Canford Source Material Mag - Issue 4 (2019)

canford.co.uk 100V vs Low Impedance - what you need to know

FOURTH EDITION

A Canford Production

New BSI Standard revision puts AV expertise front and centre Adlib turn to Canford for custom metal work One of the UK’s longest established technical production companies which serves the event industry around the world

NEW IP ADDRESSABLE MDU

LINKING WIRELESS TO ANALOGUE 2-WIRE COMMS

LSI PROJECTS AT THE ROYAL OPERA HOUSE

NEW CANFORD 12G 4K microMUSA

CANFORD EXCLUSIVE

NEW

CANFORD 12G 4K microMUSA Smaller, lighter with 12G performance • Reduced weight and space saving 1U design • 32-way and unique high-density 48-way configurations • Performance exceeds SMPTE ST 2082-1 • S uitable for composite and component video, 270 Mb/s SDI, uncompressed 1080i or 1080p HD-SDI video and 4K UHD (2160P60) video up to 12GHz • A Canford original concept, available exclusively from Canford

FOR MORE INFORMATION CONTACT OUR SALES TEAM UK sales t: +44 (0)191 4181122 e: sales@canford.co.uk Int sales t: +44 (0)191 4181133 e: international@canford.co.uk www.canford.co.uk

WHAT’S INSIDE 4 Welcome 4 5

IEC Lock EW Canford 12G 4K N microMUSA Canford are introducing the all new 12G 4K “microMUSA” range of patch panels, U-links and patchcords.

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ubblebee Turns to B Communications with The Sidekick In-Ear Monitors Broadcast and film sound manufacturer Bubblebee Industries has launched a range of in-ear comms earpieces called The Sidekick In-Ear Monitors, and they’re tiny!

22-23 100V vs Low Impedance what you need to know No matter how big or small, whenever you are designing a public address, background music, zoning, paging or live performance audio system, you will need to make some decisions relating to the type of amplification, loudspeakers and therefore wiring convention to use.

24-25 Cloud’s new Powerhouse range of Amplifiers Cloud’s

12-13 Out with the old, in with the new Sonifex have updated their existing commentator units by announcing new Dante® AoIP versions.

Let’s take a look at them...

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anford reduces its carbon C footprint This year’s mailing has been packaged within a biodegradable wrap instead of polyurethane, and we’ve used Carbon Balanced Paper.

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anford expands fibre C capabilities to include Fibreco HMA Terminations Due to continued growth within our fibre termination unit we have just doubled the size of our termination facility, and are now in the process of adding more staff.

16-17 LSI Projects at The Royal Opera House LSI Projects have had an account with Canford since at least 2000, and in that time, they have supplied LSI with no end of cable, MDUs, 19” racks, patchbays and other audio and installation items.

18-19 Category: Ethernet The merging of the AV and IT world is observably becoming more standardised across multiple industries.

specialist ELC Lighting has launched the DLN8GBXSL...

44-45 Linking Wireless to Analogue 2-Wire Comms A large number of venues and rental companies use Tecpro, Clear-Com, RTS-TW and similar analogue partyline (sometimes referred to as 2-wire) intercom systems. Many users find that two channels of intercom provide them with all the facilities they need and the only thing they would like to add is a small number of wireless beltpacks...

26-27 Reverb Twentyfour Provides Virtual Acoustic for LSO Currently the landscape of audio production and reproduction is changing since 3D audio is starting to become common place...

he prefers Panamic Boom’s.

Large, bulky wireless bodypack transmitters have long posed a problem for performers in live theatre and the television and film studio where the transmitter needs to be comfortable, easy to conceal and reliable.

42-43 ELC Lighting Introduces a New Concept in Signal Distribution DMX control

new CV digital amplifiers are versatile multi-channel power amplifiers of advanced design, able to drive 100 V line or 70 V line loudspeaker systems directly.

8-9 Panamic Liam Cotter explains why 10-11 Shure ADX1M. Designing Wireless That Wears Well

pro audio and video products to the broadcast, AV, theatre and education markets it has in recent years also begun to develop an increasingly strong reputation as a supplier of choice for the booming live touring industry.

transmission of 4K signals.

OAX’s 12G connector C range continues to grow COAX Connectors Ltd is a leading UK designer and manufacturer of connectors, known for the performance and reliability of its connectors.

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20-21 Fit for 4K Draka coaxial cable for

28-30 Who’s Listening? Noise can be detrimental to our overall wellbeing and of course our hearing. Throughout the course of a day we can unwittingly expose ourselves to noise levels that are harmful to our hearing.

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47-49 Medialease: financing the post-production and broadcast markets With the huge costs involved in equipping a new business with the latest editing, production and grading equipment, companies often plan financial solutions to spread the load, rather than compromise on technical requirements.

31 Level-limited headphones and headsets 31

Audio-Technica New M60x

32-34 New BSI Standard revision puts AV expertise front and centre Andrew Thomas, Marketing Development Director at Contacta Systems looks at what these changes mean for AV installers and customers.

49

Hvidovre, just outside of Copenhagen, leading Danish systems integration company Enstall provides AV installation and infrastructure services for auditoriums, conference centres, theatres and concert halls.

36 Sony DWX Gen3 Digital wireless System dlib turn to Canford for A custom metal work Adlib are one of the UK’s longest established technical production companies which serves the event industry around the world.

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51

the utmost importance that your gear can withstand everything, no matter the weather or how bumpy the ride.

40-41 Canford on Tour Although Canford is better known as a manufacturer and distributor of quality

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

eutrik:True outdoor N Protection & Innovative Solutions

52-53 Core by DPA DPA Microphones have always been at the forefront of the audio industry where sound quality has been concerned...

KitPlus Show

39 Travel Confidently With Your SKB Case For SKB, it is of

Canford cable

50 Leading system integrator deploys Canford connection solutions at £236m BLOX Project From its headquarters in

35 New IP Addressable Mains Power Distribution

37

reen-GO Digital Intercom G over Ethernet

54 Top Tips from Tech Support 55

DL: A treasure chest of R clever black boxes for ProAudio & AV Installers

56

Custom metalwork

56

C Electronic: System T 6000mkII Source Material by Canford | 3

WELCOME

By Stephen Gallagher, Canford Marketing Manager

Hello and welcome to the fourth annual edition of Source Material.

I’ve been thinking a lot about how I might introduce this year’s magazine. Earlier in my career I was taught the Canford house style of writing catalogue entries. Great pride is taken in our authoring standard, and descriptions must always be constructed in hierarchical order with the most important product information presented first.

With that in mind, I’ll start this introduction with a BIG thank you to all of our customers for continuing to choose Canford.

We simply wouldn’t be here without your support, and on behalf of the entire Canford team I’d like to extend our thanks!

It has been an interesting year. We’ve continued to see change in the broadcast market as it evolves and embraces new workflows to incorporate modern network connectivity, 12G 4K infrastructure and develops an increasing appetite for smaller and lighter hardware.

4 | Source Material by Canford

Our Fibre Termination service has continued to exceed our expectations too, and is being expanded yet again to include more physical space and additional team members. We’re extending our offering from Neutrik opticalCON and LEMO SMPTE to include Fibreco Expanded Beam (HMA) connectors.

Likewise, the explosion in the Touring market shows no signs of slowing either as artists increasingly turn to live performance to generate revenues. Canford’s knowledge and experience in this field is leading to ever more opportunities to work collaboratively with technical production companies and AV system integrators to develop and manufacture solutions.

The work never stops to improve our knowledge, products and relationship with all of our customers.

No matter in which part of the industry you work, I hope you find Source Material useful and informative.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

“ SMALLER,

LIGHTER

with 12G performance

NEW CANFORD 12G 4K microMUSA

By Iain Elliott, CEO and company founder

Canford are introducing the all new 12G 4K “microMUSA” range of patch panels, U-links and patchcords.

This wholly new micro video patching connector has been designed by Coax Connectors Ltd for Canford, with panels manufactured by Canford at our Portland, Dorset facility.

U-links have a cast metal body with finger grips, with a colour coding insert, again like the full size MUSA. Patchcords are available in a range of colours. A detent feature in the connectors ensures correct mating.

This new range will be particularly useful in OB trucks due to the reduced weight and space saving, whilst offering full 12G performance.

Exclusively available from Canford, the new microMUSA is based on the proven 3G MUSA that Canford has been manufacturing for nearly 20 years, but smaller, lighter and with 12G performance. microMUSA patch panels are available in 2x32 and uniquely, 2x48-way 1U configuration which offers the highest patching density. Both formats use the same U-links and patchcords.

The 32-way has standard BNC connectors at the rear, the 48-way has micro BNC connectors.

Performance exceeds the requirements of SMPTE ST 20821 making them suitable for composite and component video, 270 Mb/s SDI, uncompressed 1080i or 1080p HD-SDI video and 4K UHD (2160P60) video up to 12GHz. The jacks are mounted in vibration-resistant plastic blocks, which are mounted in a rigid aluminium extrusion. Snap-on designation strips are provided. The construction is similar to the full size MUSA design.

For more information contact UK Sales: 0191 418 1122, International Sales: + 44 (0) 191 418 1133

Connectors designed by Coax Connectors Ltd, EXCLUSIVELY AVAILABLE from Canford Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 5

COAX’S 12G connector range continues to grow COAX Connectors Ltd is a leading UK designer and manufacturer of connectors, known for the performance and reliability of its connectors.

The availability of 4K Ultra HD content and the means of displaying it have fuelled demand for systems and technologies capable of high bandwidth transmissions. Equipment manufacturers require reliable connectors capable of permitting ever higher data rates and preserving picture quality, whilst at the same time taking up less space. It’s in response to these needs that COAX Connectors continues to expand its 12G connector range.

12G Korus BNC

12G Micro BNC (HD BNC)

Developed specifically with the broadcast industry in mind the Korus BNC product range contains connectors capable of delivering 12G over a single channel with outstanding return loss. As well as exhibiting all the standard features of a BNC, the internal design of the KORUS BNC has been specially optimised for performance at 12GHz and beyond.

Features of the Micro BNC range include positive locking, high frequency capability and a much reduced footprint versus a standard BNC. With the increased mounting density of the Micro BNC connector, 144 connectors will fit in the same space as 25 standard BNC Connectors. Designed from the outset as a 75 ohm connector the Micro BNC has always been a high performance connector, however the publishing of SMPTE standard ST 2082-1 for 12G-SDI video broadcast allowed testing to confirm it as 12G capable.

Since its launch 3 years ago the Korus range of BNCs has grown to include a wide range of 12G 75 ohm connectors meeting the requirements of SMPTE standard ST 2082-1 for 12G-SDI video broadcast. There are connectors for smaller cables such as RG179 right through to larger broadcast specific cables. Transmission length testing has been carried out using KORUS BNCs on existing 3G cables and the latest 12G cables. As well as cable connectors the Korus range features 12G adaptors and panel mounted PCB jacks.

COAX Connectors

A recent addition to the Micro BNC range is the small yet powerful the 12G Insulated Metal Thread Bulkhead Jack to Jack Adaptor. This little connector, which has been designed for Full HD applications and general use up to 12G has a pitch of just 9mm, giving an amazing density of 96 12G channels in a single 1U panel.

The widest range in 12G

www.coax-connectors.com 6 | Source Material by Canford

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

www.bubblebeeindustries.com

BUBBLEBEE TURNS TO COMMUNICATIONS WITH THE SIDEKICK IN-EAR MONITORS Broadcast and film sound manufacturer Bubblebee Industries has launched a range of in-ear comms earpieces called The Sidekick In-Ear Monitors, and they’re tiny!

Having branched out from making wind protection and microphone accessories, Bubblebee’s new product range, The Sidekick In-Ear Monitors, has been dubbed the ultimate communications earpiece set for comfort and speech intelligibility.

Built to tackle the often-uncomfortable experience of being hooked up to an earpiece for extended periods of time, The Sidekick features the world’s first micro speaker solution for wireless receivers where the entire driver fits comfortably inside the ear canal. This means it’s practically invisible, delivering crystal-clear, high fidelity cues or comms to the wearer. It does so without impeding the ambient sound of the wearer’s environment, reducing fatigue and allowing for a far more natural and comfortable experience.

The Sidekick’s miniature driver technology was initially developed with the help of Denmark’s top hearing aid

expert and licensed to Bubblebee Industries by N-Ear in 2018. Bubblebee has adapted the technology for the needs of the broadcast industry and has high hopes that The Sidekick will help to make uncomfortable in-ear communications a thing of the past.

Bubblebee founder and CEO Poul Mejer says, “When I started Bubblebee Industries I was totally focused on maintaining the highest quality audio, and this is why we are very excited to keep the tradition going with The Sidekick and keep offering only the best possible products to our broadcast and film sound friends.”

With its extremely small and lightweight footprint, its driver weighing in at a miniscule 360 milligrams, it is an excellent alternative to other in-ear monitors such as earwigs and acoustic tubes as it is wearable for up to 20-hour shifts with no fatigue. The Sidekick is available now in Mono (Left), Mono (Right) and Stereo variants, with Clear or Brown cables and a full range of accessories including three different eartips offering varying levels of environmental attenuation.

The Sidekick range will also be covered by Bubblebee Industries’ 2-year limited warranty.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 7

By Liam Cotter

Introduction I grew up in Cork in Ireland and spent most of my teenage years playing in the band I formed with a group of friends from school. Through an amazing series of events we found ourselves signed by Morrissey onto his vanity label Attack Records. Our single was released worldwide and we ended supporting the man himself on a couple of tour dates. Needless to say, with the band’s success my studies had fallen by the wayside, and when our momentum stalled I was left to pursue a Plan B. After leaving school I enrolled in a film production course in St Johns College Cork with the intention of writing and directing my own films. Once there I quickly realised how much more I preferred recording the sound for my fellow students projects to directing my own. I think this is a common occurrence in film production courses; sound is an area of the film industry that few find themselves drawn to, but those that are get totally hooked.

