote about NewTek shipping TalkShow — a professional implementation of Skype video calling that allows broadcasters to integrate those calls into their programs without suffering through the drawbacks that can accompany the consumer version of Skype.

Today, the focus shifts to the audio capabilities of the newly shipping product.

Audinate, the company that developed Dante media networking, announced last week that TalkShow is using Dante Virtual Soundcard software for routing digital audio from Skype to other Dante-enabled pieces in the production chain.

According to the company’s press release announcing the bundle, NewTek will pre-install the Dante Virtual Soundcard software on every TalkShow.

As I mentioned in yesterday’s blog post on TalkShow, there are two other products — one from Quicklink and the other from Riedel — that tackle Skype video for professional use as well.

Audinate also has announced a deal with Quicklink to integrate Dante IP audio into its product.

Tech Companies Submit Three Proposals for Next-Gen TV Sound

Two separate companies and a group of three companies working together have submitted competing proposals for the audio subsystem of the next-gen ATSC 3.0 television standard, said Mark Richer, president of the Advanced Television Systems CommitteeTec, during a telephone interview today from ATSC headquarters in Washington.

ATSC 3.0The proposals — submitted in the form of something ATSC calls “registration documents” — came from Dolby Laboratories, DTS and the trio of Qualcomm, Fraunhofer and Technicolor. The proposals were due today, Richer added.

When ATSC issued its call for audio proposals in December 2014, it specified the audio subsystem should give viewers the ability to personalize their audio experience by doing things such as enhancing the dialog portion of the sound, making it possible to select different audio tracks and assistive audio services and having access to other advanced features.

It also called for the proposals to offer a more immersive audio experience for TV viewers in the home as well as those using mobile devices to watch television.

ATSC is on track to release an ATSC 3.0 candidate standard in the first half of 2015, Richer said.

ATSC 3.0 is being written in multiple parts — largely based on the layers of the system. As a result some parts are expected out before others. The first to emerge is likely to be the candidate standard for the physical layer of ATSC 3.0, he said.