Having completed the course in Cork I was offered the chance of joining the final year of the Film and Television Production course at Sunderland University. I focused entirely on sound recording and design and worked on as many projects as I could, aiming to have enough experience when I left to pursue a career in sound recording.

Unfortunately, despite knocking on every door I could, I struggled to find employment in the North East. I realised I would have to try a different approach if I wanted to break into the industry. I set my sights on the sound production course at the NFTS and, after a very glamorous year of working 5 nights a week at a petrol station, I was accepted into the NFTS in 2010.

of the country’s most renowned sound mixers. The entire 15 months was a non-stop creative experience and I was able to leave the school with a newfound confidence in my craft.

I managed to secure a job within weeks of graduating, sound assisting on a comedy series and I’ve been lucky enough to find employment ever since, having now stepped up to Boom Operator (1st Assistant Sound).

I’ve had the opportunity to work across all genres of film and television. For the first couple of years I worked predominantly on comedies for the BBC and ITV but more recently I’ve found employment on high-end dramas. Series 3 of Peaky Blinders is the most memorable of these shows.

Being a huge fan of the series, there’s a great feeling of pride knowing when you go to work every day that you’re a small part in the machine producing such a quality piece of television. The scripts were incredible and the actors always delivered such amazing performances. The thrill of being in the room and capturing these portrayals is truly what our job is all about.

I cannot stress enough how important my time at the NFTS was in shaping my career. It gave me the opportunity to work with the best equipment and to be tutored by some

On Peaky Blinders our sound team was working with the director Tim Mielants with whom we had worked with previously on an episode of the Sky production, “The Tunnel”. We had a great working relationship with Tim, so when he came up with inspired, but technically challenging, ideas there was definitely an extra level of motivation to deliver the best sound we could. For example there was a wedding reception scene involving 14 speaking parts and 3 musical groups playing in different rooms of the venue. Tim conceived this entire sequence as a one single uninterrupted steadycam shot and this obviously created several technical challenges to all departments. To be part of a team that was able to take on that challenge and to achieve the needs of the director was particularly rewarding.

8 | Source Material by Canford

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

Can you tell us what you’re working on at the moment?

Currently, I’m working on a new Tom Rob Smith written drama, commissioned by the BBC called MotherFatherSon, starring Richard Gere, Helen McCrory and Billy Howle. As with most contemporary dramas one of the main challenges we are facing is dealing with problematic locations. A production often decides on a location for visual reasons alone, despite various sound issues being flagged up during recces. It’s then our responsibility to attempt to control these issues, working closely with the location department in turning off or damping the various extraneous noises that might impede the recording of dialogue. I’ve also had to contend with extreme wind conditions on this project and have been grateful to have a Panamic pole in my hands which was more than capable of dealing with the strain with minimum flex on the pole.

Wired or Wireless?

Over the past few years I’ve seen production sound mixers gradually moving away from cabled booms to embrace wireless systems. Whereas there are certain advantages in having a cabled boom, such as no risk of RF drop out or overloading of the transmitters. The benefits to a boom op. of wireless transmitters are tremendous. You are given total freedom of movement and, with the fast pace of shooting a television production, you’re not having to deal with constant cable re-routing as in the past; thus you are left free to concentrate on the numerous other issues thrown up by location filming. Although the wireless transmitter does add weight to the end of the boom pole, advances in technology mean that they are getting lighter all the time, reducing the strain on the pole – and the Boom Op’s back!

Would you recommend Panamic to other boom operators?

At the start of my career in sound I used many different brands of equipment, most frequently lowend, inexpensive gear, certainly for the first few years.

However, as soon as I got my hands on a maxi Panamic boom pole I knew I was working with a top of the line piece of kit and it has become my go-to pole. Despite toying with other brands, in my opinion there really is no other pole that comes close to the build quality and reliability of the Panamic.

The nylon webbing on the handle provides a comfortable and secure feeling while the pole is in your hands which provides a confidence you need when operating a 5 meter pole over the heads of both actors and crew members. Also the ability to easily disassemble each section of the pole and thoroughly clean it has been invaluable. With the gruelling schedules and locations of film production I could spend an entire day outside in torrential rain so to be able to take the pole apart and dry it before the next days shooting really helps in preventing any long-term damage.

Another great feature is the adjustable end stops on each section of the pole, which allow me to re-tighten each individual section that become slightly worn down over time.

I’ve worked with dozens of experienced boom operators during my time as a sound assistant and have always found it impressive that so many use their own Panamic poles, often bought in the 1990s, and that their performance remains as solid as a pole manufactured more recently.

Compared to other brands the locking rings in particular are extremely easy to operate allowing for quick extensions and retraction of the pole, an essential manoeuvre that needs to happen without delay in the event of a change of camera position or framing. Also in a similar situation the removable spigot on the top of the pole is invaluable as it means I can change the microphone suspension between my maxi pole to a mini pole in seconds. I can honestly say the Panamic pole has never let me down during my entire career.

I can honestly say the Panamic pole has never let me down during my entire career.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 9

WIRELESS THAT WEARS WELL. The Axient® Digital micro-bodypack: Industry-leading RF performance has never been so comfortable.

Learn more at shure.com/axientdigital

10 | Source Material by Canford

UK sales ©2018 ShureCall Incorporated

on +44(0)191 418 1122 or email sales@canford.co.uk

SHURE ADX1M. DESIGNING WIRELESS THAT WEARS WELL Large, bulky wireless bodypack transmitters have long posed a problem for performers in live theatre and the television and film studio where the transmitter needs to be comfortable, easy to conceal and reliable.

Traditionally, production teams have managed with bodypack transmitters with harder edges or ones with an external antenna – and always with the risk that they will be noticeable, even under the most ornate period costume.

After considerable research with the industry to learn more about the frustrations users experience with traditional units, leading audio designer and manufacturer Shure realised there was a need for a transmitter with a more ergonomic and discrete design.

To learn more about what the industry required, Shure began consulting with leading sound designers, theatre audio directors and production audio technicians. The discussions proved extremely fruitful, providing insight into concerns about traditional units and pointing towards a bodypack shape that would best aid performers on stage and screen.

Never one to compromise on audio or signal quality, Shure was able to achieve elegant design without sacrificing the outstanding performance clients have come to expect from a company with more than 80 years’ experience serving the performing and recording industries.

As part of Shure’s ADX range of transmitters, the ADX1M is designed to seamlessly work with its new flagship digital wireless system, Axient Digital. Engineered “from the ground up”, Axient Digital features a new modulation scheme designed to handle the challenging radio frequency environments faced by modern engineers, not least as theatre production becomes increasingly ever-more reliant on innovative audio-visual technology.

The result, the company says, “is a wireless transmitter that is extremely ergonomic, features an internal antenna and produces an optimal signal when worn on the body.”

The new ADX1M, Shure confidently claims, “is a micro bodypack unlike any other before it, particularly in the digital wireless realm.”

Its unique, compact bodyform is made from an advanced Ultem PEI construction which allowed the company to create an exceptionally small and streamlined, heatresistant pack that is perfect for discreet placement and comfort.

Critical to achieving a true micro form factor was replacing the traditional external antenna with a new internal design. Antennae have long been a point of frustration for users, adding to the unit’s overall size and providing an unwanted port-of-entry for sweat and moisture that can damage the transmitter over time.

The ADX1M is also fully integrated with Shure’s ShowLink system, its many benefits including remote transmitter control for up to 24 units and automatic interference avoidance.

In a nutshell, the ADX1M is the wireless bodypack that “We’ve always known that transmitters worn close or on the theatre and broadcast engineers and performers have been skin dramatically compromise its performance – the ADX1M waiting for – and may well find themselves falling in love with.

Audiences will no doubt appreciate it, too, albeit without helps to mitigate this problem.” knowing why.

Integrating the self-tuning antenna into the bodypack isn’t www.shure.co.uk the only innovation the ADX1M boasts. It also brings new patent-pending “adaptive technology” to the market that produces a new standard for body-worn signal performance.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 11

OUT WITH THE OLD, IN WITH THE NEW.

SONIFEX HAVE UPDATED THEIR EXISTING COMMENTATOR UNITS BY ANNOUNCING NEW DANTE® AOIP VERSIONS. LET’S TAKE A LOOK AT THEM… Sonifex’s huge catalogue of broadcast products is a testament to their position in the broadcast market as an innovator and forward-thinking manufacturer in the field of audio for radio and TV broadcasters.

Celebrating their 50th anniversary next year, Sonifex started manufacturing talkback and commentary units about eight years ago and have recently announced two new commentary product releases.

Their AVN range of RAVENNA & AES67 compatible AoIP products has been added to with some new Dante® compatible products - the AVN-CU2-DANTE for 2 commentators and the AVN-CU4-DANTE for up to 4 commentators.

Both units use Dante® AoIP together with 4 wire connections and consequently bridge the gap between old and new technology, allowing the ease of connectivity & functionality of AoIP together with the legacy connections needed to operate with the existing infrastructure in some stadia and sports grounds.

AVN-CU2-DANTE The AVN-CU2-DANTE provides two mic/line inputs with a wide, adjustable gain range and +48V phantom power, and has two stereo headphone outputs with lockable jack sockets, suitable for operation by two commentators.

It’s powered using Power over Ethernet (PoE), using Neutrik EtherCON connectors, with primary and secondary ports for power and network data redundancy. SFP cages are also available for networking and there’s an additional 4 pin XLR 12V DC input. The unit supports up to 16 input and output AoIP channels and up to 16 simultaneous input and output AoIP streams.

Stream setup to and from the unit is initially via Dante® Controller with more detailed configuration performed by using the built-in web GUI. A visual mix-matrix makes setup simple and intuitive and the CU2 can be remotely controlled from the web interface (V2 firmware) with front-panel lock-out options for unit operation.

12 | Source Material by Canford

Sonifex’s Managing Director Marcus Brooke commented: “Our new Dante® commentary units have been beautifully designed and are smaller than the existing Sonifex CM-CU1 single 4-wire unit whilst packing in more features. The CU2 has a bright daylight RGB display split into multiple sections, allowing metering & control of up to 24 audio sources (inputs, outputs or mix-points) in 4 pages.

Colour coded rotary encoders can be used to alter signal level and pan, with colours, sources & button functions all configurable using the web GUI. So it’s intuitive to use and can be configured for virtually any situation. We’ve added a mixmatrix to the unit meaning it’s incredibly flexible when mixing physical and AoIP sources to 4-wire & AoIP destinations.”

The 6 x push-button rotary encoders and 12 x key-cap buttons are fully configurable, to control input & output levels and panning. Each rotary encoder has a separate colour-coded meter section showing the channel name, detailed level metering, left/ right panning and a limiter indication, on a bright display. Colours can be programmed per encoder to quickly identify particular source groups, so headphone source selection becomes intuitive.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

Metering is available per input/output, with output metering configurable as pre or post level adjustment. The top of the display shows output metering, a limiter indication and the name of the output, a pre-defined logo or nothing. A limiter is available on every output.

Four wire I/O on rear panel RJ45 connectors provide an AES3 or analogue input and output that can be assigned as mic outputs (line level), talkback outputs, programme inputs or talkback inputs as desired. In addition, the AES/analogue connections can be used as an insert or exit point into/out from the AoIP network.

All of the buttons have key-cap text and can be configured.

There are some standard operations available: on-air buttons can be used to connect mic audio to the main output, either over AoIP or via the AES digital audio connection. The on-air buttons can be locked if required. 4 x talkback buttons can be configured to initiate talkback over AoIP or AES digital audio connection, using 4 x talkback busses. The talkback buttons operate with lazy talkback, taking the commentator off-air when invoked.

AVN-CU2-DANTE

There are 10 x configurable GPIO on a 15 way D-type connector with 1 x switched changeover output.

AVN-CU4-DANTE The AVN-CU4-DANTE is a dual version of the AVNCU2-DANTE providing four mic/line inputs with a wide, adjustable gain range and four stereo headphone outputs with lockable jack sockets, suitable for operation by three or four commentators. The feature set is as per the AVN-CU2DANTE, with the following differences – it has a universal AC input, there are 12 x rotary encoders, 4 x on-air buttons, 4 x page buttons, 4 x cough buttons, 8 x talkback buttons and 3 x user buttons.

The units will be available Q1 2019.

Commentary Units

The AVN-CU2-DANTE is a portable commentator unit using Dante® AoIP. It provides two mic/line inputs with a wide, adjustable gain range and has two stereo headphone outputs with lockable jack sockets, suitable for operation by two commentators.

The unit supports up to 16 input and output Dante® AoIP channels and up to 16 simultaneous input and output AoIP streams.

A built-in mix-matrix means it’s incredibly flexible when mixing physical and AoIP sources to 4-wire & AoIP destinations.

The 6 x push-button rotary encoders and 12 x key-cap buttons are fully configurable for any function using a web GUI. Each rotary encoder has a separate colour-coded meter section showing detailed level metering, left/right panning and a limiter indication, on a bright display. Encoders can control the level and pan of inputs, outputs or cross-points.

Talkback buttons can be configured to initiate talkback over AoIP or AES3 connection, using 4 x talkback busses.

Dual redundant network ports on both RJ45 (PoE using 2 x Neutrik EtherCONs®) and SFP cages.

Sonifex_HalfPage_Advert_CANFORD_SourceMaterial_Magazine2019.indd 1

www.sonifex.co.uk + 4 4 (0)19 3 3 6 5 0 70 0

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

AVN-CU4-DANTE also available for up to 4 commentators

11/10/2018 09:04:50

Source Material by Canford | 13

CANFORD REDUCES ITS

CARBON FOOTPRINT

By Stephen Gallagher, Canford Marketing Manager

Ok, you’d perhaps be forgiven for reading the title and thinking ‘Oh, here we go again.

Another “We’re Going Green” article’, and questioning before you read-on just how ‘Green’ the product or company in question really is.

After all, I’m sure we’ve all watched TV adverts for the latest cars with a hint of scepticism as they promise wonderful MPG figures and talk about hybrid and eco battery powered models.

Haven’t we all been guilty of questioning “Yeah, but where does the electricity come from?”, and harbour some reservation about the materials used to produce the battery cells.

It seems somehow to be a natural response that we question and doubt environmentally friendly claims. I wonder if that’s because they are usually deployed in an attempt to sell us something…?

It’s not just our built-in prejudice on going green that works against us. Doesn’t the scale of the problem overwhelm us too? What difference can “I” make? And then, there’s also the very real cost to consider. For example, the eco car is often significantly more expensive, the plastic packaging keeps our food fresh for longer and we all (well most of us), whether acting for our business or as a consumer tend to prioritise financial economy and profit.

change is required, on a scale currently unseen, with investment equal to 2.5% of GDP. If the scientists’ reports weren’t powerful enough, anyone who got to see the recent BBC One documentary ‘Drowning in Plastic’ would certainly agree that “we must try harder!”.

Canford is actively taking steps to reduce its carbon footprint.

With the support of our suppliers and other businesses who have contributed to this year’s Source Material magazine, we’ve made some decisions which prioritise the environment over financial economy.

This year’s mailing has been packaged within a biodegradable wrap instead of polyurethane, and we’ve used Carbon Balanced Paper. This is where the carbon impact of the production and distribution process has been offset. Funded

by Canford, the World Land Trust will preserve a portion of high conservation value forest, which would otherwise have been under the threat of clearance.

100% of our electricity is now sourced from Biomass, a renewable organic matter used as fuel, and (at the time of writing this) Canford is well under way with a programme to replace old lighting systems with newer, energy efficient LED technology throughout the building.

The latest Canford product developments will also enable our customers to better manage and monitor mains power The Intergovernmental Panel on Climate Change (IPCC) distribution. Our new IP MDU is, without doubt, the most recently issued a stark warning to policymakers after research advanced design to date, and is suitable for smart building suggested we are on course to exceed a goal to limit global designs of today and into the future, providing greater warming to 1.5°C, with dire consequences, by 2030. control with detailed measurement and reporting.

The report produced for the UN does however offer a glimmer of hope. It is no-longer good enough for all contributing nations to just deliver on their Paris Agreement pledges to reduce greenhouse-gas-emissions. Instead, urgent 14 | Source Material by Canford

I’m sure we can all do our bit – just a little bit more. Please remember to recycle your copy of Source Material once you’ve read it.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

CANFORD EXPANDS FIBRE CAPABILITIES TO INCLUDE F IBRECO HMA TERMINATIONS

By John Driver, Head of Design and Fibre Technology

Due to continued growth within our fibre termination unit we have just doubled the size of our termination facility, and are now in the process of adding more staff. This has been possible in part due to recognition from customers, some of whom help to bring you some of the most prestigious events and sports on TV, that we are now a major supplier of fibre termination within the industry. Every termination goes through a strict testing procedure and tested to industry standards throughout the process to ensure they meet industry defined random mate-ability of connectors which always guarantees a good connection. Along with this we have also invested in stock of cables and connectors to ensure a quick turnaround of orders to meet customer deadlines even for custom assemblies.

Following on from our previous addition of Neutrik opticalCON and LEMO SMPTE Terminations we have now just added the Fibreco Expanded Beam connector termination. Commonly referred to as the HMA connector, Expanded Beam connectors are designed specifically for harsh environments which are generally subject to dust, dirt and mud and have already been adopted by some of the major mixer desk manufacturers. As a result the Fibreco Expanded Beam connectors naturally find themselves at home in the Touring and Events market where dust, dirt and mud are part of the touring and festival life.

Available in both Singlemode and Multimode as 2ch or 4ch versions the Expanded Beam connectors are Hermaphroditic and can be easily daisy chained as there is no male or female to worry about during rigging or derigging. Expanded Beam connectors use a non-contact technique where the fibre is sealed behind a lens that protects it from contamination, the lens enlarges the active area of the fibre which reduces the sensitivity to dirt resulting in better reliability. Cleaning is relatively straight forward compared to standard fibre connectors where two ferules butt against each other under pressure. The Expanded Beam connector can simply be rinsed in water and dried with a clean soft cloth and is easily repaired if the lens becomes damaged. Replacement of the lens block does not require the connector to be re terminated and can be replaced in the field within 30min.

Typical insertion and return loss figures differ to the standard types of fibre connectors but are generally consistent throughout their life unlike standard types which will vary due to contamination and wear.

Insertion Loss

Return Loss

9/125 Singlemode -1.5dB max (-1.0dB typical) 32dB min (40dB typical) 50/125 Multimode -1.0dB max (-0.70 typical)

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

20db min

Source Material by Canford | 15

LSI PROJECTS

AT THE ROYAL OPERA HOUSE LSI Projects have had an account with Canford since at least 2000, and in that time, they have supplied LSI with no end of cable, MDUs, 19” racks, patchbays and other audio and installation items. LSI themselves have been in business for 27 years installing lighting, sound, and audio visual systems and equipment into theatres, television studios, conference centres, hotels, schools, colleges, universities, and cinemas. Another type of venue is Opera Houses, which LSI have had a run of recently – ROH Muscat, Dubai Opera and, most recently, the Royal Opera House in Covent Garden, London.

As part of the overall £50.7m Royal Opera House refurbishment, LSI Projects were fortunate to be awarded works in 5 spaces as part of the ‘Open Up’ project: The Linbury Theatre, The Clore Studio, Restaurant Level 5, and the Paul Hamlyn Hall and the Front of House foyer spaces.

The Open Up Project The main idea behind this was to ‘open up’ the Front of House areas with inviting new entrances, extended foyers and terraces and a new café, bar and restaurant, together with an extensive programme of ticketed and free daytime events, activities and festivals for people of all ages and to make the Royal Opera House open to the public every day from 10am.

LSI installed the AV cable and facility panel infrastructure to a design from the consultants ARUP. This included 630 tie lines, across audio, data, and video feeds, as well as Canford custom SMPTE camera cables, which allow broadcast quality signals to be fed into the ROH system.

Working to the consultant Charcoal Blue’s design, LSI supplied and installed the AV cable infrastructure, and facility panels, but this time with over 1600 tie lines across audio, video, data, fibre, MADI (Multichannel Audio Digital Interface), and loudspeaker feeds, and 25 specialist hybrid camera cables.

All the tie lines are fed back to a central sound rack room, where they can be re-distributed to almost anywhere in the building. This alone involves 9 large Canford-ES 19” racks, 2250 cables, and 4500 terminations!

Previously called the Linbury Studio, this completely refurbished 400 seat venue, acts as a flexible format (thrust, proscenium, or in the round) performance space for smaller scale productions of both opera and ballet, as well as for other shows, concerts, product launches, exhibitions, and dinners.

Marcus Rice is one of LSI’s Sound Project Managers: “Having the end user (The ROH Sound Department) onsite was actually a blessing, as we could discuss all aspects of the installation regularly and answer their questions. They could also help with any integration require of old system i.e. paging and legacy cables. Every aspect of the project was made more challenging because the building was live. We had to limit some activities (i.e. drilling etc) to certain hours of the day, deliveries had to be timed so that we didn’t clash with the ROH turning around of show sets, food deliveries, etc, as well as other building work deliveries.”

16 | Source Material by Canford

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The Linbury Theatre

Paul Hamlyn Hall In the days of the Covent Garden fruit and veg market, this glass and iron structure was used as a flower market, then a scenery store, before being integrated into the ROH in 1999.

In the course of the redevelopment the entire floor was lifted in 2017 to allow space for the box office and extended cloakroom area below. It now houses a champagne bar and restaurant for patrons during performance intervals, and in the daytime is home of Tea at the Royal Opera House.

LSI protected existing infrastructure where they could and replaced it where it was damaged either as part of the project i.e for the new staircase down to the main foyer, or accidental damage when the entire floor was replaced in August 2017.

They also added extra data and camera points.

The Royal Opera House’s redesigned Linbury Theatre © Hufton + Crow, 2018

The Clore Studio The Clore Studio is a 170 seat space used by the ROH Education Department, as well as a small rehearsal space for the Royal Ballet.

LSI’s Richard Fearne was in charge of the work in this particular area: “With the Clore Studio being used for more live video streaming it was becoming apparent that the existing fixed high level lighting positions were no longer suitable for broadcast use. The angles were too steep and the rigging and focusing had to be carried out using access equipment, leading to longer turn- around times.

Across all 5 spaces, Canford supplied over 16.5km of Cat6a cable, 40 Ghielmetti audio patch panels, 15 ES 19” racks, custom and standard angled fibre patch panels, EMO mains power units, standard and custom fibre cable, and SMPTE camera cables.

Richard Bunting, LSI’s Operations Manager: “Canford are a joy to work with – they just get it done. 9 ½ times out of 10 they work like clockwork, but on those rare occasions something does go wrong, they will pull out all the stops to fix it. Having had the good fortune to visit both their Washington and Portland facilities - a nicer bunch of friendly and professional people you will be harder to find” Having completed this amazing project, LSI are moving on to their next one……… another Opera House! This time, in the Middle East, but again ably supported by Canford Audio.

The solution was a truss system that could be dropped in for rigging and then flown out to a working height.”

LSI supplied and installed a 7m x 13m box truss hanging from 4 x 1 tonne motors, with various facility panels which also had to be fitted to the truss and included a bespoke cable management system. In addition, some existing lighting circuits also needed to be extended, as well as new tie lines for audio and camera feeds.

Terrace Level 5 at the Royal Opera House ©2018 ROH. Photograph by Luke Hayes

Restaurant Level 5 A 230 cover restaurant, it has great views from its terrace of Covent Garden Piazza. As with The OpenUp project, a similar system was required here, installing a paging system which has automatic volume level adjustment. The main difference in this space is that it required zoning for more localised control, so that paging can be turned off in different areas while an event is occurring in that area yet leaving the paging on elsewhere. The terrace outside the restaurant was glazed to create a ‘ Winter Garden’, where LSI also installed some paging speakers, data, and hybrid camera cables, as well as refurbishing existing facility panels.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Royal Opera House Ground Level © Hufton + Crow, 2018

Source Material by Canford | 17

CATEGORY: ETHERNET

By Charles Phelps, Canford Technical Support Engineer

A continuation of “audio networking overview” in last year’s edition of source material. The merging of the AV and IT world is observably becoming more standardised across multiple industries, the application of which can sometimes seem overwhelming and therefore, in my opinion, underutilized. Existing IT networks may be the key transport method for a lot of broadcasters & AV users. In contrast, many IT users may have concerns about routing signals alongside existing data traffic, potentially unaware of the bandwidth capabilities and security options available to the consumer. Becoming ever more present in broadcast and AV applications, computer networking has and is continuing to change the way we transport media around the world.

With the demand for control and communications, AV and IT specialists continue to develop more inventive ways to accommodate AV applications over an IT infrastructure.

Quantifying bits and bytes The word ‘network’ is widely associated with computing and data communication, though inherently the word comes from logistics. Now but especially before the Glass age, networks were applied for a variety of applications, and it’s these older applications that we still use to solve data communication problems. For instance, in the postal service, we use a unique hierarchical addressing system so we can forward on our mail through the relevant distribution channels. Reading up from the bottom of a letter to derive an address, postal code then house number/name. The same system is comparable to IP addressing, from left to right the octets identify the network then the host node dependant on the subnet mask or “class” of addressing you are using.

In the routable digital domain, each 32-bit address has four “octets” (also known as a ‘byte’) represented as an 8-bit binary numeral, each capable of representing 255 states. A network mask defines which bits of an address define the network portion and which is the node portion is (also known as a ‘host’). Because generally all nodes in a networks can see all packets transmitted by any other node on the network, we can apply subnet masking which separates the network and node addresses, turning big networks into multiple smaller networks, offering better local performance, organisation and security to the IT administrator.

18 | Source Material by Canford

Byte

0 0 1 0 1 0 1 1

Bit Decimal Value = 212 (0x1, 0x2, 1x4, 0x8, 1x16, 0x31, 1x64, 1x128)

Data on an IT type network is typically presented as a packet, transmitted from node to node, using a variety of transport protocols, the most common of which are TCP and UDP. Defined in layer 3 of the ISO model these protocols are responsible for encapsulation and routing between nodes. TCP is used by applications that require guaranteed delivery. It uses sequential acknowledgment windowing, incrementally increasing packet size until failure, before retransmitting at a lower rate. This provides fast, reliable data transfer that scales depending on adjacent traffic. (We see TCP for file transfer and the majority of web browsing.) UDP is used by applications that do not require the level of service of TCP, or that wish to use communications services not available from TCP. Applying in end-to-end communications, the packet is a fixed size, and if a segment is lost it is not retransmitted (we see UDP used for video streaming and digital audio communications).

AV technology using an IT infrastructure can demand a high load, with majority of users expecting a high resolution or bit rate of audio and video transmissions. Bandwidth capabilities are determined by the throughput of devices including routers, switches, and nodes on the network. As an audio like translation, this could be viewed as a threshold for network traffic. Without sufficient consideration for headroom, peaking will occur more frequently which leads to errors and ultimately lost data. Therefore, it is important to understand the potential load on a system, before applying your AVoIP technologies such as AES67 and SDVoE.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

Why the twist?

Looking at high quality networked AV technologies, it is apparent that for the best service solution, we need to consider bandwidth. Therefore the transport medium needs to be capable of coping with the load presented returning minimal loss. In this case, by using the taxonomy “transport medium” I am referring to cable, termination and node computation elements, in other words the physical components of an IT type network. Every piece of equipment that supports IT networking will have an Ethernet data rate limit, defining the maximum bandwidth that the chipset in the product is able to support. With exponential hunger for faster data rates, in some instances this restriction can become the bottleneck in your network.

Consequently the first step when finding an IT type solution, is to ensure that the product is rated higher than the expected load you intend to present.

Using IP transport standards to encode and decode information to and from the analogue domain via sampling, we can theoretically send more information down the same line, the caveat being the quality of reproduction. This is only possible in both the digital and analogue domain if we have consideration for the physical transport medium, Category (CAT) cable, post CAT 3, being the most widely adopted transport medium. In the analogue domain, we can utilise “QTP” and “Format A” type termination which uses the wiring convention with much the same functionality as a 4 pair multicore. In the digital network domain however, termination is typically an RJ45, conforming to ether EIA/TIA 568A or EIA/TIA 568B standards, with the latter being more prevalent. This standardisation presents interoperability for all components of an IT network.

Errors primarily occur when there is interference on the transport line, inducing a change in binary state of the packet being transferred, resulting in this data being presented incorrectly to the receiver or switching node. Unfortunately, this occurrence is inevitable but manageable given the range of quality of service (QoS) available in modern products.

QoS can be applied to retransmit & confirm packet information to ensure (as best as possible) that the data received is identical to that transmitted. We can also track the speed of which the information is transported in its complete form, logging transport latency and restrict traffic flow, hierarchically prioritising curtain packets above others.

For instance, holding email traffic for retransmission, allowing telephone calls to use more of the networks throughput.

When we send data in a binary format we induce a pulse of electrical noise down the medium of choice, which creates a magnetic field, based on the frequency produced by the rate of throughput on the medium. By firstly shielding the cable with a ground we can reduce minor external radiation interference, as well as redirect any conducted voltage spikes away from sensitive equipment into the surrounding

conductive encapsulation. The twist and shielding of modern day wiring, is a direct result of interpreted, harmonic, electromagnetic analysis, providing signal protection and noise cancellation through balanced signal lines, and utilising inverted phase. In a balanced line, each twisted pair of wires carries equal and opposite signals, the twist improves rejection of external interference. At the destination one signal is flipped, and the two are summed, nulling the difference (noise) between the two signals.

Transmitted data

0 0 1 0 1 0 1 1

Transmitted signal

Noise

Sample instants

Received data

0 0 1 0 0 0 1 1

Bit Error 4k UHD @ 14 GB trunking With 4K video rising in popularity, the demand for the ability to transport and even stream high resolution content is increasing. Although UHD resolutions compress down to a barely manageable 9.8 GB/sec, streaming true 4K would require bit rates of 14 GB/sec and upwards, requiring more throughput than domestic switches are currently capable of. For faster data rates past CAT 6, the application of Fibre is being widely adopted, although CAT 7 can theoretically support speeds up to 40 GB/sec, the bottleneck of this copper solution is the RJ45 termination, and associated product termination. D-link or GG45 connectors are currently the prominent way to utilise more of the capabilities of CAT 7 but dramatically reduce the viable distance between nodes.

Seemingly a simple answer, some switching products do implement trunking functionality, allowing users to increase the data rate of a transmission by coupling two or more ports together, on each end of the connection, offering an increase in speed at the cost of physical ports. With some forward thinking, this increase in the requirement may soon demand that switches become un-ideally single function, resulting in dedicated LANs for larger file types.

Incorporating system performance enhancements on typical networks can be achieved through evaluation of network traffic and the implementation of VLANs, trunking and QoS analysis based hierarchical prioritisation. UHD and content buffering, masks the inefficiency of today’s networks from the demands of users, substantial adoption of newer technologies is the only way we will be able to support high resolution media going forward.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 19

20 | Source Material by Canford

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DRAKA COAXIAL CABLE FOR TRANSMISSION OF 4K SIGNALS

FIT FOR 4K The infrastructure of broadcasters is currently designed for 1080i, 720p and 1080p video signals. However, as the market continues to develop, 4K is becoming increasingly important.This also has an impact on the broadcast industry. Draka offers UHD series coaxial cables for this purpose.

HD-SDI is the current interface for serial transmission of uncompressed video data in the broadcast industry. The two most common standards are 1080i (1920 x 1080 pixels) and 720p (1280 x 720 pixels). According to the SMPTE 292M standard, the transmission rate is 1.5 Gbit/s. The newer 1080p HD-SDI signal with a resolution of 1920 x 1080 pixels transmits data at 3 Gbit/s in accordance with the SMPTE 424M standard. According to both standards, the maximum cable length must not exceed an attenuation of 20 dB at half clock frequency.

Coaxial cable goes 4K There is currently a discussion on higher data rate on the market. 4K is playing an ever-increasing role in this. Currently, 4K transmissions in Quad Link (4 x 3 Gbit/s) are carried out for technical reasons. In practice, however, this proves to be

uneconomical. Single-link transmission at 12 Gbit/s should be aimed for.

According to SMPTE ST 2082, the 4K format transmits video signals with a resolution of 3840 x 2160 pixels. Data transmission takes place with a rate of 12 Gbit/s. This corresponds to a half clock frequency of 6 GHz. The standard also provides for a maximum allowed attenuation of 40 dB. Draka has developed coaxial cables for 4K applications based on these specifications. For example, the new UHD series includes the UHD50 and UHD100. In developing the new series, Draka has placed great emphasis on meeting the requirements of OB truck manufacturers, such as maintaining the outer cable diameters of 4.5 and 7 millimeters. Draka has achieved this through higher dielectric foaming and a silverplated, size-optimized, inner conductor.

Maximum Transmission length 4K calculated@ 40 dB max.

Cable type

OD [mm]

usage

0.6/2.8AF 0.8/3.7AF 0.8L/3.7Dz 1.0/4.8AF 1.4/6.6AF 1.6/7.3AF UHD50 UHD100

4.5 5.9 5.9 7.0 9.2 10.3 4.5 7.0

Racks Racks Patch Standard Stadium Stadium Racks Standard

max.length [m] 4K single link 45 60 51 70 96 95 49 90

max.length [m] 4K dual link 65 87 77 109 144 151 72 129

max.length [m] 4K quad link 94 125 117 151 211 236 102 182

For the technical realization it is essential to check the equipment if they are suitable for 4K to achieve the maximum values.The connectors and cables should be matched to each other.Tolerances must be kept as low as possible.

It should also be taken into account that different generations of equalizers are installed in the input board of the devices. These have a significant influence in determining the maximum achievable cable length.

Which broadcast infrastructure, i.e. which cable construction, can handle this explosion of data rate? We can expect copper cables are limited in transmission distance due to the huge bandwidth, while optical cables have almost no limitations.

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Source Material by Canford | 21

100V vs LOW IMPEDANCE - WHAT YOU NEED TO KNOW

By Stephen Gallagher, Canford Marketing Manager

No matter how big or small, whenever you are designing a public address, background music, zoning, paging or live performance audio system, you will need to make some decisions relating to the type of amplification, loudspeakers and therefore wiring convention to use.

Modern techniques now exist for distributing audio over data networks with the likes of Dante. These network distribution systems are particularly useful when creating more complex systems over large areas, where there is a need for centralised system control and audio routing. Unless your hardware (amps, speakers, mics etc) have Dante built-in, you’ll need some sort of interface product to get the audio onto, and off of the data network.

Specialist audio manufacturers such as RDL provide Dante and Format-A network audio interfaces. In essence these are ‘clever black boxes’ which can be used as a bridge between the audio system and data network. In short, they get your audio onto a data network and provide the endpoints wherever on the network you may wish to retrieve it for local amplification.

It helps to first understand that impedance is the resistance to a flow of alternating current. It is measured in units called Ohms and displayed with the symbol Ω. Low impedance equipment is typically rated between 2 - 16 Ω.

Low Impedance systems are perhaps best suited to foreground applications and live performances, where high-powered loudspeakers are required. Situations requiring short cable runs and where a single stereo pair of loudspeakers is required. Classrooms and meeting room installations are good examples, where an un-balanced linelevel audio signal is taken from a TV, laptop or media player and passed via a low impedance amplifier such as the RDL TX-PA40D to drive a single pair of loudspeakers.

Each output channel on a low impedance amplifier has two terminals, a positive and negative. These outputs are typically No matter whether you intend to use a traditional or more via Euroblock connectors, but can also be spring clips or modern networked approach to distributing your audio connectors such as the Neutrik Speakon. Each output channel signal there are really only two types of amplification and is typically intended to power a single loudspeaker, although loudspeaker system to consider. It’s all to do with physics, it may be possible to connect multiple low impedance and the choice boils down to Low or High Impedance loudspeakers, wired in parallel, provided the total loading at hardware. Your decision should be determined by the the amp does not exceed the manufacturer’s specifications. specifics of your application.

22 | Source Material by Canford

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Typical low impedance wiring of a single stereo pair AMP

+

2x100W @ 8 Ohms

-

+

-

8 Ohms

8 Ohms

80W

80W

-

+

-

+

Low impedance system wired in parallel to increase the qty of loudspeakers while matching the impedance load to the amplifier AMP

+

2x100W @ 8 Ohms

-

+

-

16 Ohms

16 Ohms

32W

32W

-

+

-

+

16 Ohms

16 Ohms

32W

32W

-

+

-

Transformer power-tap values vary from product to product and will drive the loudspeaker in a range according to the manufacturer’s specification. The higher the tap, the louder the output.

When designing a 100V system it is important to ensure that the combined output wattage, as set by the loudspeaker power taps, does not exceed the capacity of your amplifier.

In fact, it is advisable to leave some headroom so as not to overload the system!

Typical 100V System wired in parallel Greater than 60W 100V Amplifier

+

Loudspeaker Impedance Ohms

-

100V

100V

100V

20W

20W

20W

-

Quantity of loudspeakers 16 2 = 8 O hm load presented to the amplifier

+

-

+

-

+

Parallel Loudspeaker Wiring

+

It is possible to build more complex systems to include different types of loudspeaker; ceiling, wall and IP rated for High impedance systems include 25V, 70V or 100V options. example, with differing output setting (power taps) to suit the 100V is the common derivative used throughout the UK environment. This could be combined with mixer amplifiers and Europe. High impedance (or 100V) systems are regarded making it possible to route a number of different audio sources as being relatively simplistic. They can also be called 100V to several zones and provide for localised input selection and Line or Constant Voltage systems. The names are entirely volume control. interchangeable.

A restaurant might be a good example of this, where a 100V loudspeaker systems are better suited to public address manager wants one audio track playing at low level in and background music (BGM) applications or large installations reception but something else in the dining room. Maybe they requiring longer cable runs with multiple loudspeakers. have a bar too, where they’d like the music a little louder.

Application examples would include supermarkets, office Although it may be possible to get an audio signal from one buildings, restaurants, airports and leisure complexes end of a piece of mains cable to the other, it is recommended combining music with paging announcements. that you use high-quality cable which has been designed Although some high-powered performance models do specifically for loudspeaker installations. This will reduce the exist, such as in the CS-C Series Loudspeakers from Cloud risk of system failure and costly service calls. Low grade cabling, Electronics, 100V high-impedance speakers generally offer especially when used in high-impedance 100V systems can lower output wattage than low impedance models. negatively impact the audio fidelity.

Wiring a high impedance 100V line loudspeaker system Canford offers its HLS-LFH which is specifically intended for couldn’t be easier. 100V amplifiers and mixer-amplifiers will use in public buildings, factories, offices, shops etc., the insulation usually offer a single mono output, from which a single line of and jacket materials are LFH compounds (low fire hazard), 100V loudspeakers is wired in parallel. rather than PVC. Cables using these materials are increasingly Loading calculations are simple. Each 100V loudspeaker incorporates a step-down 100 volt line transformer with user configurable ‘power taps’. These power tap settings are used to effectively limit or cap the maximum wattage at each loudspeaker to the selected tap value. It is possible to mix and match different tap values on a single line of loudspeakers to best match the environment they are installed. This makes 100V line systems incredibly versatile.

often now mandatory in public building installations. Under combustion circumstances, LFH cables have a significantly reduced smoke emission, and the gaseous products contain no toxic halogens. To help identify the PA system cable from the many others usually now found in building ductways, it is distinctively coloured blue, and is printed “loudspeaker cable” at regular intervals.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 23

NEW CV Series

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MULTI-CHANNEL MULTI-CHANNEL MULTI-CHANNEL MULTI-CHANNEL

OUTPUT POWER BUILD QUALITY OUTPUT POWER SHARING SHARING OUTPUT POWER POWER OUTPUT SHARING SHARING

BUILD QUALITY

BUILD QUALITY MULTI-CHANNEL

Up to 1000W 100V / 70V Line Output Maximum Connectivity - RS232, Ethernet, GPIO On-board Digital Signal Processing 2, 4 & 8 Channel Models Output Power Sharing Energy Star Compliant Unrivalled Build Quality & Reliability

OUTPUT POWER SHARING MULTI-CHANNEL

OUTPUT POWER MULTI-CHANNEL SHARING

OUTPUT POWER SHARING

Canford Audio Cloud Advert 4.indd 1

www.cloud.co.uk

CLOUD’S NEW POWERHOUSE RANGE OF AMPLIFIERS

22/10/2018 12:05

Cloud’s new CV digital amplifiers are versatile multi-channel power amplifiers of advanced design, able to drive 100 V line or 70 V line loudspeaker systems directly.They are ideal for sound reinforcement applications in the retail, leisure, hospitality, commercial or industrial sectors. Large installations using multiple amplifiers will benefit from the amplifiers’ network connectivity: each amplifier may be configured individually, controlled and monitored remotely over a standard Ethernet network.

PowerShare Feature All CV Digital amplifiers are capable of delivering 1 kW of audio power. This maximum power rating can be shared between channels in a new intelligent manner, allowing amplifiers to drive different types or numbers of loudspeakers in various areas of a building or venue with maximum economy. The range comprises three models at launch with two, four and eight channel variants on offer.

Energy Star Certification One of the conerstones of the Design Brief for our next generation of Contact Voltage amplifiers was to achieve Energy Star Certification – as the only credible, global efficiency matrix available Energy Star is the industry benchmark for power consumption efficiency.

Measuring energy consumption efficacy for an amplifier is complicated as the demands on the power supply vary, Out of the Box Configurability literally to the beat of the drum! Therefore the only sensible All models include on-board, user-configurable DSP permitting cost saving are made when the amplifier isn’t doing anything great flexibility of internal architecture, but an important aspect or is in APD (Auto Power Down). This is where Energy Star of the design is that the amplifiers emulate earlier Cloud is very specific and very demanding. Achieving Energy Star amplifier designs “out-of-the-box”, and it is not necessary accreditation took a great deal of engineering design and to either connect a computer nor remove the lid to set resourceful software, making Clouds CV range of 70/100v an amplifier’s basic configuration. Ethernet, RS-232 and DC amplifiers the most energy efficient in the marketplace. remote control options are provided: the amplifiers are fully compatible with standard Cloud remote control plates.

24 | Source Material by Canford

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Aux Outs with Programmable DSP Systems are easily expanded using the new CV-Series amplifiers auxiliary outputs. With two auxiliary line-level outputs, fully programmable by the DSP software, per amplifier these can be used to drive additional amplifiers or pa systems.

Example application no.060 indicates a multi-zone hotel venue using auxiliary output 1 to provide audio input to a separate ballroom PA system.

Sonic Performance One of the most important aspects of any Cloud product is the sonic performance. Cloud is very proud of its reputation for reliability, but Cloud also delivers best-in-class sound quality. For a multichannel product but especially a 100V amplifier the noise that can be ‘bleed’ across each separate channel is a critical measurement figure. Measured in –dB the higher the number the less can be heard bleeding between channels.

Hand Assembly with 100% testing Cloud’s new amplifiers are hand-assembled in Sheffield by a team of audio engineers with a reputation for delivering products with undisputed reliability, rock-solid performance and industrial durability. Cloud adopt a 100% testing policy for the new CV-Series amplifiers. This means every single amplifier is subject to rigorous electronic and audio/sound tests, by electronics and sound engineers, before being packed for distribution.

Safety Safety features of the design include output DC detection, overcurrent protection, and thermal monitoring. A switchon delay provides loudspeaker protection at power-up. All models use variable–speed forced-air cooling.

Further Information: Cloud Electronics, UK manufacturers of high-quality commercial audio products including Zone-Mixers, Multi-Channel A product producing under -82dB of crosstalk noise shouldn’t Amplifiers, Paging Microphones, Headphone Audio Distribution really be allowed to call itself professional or commercial and Loudspeaker products for audio applications in Retail, because it is likely the audio system will hear and play out Hospitality, Education, Commercial and Leisure markets. something from the other audio channels. Cloud’s new CV Cloud Electronics USA has been operating since 2012, Amplifier Series offer a crosstalk measurement of less than located in Park City, Utah providing sales, system design, stock -90dB up to -107dB from non-adjacent channels. distribution and after sales support.

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MAIN BAR

Hi-Z

UTILITY

Hi-Z

DINING 1

DINING 2

TERRACE BAR

GYM

SPA

Hi-Z

Hi-Z

Hi-Z

Hi-Z

Hi-Z

Hi-Z

Hi-Z

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SUB Hi-Z

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Power Share – 500W, 70/100V

Power Share – 500W, 70/100 V 125 W, 70/100V

125W, 70/100V

125 W, 70/100V 125W, 70/100V

125 W, 70/100V 125 W, 70/100V

125W, 70/100V

AUX 1 (CH1) Line Level Audio

125W, 70/100V

BALL ROOM CV8125 8Ch Digital, 100v Amplifier CAT 5

LAN or Wireless Access Point

Line Level Audio

SATELLITE RECEIVER

ACTIVE SUB-SAT SYSTEM Line Level Audio

8 Zone Club Hotel Install

MEDIA SERVER MUSIC PLAYBACK

Web Enabled Devices For Configuration and/or User Control

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Source

7 Zone Spaces + Ball Room using AU Output mirroring Zone 1. The Ball R is an Active System. Zones 1-4 sharing 500W + Zones 5-8 are sha 500W of 70/100v Power. Ethern connected to the local router for | 25GUI contr Material Canford Browserby install config and

REVERB TWENTYFOUR PROVIDES VIRTUAL ACOUSTIC FOR LSO

By Paul Power, Canford Technical Support Engineer

Currently the landscape of audio production and reproduction is changing since 3D audio is starting to become common place in cinemas and homes where the Dolby Atmos format is available. Dolby Atmos utilises surround speakers in the horizontal plane but also above the listener. The BBC is also moving forward researching ways of delivering a more immersive listening and viewing experience into the homes of viewers whether that is utilising 3D speaker arrays or over headphones.

Making content for these types of systems requires new tools especially in the case of Dolby Atmos where there can be a large number of speaker channels to cope with. As an example, if you wanted to recreate the acoustic of a church you would have to have reverberation for up to 64 channels of speakers. Traditionally this would mean a large number of reverb effects units would be required, in addition, trying to route the inputs and outputs of all of these processors would be nearly impossible.

In order to meet the demand of the new 3D surround sound formats TC Electronic have developed a 24 channel reverb processor called Reverb Twentyfour.

This is a 1U 19� rack unit with the capability to process up to 24 channels and also control a number of parameters using the TC Icon software controller or via the Icon hardware remote, in addition more units can be linked together to cater for even more channels. The Icon remote allows the user to control all of the outputs simultaneously, this is very important in multichannel work especially when trying to create a diffuse soundfield as it is necessary to control the reverberation so that the energy is spread evenly around the listener.

26 | Source Material by Canford

Canford is the exclusive distributor of TC Electronic broadcast and professional audio equipment in the UK. The product range includes precision audio metering, monitor controllers, loudness management, audio delays and digital effects units.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

The Reverb Twentyfour is a specialist unit, developed for highly complex 3D surround workflows. As a result, the team at Canford was intrigued when they were contacted

by Managing Director of RNSS Limited, Richard Nowell regarding the purchase of a Reverb Twentyfour.

RNSS Limited provide a number of services which include audio rental, consultancy and in house equipment repair.

They are based in the Southbank Centre in London. Not only is their base in the Southbank Centre but they also own and maintain the audio system within the centre. RNSS work with a number of orchestras providing specialist sound engineering services, some of the orchestras include the London Symphony Orchestra and Symphony Orchestra of India which involves international touring.

Musicians Comfort Richard utilised the Reverb Twentyfour in order to make his life easier since he can now ship a 1U unit which reduces the cost, footprint and reduces the set up time. It also simplifies the management and processing of large numbers of channels. Recently he used the TC Reverb Twentyfour with the London Symphony Orchestra in Vietnam and in addition to recreating a virtual acoustic for the orchestra he also uses the speakers in a subtle way to provide fold back in order that musicians on opposite sides of the stage from their counterparts can hear each other. He also commented that the orchestra were very pleased with the acoustic that is created to the point that they had forgotten that he was using the Reverb Twentyfour. Richard also commented that he refers to the TC Electronic reverb as “fairy dust” due to the fact that when it is used “it brings everything to life in an indefinable but amazing way”.

Of general importance to musicians is the ability to be comfortable and to be able to hear other members in order to provide a good performance and thus an excellent listening experience for the audience. This is even more important in classical music where in terms of ensemble playing they must be able to hear each other and also receive feedback from the acoustics of the space in order to provide support for their instrument.

Concert Hall Acoustics Most concert halls have specially shaped stage shells which assist in providing musicians with the aforementioned needs.

There are many different performance spaces around the world, however not all of these halls are designed for classical music performance, or even for the style of classical music being played. This can be problematic if an orchestra has to perform in such an environment since the musicians will not perform to the best of their abilities and ultimately

this will impact on the paying audience. Richard goes to great lengths in order to ensure that the orchestras he works with are comfortable and can play at their best by creating a virtual acoustic suited to the needs of the musicians and the style of music. This involves utilising microphones, of which there can be as many as 32, hung overhead to provide as even a coverage as possible. The signals are then routed to individual reverberation processors and then finally routed back to loudspeakers placed all around and above the orchestra. Before buying the Reverb Twentyfour Richard used a number of separate reverb processors, like the System 6000, however management and routing of large numbers of channels is very cumbersome, not to mention the set up time and freight costs.

Some people might ask why do you need a large number of loudspeakers placed around and above the orchestra? This is important in order to recreate the pattern of reflections coming from all directions similar to that in a real room and be able to control this seamlessly to recreate a natural and convincing soundfield. Especially the early and late reverberant energy direction in relation to the musicians.

Furthermore, when processing and reproducing audio signals which have similar spectral content and reproducing these over a large number of loudspeakers this can be problematic as it can lead to audible artefacts which may include phasing or coloration of the soundfield, however the Reverb Twentyfour ensures that each of the output channels are slightly different in order to avoid correlation between channels. Ultimately, most consumers will only have a stereo set up, as a result the Reverb Twentyfour has a down-mix function allowing the creation of stereo content from any multichannel mix and also the ability to provide an up-mix from a single mono channel. When manipulating the decay of the reverberation it is also possible to use the ‘Focus’ parameters this allows you to spread the reverberation amongst channels using three different settings which include narrow, default and wide, these settings are similar to the divergence found in surround panning.

Richard commented that due to his busy schedule his use of the Reverb Twentyfour functions has been minimal and admits that he has not yet scratched the surface, but has a number of exciting projects lined up that will allow him to explore the Reverb Twentyfour in more depth.

87-0006 TC ELECTRONIC REVERB TWENTYFOUR EFFECTS PROCESSOR 24-channel, MADI I/O, GPIO

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 27

WHO’S LISTENING?

By Paul Power, Canford Technical Support Engineer

Noise can be detrimental to our overall wellbeing and of course our hearing. Throughout the course of a day we can unwittingly expose ourselves to noise levels that are harmful to our hearing. This could be during the course of completing an exercise class at our local gym where the PA system plays or it could be whilst listening to a favourite album using headphones or attending a concert.

The Human Ear

Fat Scapha

Temporal Bone

Stapes Incus

Inner Ear

The human ear consists of three main parts:

Middle Ear

Helix

Temporal Muscle

metres away would be 110dB, which is the average human threshold of pain. Sound levels measured on a decibel scale relative to the threshold of hearing are called SPL (Sound Pressure Levels). Not all frequencies are equal since lower frequency sounds require a greater sound level than equivalent higher frequencies in order to be audible, as a result frequency weightings are used when measuring sound levels to represent how the human ear weights different frequencies, which are known as ‘A’ weighting.

Outer Ear

Our ears are very sensitive and can incorporate huge audible range, in order to quantify this extremely large range it is necessary to use a logarithmic scale using decibels, this is not the only reason since our ears also respond logarithmically as every 10dB increase in level is perceived as double the loudness. There are some reference sound levels to consider, for example a pure tone at 1kHz can be heard by a young person with good hearing at 0dB, this is considered the threshold of hearing, with the level of a conversation at say a distance of 1 meter to the listener would be approximately 60dB and an airplane at take off power at a distance of 60

Semicircular canals Cochlear

Vestibular nerve

Maiieus

Tringular Fossa Antihelix

Cochlear nerve

Concha

Auricular lobule (Earlobe)

28 | Source Material by Canford

Cartilage

Tympanic membrane External acoustic meatus (Eardrum) (Ear canal)

Tympanic cavity

Eustachian tube

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The Outer Ear Which includes the pinna, ear canal and the ear drum. For adults a consequence of the ear canals shape means that it amplifies frequencies in the region of speech, which is approximately 3-5 kHz, the amount of amplification for each individual will depend on the length and shape of the ear canal.

The Middle Ear Includes what are known as the ossicles, these are the smallest bones in the body and are known as the hammer, anvil and stirrup. These essentially take the great movement of the ear drum caused by the small force of sound and convert this into a small movement but greater force. These small bones are connected to the ear drum via what is known as the tensor tympani muscles. The ear drum has the ability to move to the point of bursting with excessive sound levels, however the tensor tympani muscles tense up and prevent this from happening, this is generally followed by a sensation of pain in the ear as a result.

The Inner Ear One of the most important parts of the inner ear is the basilar membrane which is connected to the ossicles via what is known as the oval window. The basilar membrane is housed in the cochlea which is a snail like structure. Within the cochlea is a fluid and movement which starts at the ear drum and is passed to the oval window via the ossicles which causes a pressure change within the cochlea and also disturbs small hairs on the basilar membrane causing nerves at the base of the hairs to send electrical signals to the brain. The basilar membrane acts as a kind of frequency analyzer and due to the structure it resonates at different areas along its length which is dependent on the sound content, which is very stiff and has a low mass at the near end for high frequencies and not very stiff and high mass at the opposite end being more suited to low frequencies.

Noise Induced Hearing Loss A rock concert can generate levels of approximately 100120dB and after being exposed to these kind of levels without hearing protection for a certain period of time a person can experience what is known as a TTS (Temporary Threshold Shift), this is where the quietest sound that the individual

could hear before the concert has to be louder now due to the over exposure of loud music. Most of the time the hearing returns to normal the next day, however permanent threshold shifts can also happen and the hearing never returns to normal. Current audiology research has also provided some evidence that even after the hearing has recovered from TTS, damage can occur which affects the way the hearing ages and can affect the way the small hairs on the basilar membrane communicate with the neurons of the cochlea which send electrical impulses to the brain. The unfortunate result of hearing damage is that the initial damage will happen within the range of frequencies responsible for speech.

Another effect of hearing damage might be tinnitus, where the sufferer may be stuck with a ringing sound in their ears, but it can also be manifested as a rushing or hissing sound. The main problem with hearing loss is that it is not immediately noticeable and often when the individual realises that there is a problem there is no solution to cure their symptoms. Some people use the term ‘my ears are bleeding’ when describing having to listen to a song they hate or if a noise is too loud, it would be good if our ears did in fact bleed as this would give us an indication that there is a problem. However, not only excessive sound levels can cause hearing damage but also the combination of excessive sound levels and drugs, being legal or illegal, including alcohol. Hearing damage caused by drugs being known as ototoxic and can increase the damage further than loud music on its own.

Sound Level and Exposure Time Most music lovers at some point like to sit down and listen to music at loud levels, although how loud is too loud and for how long? For example in the workplace the health and safety executive sets out sound level thresholds. If these levels are breached employers must take action to protect workers hearing. The daily or weekly upper limit is 85dB(A) or a peak limit of 137dB(C), if the levels are at 85dB(A) or higher employers must take action to protect their workforce.

However, what if you are concerned about your sound level exposure outwith your job for example, well it is not quite straight forward because it depends on the type of exposure, for example listening to spoken word there are points when there is silence so the exposure time is reduced, however if listening to loud music this is generally more continuous so quite quickly you could use up your exposure budget.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 29

WHO’S LISTENING? The exposure budget generally works on the principle of a 3dB exchange rate, for example at 85dB(A) you can listen to music for 8 hours, but for every 3dB increase this halves the exposure time so for 88dB(A) this would be 4 hours and so on. This is very pertinent nowadays since many people listen to music via their mobile devices using in ear earphones, devices like the IPhone at maximum volume can deliver at least 100dB to the eardrum via ear buds so within approximately 15mins at full volume you could be susceptible to damaging your hearing. Sound engineers for example fulfil an occupation where they are at an increased risk from hearing damage and it is not always possible to accurately track their sound exposure over the day or week, however there are solutions for example the TC Electronic Clarity X (87-0201) monitor controller which allows the user to calibrate their speakers and headphones in order that they can accurately track their sound exposure level over the day or week. Canford also provides level limiting of headphones.

This is a special process which involves the fitting of custom limiter circuits which are calibrated to the headphones in order to limit the maximum level the headphones can reproduce to assist employers in the management of workers sound exposure in line with the health and safety executive rules.

For non professionals, there are a number of apps available mainly for the IPhone that allow you to track your sound level exposure so that you can budget your personal listening time over headphones, for example the SoundLog Noise Dosimeter here. There are Android apps too, however IPhone apps provide the best functionality, due to the advanced audio processing of IPhones compared to the array of different Android component manufacturers and the open software platform. In general it is always better to start off listening to music at lower sound levels since we habituate quite quickly to sound levels and after sometime the level does not seem as loud and we have to turn it up, so starting lower is safer as you can save louder levels toward the end of your listening period. Most professionals in the audio, video and broadcast engineering are familiar with the sound level measurement metric SPL (Sound Pressure Level) which in general provides an instantaneous or momentary sound level measurement.

However, a measurement metric which provides a more accurate representation of the sound level over a certain period of time is the SEL (Sound Exposure Level) which in short is an A weighted energy measurement squared and integrated over a certain period of time and normalised to an 8 hour working day or 40 hour week.

30 | Source Material by Canford

Of course it is a lot more difficult when out in bars and clubs or restaurants to monitor sound levels or get an indication as to the sound levels you are being exposed to, however there are a number of sound level measurement apps available, these include the Decibel X for IPhone and Android, Sound Meter for Android and Noise Hunter for IPhone. Of course these measurement apps provide approximate measurements using the phones built in microphone, however adding for example the micW i436 microphone creates a measurement system with greater accuracy.

When many people think of hearing protection straight away they think killjoy: ‘ i won’t be able to enjoy my favourite band at a live concert wearing hearing protection and it will sound rubbish’ however many good quality earplugs are worth the investment since they work more like filters providing attenuation of sound levels across a range of frequencies.

Knowing the performance of an earplug is provided using SNR (Single Number Rating), like the Proguard Noizezz which allows the user to determine how effective the earplug will be, higher SNR numbers indicate greater attenuation. Attenuation values are also given across a range of frequencies and of course due to the wavelength low frequency attenuation is never as great as high frequency attenuation, however there is a limit to the level of protection provided by earplugs since incorrect fitting and bone conduction reduce the maximum level of protection.

Overall when considering the general term ‘loud sounds’ there is a difference between industrial noise and loud music, since loud industrial noise is something you would definitely not want to be exposed to, yet loud music is not so offensive.

Many people get a lot of pleasure from listening to music at loud levels and studies carried out over a decade ago found that responses to loud rock and dance music of 90dB(A) and greater from within a part of the inner ear called the vestibular, which is a part that controls balance and spatial coordination, suggests that this response may indicate a minimum sound level for dance and rock music to work giving it the term ‘rock and roll threshold’.

Nowadays nearly everything we enjoy comes with a health warning. When it comes to our hearing however this isn’t always the case and there are many situations where we can be at a risk from over exposure. However there are some precautions that can be taken to help reduce the risks. As with everything in life moderation is the key and there are ways and means to protect your hearing but at the same time enjoy music to the fullest.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

LEVEL-LIMITED HEADPHONES AND HEADSETS • No loss of audio clarity • Protects from hearing damage • Fitted in-line or discreetly within the earcup • Fast turnaround – evaluation, fitting, calibration, test For more infor visit www.canford.co.uk/ Hearing-protection-and-noise-control

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CONTACT OUR SALES TEAM UK sales tel: +44 (0)191 4181122 email: sales@canford.co.uk

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Source Material by Canford | 31

NEW BSI STANDARD REVISION PUTS AV EXPERTISE FRONT AND CENTRE

Andrew Thomas, Marketing Development Director at Contacta Systems

The BS 8300 standard sets out best practice for designing a space to be fully inclusive. The latest revision includes, for the first time, specific guidance on meeting the needs of those with hearing loss.

Andrew Thomas, Marketing Development Director at Contacta Systems looks at what these changes mean for AV installers and customers.

People with hearing loss are the largest disabled group in the UK. One in six of the population (11 million) live with a hearing impairment and almost a quarter of those wear a hearing aid.

electrician who could fit a loop system. It also meant end users weren’t properly served. ‘Accessible’ vs ‘inclusive’

There has been little specific guidance on how to make an environment accessible to them – until now.

The committee responsible for creating and revising British Standards recognised there was a need to take the onus away from the person and to be clear about service providers’ responsibility to offer an ‘inclusive’ rather than ‘accessible’ environment to all.

Before the BS 8300 Standard revision in January 2018 it offered limited detail and premises were largely guided by the Equalities Act 2010 and Part M of the building regulations.

It is useful to understand the change in focus contained in the new Standard.

The Act states service providers must make “reasonable adjustments” to enable people with a disability to use their services and obliges them to “provide auxiliary aids and services” including hearing loops.

For hearing aid wearers this means a shift from having access to one designated checkout at the supermarket to being able to use any checkout because they all have loops. Given the advances in design and technology, people should no longer Complying with Part M of current building regulations requires be separated because of their disability but ‘included’ in the environment as a whole. an environment to provide a solution to enable everyone to participate - “The aim is for all people to have access to, and Although hearing loss is so prevalent amongst the UK the use of, all the facilities provided within buildings.” population, it is an ‘invisible’ disability and clear standards for induction loop systems were a glaring omission. This is why But what these, and the previous edition of the BS 8300 the latest edition of BS 8300 now includes, for the first time standard, did not do was to give detailed examples of what ever, a complete new annex covering all aspects of induction constitutes best practice. loops from specification to staff training, best practice This left a grey area open to interpretation and meant AV installation to signage. installers could do little to justify their expertise over an

32 | Source Material by Canford

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

is essential to be sure of compliance. It’s an all too common occurrence that a user goes into a building to find the loop doesn’t work and nothing can be done about it at that stage.

By understanding this it’s much easier for installers to make the case for their expertise because ultimately, this helps to protect customers from the reputational or financial consequences of a system not working.

The impact for AV installers and customers The content was compiled by experts from the industry and so recognises the importance of specialist knowledge in ensuring loops meet the needs of the end users.

For AV installers and integrators, it gives specific examples of what constitutes best practice so they can be confident their system design and recommendations to clients meet the appropriate level of provision.

For instance, the Standard states which public areas should have assistive listening systems for the hard of hearing and what format they should take e.g. a large area loop should cover the whole of a conference room. If such a loop cannot cover the entire congregation in a place of worship it must meet the needs of at least 50% with clear signage to show where it is available. Entertainment venues, boardrooms, school classrooms and announcements in airports and railway stations are also included as are environments where safety is an issue such as help and refuge points.

Essentially any project you may be involved with, the new revised standard of induction loop integration cannot be ignored.

It also covers the use of microphones within the loop system – and this is where an AV professional’s knowledge will really make the difference in making sure the appropriate one is selected.

Promoting expertise It isn’t enough for premises to install a loop and feel they have met both the legal and best practice standards. If the person with hearing loss can’t access information or entertainment because the system has not been specified or installed correctly, then the standards have not been met.

The importance of staff training Staff are the interface between the hearing loop and the user. It is essential that they know a loop is in place and the basics of how it functions so they can advise visitors or customers accordingly.

Users have undoubtedly found hearing loops have been in place but have been turned off or staff are unaware the system doesn’t work because of a lack of regular testing.

This is not only frustrating but means valuable patrons are likely to take their business elsewhere.

Signage is an essential part of an induction loop system.

Having clarity of where a system exists is fundamental to enable the user access to it. Wherever there is an induction loop there should be corresponding signage.

Why it matters The number of people with hearing loss in the UK is expected to rise to 14.5 million by 2031. This equates to one in five of the population. (souce: https://www.actiononhearingloss.org.uk) The revised BS 8300 is a key part of creating premises fit for the future that are inclusive and welcoming to all members of society. While it is not enforceable by law, the Standard now offers a benchmark against which provision can be audited - any user claiming compliance with this British Standard is expected to be able to justify any course of action that deviates from its recommendations.

For AV installers and integrators it recognises and adds value to professional expertise but that expertise has to be up to date and fully across these new changes.

Knowing how to survey a room, check for interferences or specify the correct type of microphone are all issues that highlight the need for appropriate expertise in every construction, design or refurbishment project, and at the earliest stage possible.

Added to this is the Standard’s requirement for reactive and preventative maintenance of induction loop systems.

Regular testing – not just when users come into premises –

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 33

Hearing Loop Drivers Using the latest DSP and Class-D technology, Contacta’s new easy to install V-Series drivers are compact, powerful and efficient.

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Our new V-Series drivers are suitable for installation in a variety of venues including classrooms, theatres, hotels and places of worship. Our systems deliver clear sound with precise speech intelligibility and no background noise.

34 | Source Material by Canford

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

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Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 35

DWX Gen 3

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Available at www.soundnetwork.co.uk 36 | Source Material by Canford

Tel: +44 (0)20 3008 7530 Email: sales@soundnetwork.co.uk Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

ADLIB TURN TO CANFORD FOR CUSTOM METAL WORK

By Stephen Gallagher, Canford Marketing Manager

Adlib are one of the UK’s longest established technical production companies which serves the event industry around the world.

From its head office in Liverpool and new facility in Glasgow, Adlib provides sound, lighting and video equipment to buy, hire or install, and whether it’s a stadium tour or the purchase of a single microphone, the team prides itself on providing the highest level of service.

Canford has a long history of supporting Adlib in this fast moving industry, where requirements can change at the drop of a hat.

Together, the two companies have developed a collaborative approach to creating solutions which speed-up on-site installations. It is a relationship in which Canford provides strong manufacturing support coupled with of over forty years’ experience.

The format chosen was a wheeled 19” rack, into which the load resistors plus all ancillary equipment would be mounted - the heart of the system was to be the control unit, which would provide user controls and metering, as well as housing all monitoring connectors.

This Control Unit would require custom metalwork outside of our in-house capability, for which Canford where the obvious choice.

We knew that the quality would be up to spec, but, in addition, we also knew we could rely on their support and advice throughout the design process.

The finished dummy load system has now been in service for several months and is already proving to be a good investment. We are now able to test any amplifier up to and beyond its normal operating limits, and the ease with which the new system can be applied has markedly improved our workflow.”

Canford were the obvious choice.

Adlib also operate a repair shop, which due to increasing demand, recently needed a custom built dummy load test rig.

This would be used to ensure the optimum performance of high-power audio amplifiers. Once again, the team turned to Canford for help.

Tom Izett, Adlib Service Engineer explains: “As a repair shop supporting our rental departments and external clients, the repair of professional audio amplifiers is a staple of our day-to-day work. Integral to working on these amplifiers is the ability to test them at realistic levels under various conditions, while monitoring their performance.

Clearly it is not practical to load a large amplifier with loudspeakers and play it at full volume - so some kind of dummy load is called for.

Although the service workshop has had various shop-built dummy loads in the past, expanding workloads coupled with the ever expanding power and channel count of the latest amplifiers meant that it was time to consider a purpose-built, comprehensive and future-proof system. This system needed to fulfil the following requirements:

Not only did Canford work with Adlib on the initial design and development of the 4U enclosure but also went on to produce the unit at their manufacturing facility on the Isle of Portland, Dorset which incorporates sheet metal, machining, powder coating, laser engraving and assembly.

Erika Dobie, Canford Business Development Manager concludes: “I’ve worked with the team at Adlib for nearly 10 years. It’s always an interesting visit to see what the guys are up to, the kit they’ve invested in, and look at new ways Canford can support this.

It’s a great relationship which as well as including sales and purchasing staff, it regularly involves direct talks between technical and production teams at both ends. This collaborative approach speeds up the process, it gets the right people talking together and means we’re able to support Adlib with challenging and time critical requirements.”

• Be capable of testing 4 amplifier channels simultaneously • At a range of load impedances • With a capacity of several kilowatts per channel • And providing comprehensive monitoring facilities • Be quick and easy to deploy, and accommodate products from a range of manufacturers Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 37

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Source Material by Canford | 39

CANFORD ON TOUR

By Erika Dobie, UK Business Development Manager

Although Canford is better known as a manufacturer and distributor of quality pro audio and video products to the broadcast, AV, theatre and education markets it has in recent years also begun to develop an increasingly strong reputation as a supplier of choice for the booming live touring industry.

With recording artists and the music industry in general seeing a significant reduction in revenues from traditional channels such as CD sales and digital downloads, they have increasingly looked towards the revitalised demand for live events as a way of filling the void. Live events in the UK are now reported to be worth in excess of £1 billion per year and this includes everything from the grassroots venues such as pubs and clubs right through to the major multi-stage events like Glastonbury and the BBC’s Big Weekend.

The explosion in this field has seen an expansion in both the size and number of companies who plan, design and deliver these live events. As a trusted partner Canford has been on hand to work alongside many of the major providers in developing, sourcing and supplying the appropriate solutions and quality products that help to make each event successful.

Equally, and in true Canford style, that same level of support has been extended to ‘one man band’ operations, albeit in this market the term is, in many cases, more literal!

Many of the products Canford supplies into the touring market already have a long standing reputation for performance and reliability within Canford’s other core areas and this is why these are also the preferred first choice for touring and live events. Products such as the much loved and virtually indestructible range of EMO Power Distribution Panels, DI boxes and both Mic and Line Splitters. Also wellliked and respected is Canford’s Tecpro Communication System which is renowned as the industry standard for talkback intercoms in the UK due to its reliable performance, clarity and the robust construction of its headsets and belt packs. Both of these brands are designed and manufactured in the UK by Canford.

40 | Source Material by Canford

Canford recently introduced Green-Go, in-part to bolster its ability to support the live events, rental and touring markets.

Green-Go is a cost effective scalable digital communication system that operates securely over a standard Ethernet network and includes wireless capabilities. Whilst Green-Go operates very well as a stand-alone product it does have the added advantage of being easily integrated with any two-wire or four-wire analogue (or digital) systems such as Tecpro, PMR Walkie Talkie Radios and global systems via the BridgeX network interface.

Canford are not just about supplying a few niche ranges but instead aim to offer the widest possible cross section of solutions with many popular products being available ex-stock for next day delivery. Many of the company’s 15,000+ standard products are already widely used within the live events industry and these include popular brands such as Neutrik, Ten47 (Tourline, Powerline and Showline Series), Scolmore (Locking IECs), Littlite, K&M, Peltor, Beyer, Sennheiser, Shure, DPA, Voice Technologies and TC Electronic - including the System 6000 mkII which is used on touring rigs for artists including Paul McCartney, Depeche Mode, AC/ DC, Toto, Steely Dan, and more!

What makes Canford truly distinctive is that over 40% of the products offered are manufactured in-house, within its own UK production facilities and from its own original designs.

Externally sourced designs include the recently launched Canford Cat7-F (stock code: 31-840) cable which has already been approved by Waves for use with their Soundgrid systems. Modifications have also been made to Canford’s existing FSJ multi pair cables to make them more suitable for use within touring applications.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

Canford boasts 3 different workshops across 2 sites.

These include a fibre and assembly workshop at the firms Washington headquarters in the North East, and a metal workshop on the Isle of Portland in Dorset. The assembly workshop at Washington focusses on the production of EMO and Tecpro brands but also manufactures a large range of cable assemblies and breakout solutions. Canford has invested heavily in its Portland operation which offers in-house metalworking, powder coat painting, laser engraving equipment and assembly facilities which produce a wide range of panels, enclosures and rackmount solutions.

The fibre workshop at Washington which was set-up 2 years ago in response to an increasing demand for fibre termination and repairs. This now allows Canford to offer touring customer’s relatively short lead times on fibre cable assemblies including both HMA and opticalCON. With respect to opticalCON Canford are one of a limited number of Neutrik approved UK providers.

With this in mind Canford is constantly talking to its touring customers with a view to understanding their future needs and developing or sourcing the solutions required. Current customer led projects include re-engineering and modernising the EMO range of power distribution panels, development of HMA fibre breakout solutions and identifying new and improved cost effective cables suited to live events.

Canford also appreciates that quite often a standard off the shelf product isn’t really suitable due to space constraints or there being a very detailed requirement for a particular touring application. The benefit of having its own workshops means that Canford is well placed to work with customers to develop custom solutions that meet these demands.

Recent examples of this type of work include customer specific laser engraved audio splitter panels, hinged rack frames which allow quick access to the inside of a flight case and bespoke pre-wired mains distribution units.

Canford is now in its 42nd year and the team, many of whom have been with the company for decades (just look at the Meet the Team page!), are very proud of a hard earned reputation for both service and quality to all market sectors.

The team at Canford also appreciate that as the world moves at such a fast pace that they need to understand and take on-board new and changing technologies.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 41

ELC LIGHTING INTRODUCES A NEW CONCEPT IN SIGNAL DISTRIBUTION DMX control specialist ELC Lighting has launched the DLN8GBXSL eight port slave node, an innovative new concept designed to revolutionise Ethernet/DMX network distribution.

The DLN8GBXSL serves as a substitute for a DMX splitter rack, where all DMX ports are fully programmable as output, input, merge, backup and more, as node ports.

Slave nodes form part of the ELC GBX Distribution System, of which the dmXLAN switch (GBx10 or GBx18) is the master. Allowing up to 15 slave units to be daisy chained via the Ethernet ports. Supporting all open protocols including sACN, Art-Net and ShowNet. When connected and loaded alongisde ELC’s advanced dmXLAN software, the system transforms how DMX can be distributed from an Ethernet network, utilising standard Ethernet protocols and DMX It is specifically tailored for live entertainment applications where a mixture of data protocols would overload and saturate commerciallyavailable network switches.

The result is a simple system that is far more cost-effective while offering powerful control.

“The Ethernet part stays the same, but the idea is that if you usually have one node, and on each port of the node you connect a splitter, you end up with a rack where each splitter can do only one thing - repeat on 8 or 10 ports,” explains ELC’s Sales Manager, Silvio Cibien. “Ideally, we would like to have the node instead of splitters, so each DMX port is used for programming, digital patching, the merging that you like, channel by channel. However, this can be very expensive.”

“ELC has created this new system, which allows the user to have a splitter that offers all of the features and flexibility of a node. Meaning that each port can again be programmed as if it was a node, because in essence it is now a node. By that, I mean that the control and programming are both in a switch. You can programme channel by channel, soft patch, decide what kind of merge; in triple universe merging you can make your own digital pattern, programming each channel of each port.”

42 | Source Material by Canford

The system transforms how DMX can be distributed from an ethernet network

“Because the DLN8GBX8SL slave node is priced at the same level as a good splitter, for the price of a splitter rack (1 Switch, 1 Node, and perhaps 10 splitters) you will have a rack where all DMX ports are node ports.”

The DLN8GBXSL is designed solely for use as a slave to the dmXLAN switch GBx 10 or dmXLAN switchGBx 18. The DMX ports can be configured via the user interface of the switch or with the dmXLAN software. If the maximum of 15 DLN8GBX8SL slave units can be connected to the switch, the result is a system rack with 120 fully programmable DMX/RDM ports.

“In the past, it was often the way to have a media server sending video to an LED wall and a lighting console controlling a moving light, but these days, the server is often used to send RGB data to the fixture as well,” Cibien continues. “In one scenario, you might realise that the light colours are matching the video. For this, we offer a double or triple merge via dmXLAN, so that on each channel you can decide what is taking control. We need to know if we want them both to be controlled at the same time, or how we want to swap between control products.

“We can do this channel by channel, with our software. You can even set up a control channel, which means you can manipulate your lighting desk so a fader controls merge, the moving desk fader will make it fade-in, fade-out, between the media server and the desk. And you can do this with all the channels or through only the colour channels or whatever you like.”

Both nodes offer data splitting, merging, soft patching and backup when programmed using ELC’s dmXLAN software.

All DMX ports are fully-isolated.

ELC Lighting products are available exclusively from Canford in the UK Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

PROFESSIONAL LIGHTING EQUIPMENT SOLUTIONS

ELC LIGHTING Networked DMX control RIGG Focus Hand 3

• U HF remote control • 50 Recordable cue states • Merged DMX input from the lighting desk DMXLAN node Buddy

• S imple DMX controller via IOS app or browser

RECORD ShowSTORE

• S tand-alone DMX record and playback system - replaces the lighting desk

• R eal-time recording and replay of up to 4 DMX universes 43 • C omprehensive external triggering

DISTRIBUTE DLN8GBX

• Master for slave units • 8 Bi-directional DMX ports • Supporting sACN, Art-Net & Shownet • R emote programming and monitoring of fixture parameters

DLNGBXSL

• U p to 15 slave units can be connected,

giving you a system with 120 individually programmable DMX/RDM ports

PLAYBACK AC612 range

• 12 memories of 512 DMX channels • Each memory can be a scene or a chase • “Memorys” can be presented as push buttons or faders

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 43

tecpro

by Canford

LINKING WIRELESS TO ANALOGUE 2-WIRE COMMS

By Mike Reay, Canford Product Manager

A few facts about Green-GO DECT wireless

A large number of venues and rental companies use Tecpro, Clear-Com, RTS-TW and similar analogue partyline (sometimes referred to as 2-wire) intercom systems. Many users find that two channels of intercom provide them with all the facilities they need and the only thing they would like to add is a small number of wireless beltpacks to allow selected users to move around freely. While walkie-talkies have their uses, they do not allow simultaneous 2-way (duplex) conversation to take place, so another solution is required.

• DECT 1.9 GHz license-free wireless intercom

The UHF full duplex wireless options are starting to age.

They require a license to be legal and there is concern about the diminishing number of available frequency bands.

• Rechargeable Li-Ion battery, removable, quick release (supplied)

License-free operation is a popular option but intercom systems operating in the 2.4GHz band have generally gone out of favour because of spectrum overload issues that occur when the audience enter the venue carrying their smart phones which immediately start looking for a wifi connection.

• Optional 6-way battery charger, mains powered, 1U

There is now a reliable and affordable wireless option that will interface robustly with analogue 2-wire intercom and does not require a license in Europe, the USA, Japan or Australia. Green-GO DECT wireless intercom operates in the 1.9GHz band which does not suffer from the saturation issues that plague 2.4GHz. Conversation is full duplex, just like wired comms.

• Comprehensive feature set

This remarkable system was designed by Green-GO Managing Director and PLASA Gottelier Award nominee, Joost van Eenbergen. It is manufactured in Holland alongside DMX and network products from ELC Lighting. Canford is the sole distributor in the UK and Ireland for both GreenGO and ELC products.

44 | Source Material by Canford

• Full duplex, high audio quality, low latency • 2, 3 and 4 channel operation, selectable • Select from 32 channel options held in memory • RF coverage, around 50m - 300m depending on the environment • Increase RF range by adding remote antennas so beltpacks can roam

• 1-way battery charger with mini-USB (supplied) • Register 4 beltpacks to single antenna • Register 4 antennas to single beltpack • Tough, lightweight ABS case Unfortunately, linking Green-GO to analogue intercom is not as straight forward as it sounds because 2-wire analogue comms operates like an old style telephone system where all conversations are carried on a single pair of copper wires (hence the term 2-wire). This results in audio that has been injected from Green-GO on to the analogue line will immediately return and try to get back on to the Green-GO system, resulting in a nasty echo….

The echo problem is resolved by a clever process called ‘Nulling’ that analyses the unwanted returning signal, and works out the best way to cancel it out.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

System Power and Communication

In a professional environment, it is good practice to add:

• Green-GO digital devices communicate with each other over a data network.

• 1 x spare NRG battery per beltpack

• All Green-GO devices need DC power DC voltage is sent down the same cat5 cable that supplies the data. This is Power over Ethernet, commonly referred to as PoE and is supplied by a PoE ‘Switch’ which has several powered ports. A single Green-GO device is attached to each port.

• 1 x BR6 6-way charger, 1U Control software is available FOC from the Green-GO website in either Mac or Windows format. Download it and experiment - you’ll get an insight into how easy it is to programme your system to get the best from your events. https://www.greengodigital.com/products/green-go-control/ For further information on Green-GO digital intercom contact product manager Mike Reay: mcr@canford.co.uk

Notes: • Unlike analogue comms, Green-GO beltpacks can’t be daisy chained as it would reduce the available PoE voltage.

• Wireless beltpacks don’t use PoE because they are battery powered

TECPRO PSU Single circuit

How to get started?

To interface Green-GO to 2-Wire analogue comms you need the following: • A PoE switch with enough powered ports to support the number of Green-GO devices being used - you can use a PoE switch from Green-GO or any other good brand • One SI2W 2-Wire interface for each analogue comms circuit required (typically only one) • One WAA antenna (for up to four WBPX wireless beltpacks). Add more if required…

• Up to 4 WBPX wireless beltpacks. Add more if required… don’t forget to add more antennas • A headset for each WBPX wireless beltpack The supplied NRG quick release battery will give around 6 hours continuous use from a full charge. A single channel charger is included. Charging takes around 4–5 hours when fully depleted.

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Green-GO PoE Switch

Source Material by Canford | 45

We need to talk!

GREEN-GO DIGITAL INTERCOM OVER ETHERNET Multi-Channel Main Stations and Extenders • 1U Rackmount and compact desktop formats • 36 Assignable fields (2 pages of 18) • Assign fields with system functions or intercom channels • Loudspeaker or headset communication • Multi-function LED pushbuttons and RGB TFT touch-screen • 24 Channel Extender units - link up to 9 to a single main station

DECT wireless intercom • L icence-Free operation in Europe, the USA, Japan and Australia • High audio quality with low latency • 32 Intercom Channels per pack • Robust RF coverage

RDX Walkie-Talkie interface • E legant way to integrate walkie-talkies with Green-GO (Walkie-talkies not included)

NEW SI2W 2-Wire Interface, single channel • Cost effective way to integrate Tecpro with Green-GO

NEW SI4W 4-Wire Interface, single channel • Import and export analogue audio to/from Green-GO network • I n ‘remote’ mode, link an RTS or similar matrix intercom to a remote Green-Go system over the internet

46 | Source Material by Canford

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

Pro Audio • Video • Broadcast • Post Production • AV • Live Events

Photo: Lee Allen, www.leeallenphotography.com

Specialist asset finance for broadcast, post-production and live events

To discuss your next project, please ring 01327 872531 (quoting ‘Canford’), email sales@media.lease or visit www.medialease.com Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 47

MEDIALEASE: FINANCING THE POST-PRODUCTION AND BROADCAST MARKETS Paul Robson, Managing Director of Medialease

Since our inception in 2002, we have regularly worked with The Canford Group. With the huge costs involved in equipping a new business with the latest editing, production and grading equipment, companies often plan financial solutions to spread the load, rather than compromise on technical requirements.

As a specialist asset finance provider, Medialease has worked with many large broadcasters, post-production houses and events companies over the years, supplying editing, grading and audio equipment for audio and video facilities, along with the latest 4K cameras and location playout equipment for the world’s biggest sports and motorsports broadcasters.

Medialease funded all equipment for the new editing facility, including a purpose-built machine room, all MCR equipment, plus twenty editing suites. The facility integrates seamlessly with Evolutions’ other facilities in Soho – which Medialease has also equipped over many years – with all systems configured to the latest post-production specifications.

Goldcrest Post Production Medialease has supported Goldcrest over several phases of its refurbishments at its Soho-based facility, including the creation of the flagship Dolby Atmos Theatre 1 – the largest audio dubbing suite in London.

Our relationships with many of our customers go back several years too, with broadcasters and post-production companies returning to us at each phase of their business plans to upgrade equipment or improve facilities. We understand the requirements of audio and video-based industries, together with how essential the specialist equipment is to the success of a company; here are just a few examples of how we’ve helped companies build their businesses.

Evolutions Television Award-winning post production house, Evolutions, has recently built a new 20-seat Avid editing facility in-house at production company, Shine TV. This large-scale Evolutionsbranded facility, located at Shine TV’s Primrose Hill offices, was designed so that editing could be brought in-house for Shine TV’s many productions.

A few years ago, Goldcrest wanted to grow the company to be the number one facility for feature films in the UK; the company recruited the right people, ready to start the task of challenging the high-end film post-production industry for the top spot. Goldcrest already had a good film mix theatre but, over time, they saw the mid-budget market decline, as work polarised either into low budget films or the biggerbudget studio features. They really needed to build a very large mix environment of their own.

In 2015, Medialease arranged a million pounds for Goldcrest to set-up new finishing suites, with a complete refurbishment of Goldcrest’s audio feature film mixing rooms to follow too, in which Medialease also funded the equipment. We’ve provided all asset financing for all equipment in all rooms over the entirety of Goldcrest’s expansion project, from audio to video post and grading, helping Goldcrest grow its offerings for drama and film projects. The large theatre was launched with great acclaim in the industry; one of the very first bookings was Jason Bourne for Universal, a $100m+ budget feature.

48 | Source Material by Canford

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

Theatre and Live Events The live events market has seen tremendous growth and maturity in the last ten years, with many acts reforming to make millions from concert tickets alone. However, this has also seen audiences demand a higher quality aural and visual experience, so production standards and the equipment required has grown hugely too.

Arena Television Arena Television’s OB X, Y and Z trucks feature the world’s first full-scale implementation of data-over-IP in an outside broadcast truck. From the hallowed turf of Wembley to the well-trodden fields of Glastonbury, the trucks deliver a fully glass-to-glass IP workflow. Medialease has worked with Arena for fifteen years and was instrumental in this project from the start. The company provided the finance for truck OB Y and its supporting equipment, helping Arena build the reality of a fleet of identical IP outside broadcast vehicles, ready for use on a range of sports, music events and live television productions.

We’ve funded many lighting systems at events, along with FOH audio consoles, monitor mix and PA/line array systems.

We also often finance the LED video screens, projectors and camera systems required on these tours and live events; recent projects have included the high resolution 5.9mm pixel large screen on the Depeche Mode 2018 tour, along with audio systems for One Direction and Take That.

Medialease offers a range of financing options to suit varying customers’ needs, including medium and long-term rental, on and off-balance sheet leasing and traditional hire purchase. We also work closely with many audio and video manufacturers and partners to provide access to knowledge, new products and fantastic deals that you won’t find anywhere else. Whether securing funding for a small edit suite for a boutique start-up, or financing a fully-equipped outside broadcast truck, we can advise on your best options.

For further information, please visit www.medialease.com or call our friendly team on 01327 872531.

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CANFORD

CONTACT OUR SALES TEAM

UK sales tel: +44 (0)191 4181122 email: sales@canford.co.uk Int sales tel: +44 (0)191 4181133 email: international@canford.co.uk theInternational essentialsales source Call on +44(0)191 418 1133 or email international@canford.co.uk Source Material by Canford | 49

Leading system integrator deploys Canford connection solutions at £236M BLOX Project

DENMARK:

By Stephen Gallagher, Canford Marketing Manager

From its headquarters in Hvidovre, just outside of Copenhagen, leading Danish systems integration company Enstall provides AV installation and infrastructure services for auditoriums, conference centres, theatres and concert halls.

The multi-disciplined company has previously completed a number of high-profile projects, including the Copenhagen Opera House, The Royal Danish Theatre, and the DR Concert hall which has undergone the most extensive transformation in its 250 year history over the past decade.

More recently Enstall was asked to provide the AV infrastructure for the ground-breaking £236m BLOX project located in the centre of Copenhagen’s inner harbour.

Designed by renowned Dutch architect Rem Koolhaas, BLOX represents one of the capital city’s newest major urban developments, and brings new life to a part of the harbour that had been deserted for years. The multi-purpose building is home to the Danish Architecture Centre and houses exhibition spaces, restaurants, urban spaces and fitness studios.

Enstall was tasked with providing an AV infrastructure that had to be ultra-reliable, but also capable of delivering maximum flexibility across large exhibition spaces.

Morten Lokken, Enstall’s Technical Director explains: “It was extra important that the electronics guaranteed good flexibility so that the room could be

50 | Source Material by Canford

reconfigured and adapted to all types of exhibitions on short notice, and with minimal disruption.”

Enstall enlisted Canford to offer technical advice and practical engineering support. Together, the companies developed custom connection solutions for power, audio and fibre, designed to live up to the technical and aesthetic requirements of the project.

Canford manufactured and supplied over 100 boxes which were installed in both floor and ceiling to maximise flexibility.

Gavin Drake, Production Manager of Canford’s Metal Workshop concludes: “Morten approached Canford prior to IBC 2016 to ask if he could arrange a meeting at the show regarding a project they had won. He explained how Enstall needed our help to design and develop the specialist small enclosures and connection panels that would be required for the AV and power infrastructure.

Once at the show, Morten and I disappeared off to one of the restaurants - not for the food, but because it was the only place where the tables were big enough to look in detail at the project drawings Morten had brought with him.

There were a number of technical challenges to overcome.

Everything, including the connectors, needed to be black and there was a specific requirement to have some of the boxes recess-mounted into ducting. We worked in partnership with Enstall and together were able to design, manufacture, source and deliver solutions which were cost-effective, practical and sympathetic to the site.”

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

E V I T A V O N IN S N O I T U L O S

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Connect your legacy audio gear to the Dante world. The NA2-IO-DLINE Line I/O Dante Interface is a 2-channel end-of-network device that simultaneously converts analog signals to Dante and Dante to analog signals. Professional-level connectivity is provided via lockable NEUTRIK XLR and etherCON connectors. Designed for both harsh stage conditions and fixed installations. www.neutrik.com ®

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Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

NA2-IO-DLINE_EN_210x135+3.indd 1

| 51 22.10.2018 08:54:01 Source Material by Canford

Built for Broadcast World Class DPA Sound

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Experience DPA at www.soundnetwork.co.uk

52 | Source Material by Canford

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

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Our new 6060 and 6066 Subminiature Micromore resistant to digital radio signals, a vital aspect in the The laws of physics, in general, dictate that when you decrease membrane size, of phones are just 3mm in size but packthat theavailability. audioyou power current climate of decreased bandwidth The laws of physics, in general, dictate when dethelarger, self-noise of a microphone increases.

Our new 6060 and 6066 Subminiature award-winning DPA mics.

We have been able to keep crease membrane thepack self-noise a microphone Microphones are just 3mm insize, size but the audio of power of larger, awardthe noise level comparable to our 5mm capsules, and in the increases. newbeen Subminiature Microphones are you just winning DPAlaws mics.Our Wephysics, have able to keep the noise level to3 our The of in general, dictate thatcomparable when deLoud-SPL 6061 version of the subminiature, thelarger, noise mm (0.12and in)in in but pack the audio of 5mm capsules, thesize Loud-SPL 6061 version of thepower subminiature, the noiselevel crease membrane size, the self-noise of a microphone isaward-winning the 5mm equivalent meaning isthe noInsonlevel isthe the same same as as the 5mm equivalent meaning there is no sonic compromise.

DPA mics.

We have been able tothere keep increases.

Our new 6060 and 6066 Subminiature Microsome cases,level expertcomparable users In said the subminiature actually sounds better thanthe icnoise compromise. some users have tocases, our 5 expert mm capsules, and insaid the phones are justhave 3mm in size but pack the audio power of thesubminiature 5mm capsules.

Loud-SPL version of the subminiature, the noise level is the actually sounds better than the 5mm capsules. larger, award-winning DPA mics. We have been able to keep Precision and miniscule optimizations ourthere capsule same as thelevel 5mm equivalent meaning istechnology no sonic theengineering noise comparable to ourof5mm capsules, andhave in the created a subminiature that significantly outperforms all other mics in their class. compromise.

In some cases, expert users havethe said the Precision engineering and optimizations ofsubour Loud-SPL 6061 version of miniscule the subminiature, noise level miniature actually sounds better than the 5mm capsules. is the same as the 5mm there that is nosignifisoncapsule technology haveequivalent created a meaning subminiature ic compromise.

In all some cases, expert users have said the cantly outperforms other mics in their class.

Precision engineering miniscule ofcapsules. our subminiature actuallyand sounds betteroptimizations than the 5mm capsule technology have created a subminiature that significantly outperforms all other in their class.

Precision engineering and mics miniscule optimizations of our capsule technology have created a subminiature that significantly outperforms all other mics in their class.

Available at www.soundnetwork.co.uk Tel: +44 (0)20 3008 7530 Email: sales@soundnetwork.co.uk Available at www.soundnetwork.co.uk www.soundnetwork.co.uk Available at Tel: 7530 Email: Email: sales@soundnetwork.co.uk Tel:+44 +44 (0)20 (0)20 3008 3008 7530 sales@soundnetwork.co.uk Available at www.soundnetwork.co.uk Call on7530 +44(0)191 418 1133 or email international@canford.co.uk Tel:International +44 (0)20sales 3008 Email: sales@soundnetwork.co.uk

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TOP TIPS FROM

TECH SUPPORT

What’s that noise?

Using unbalanced audio cable for more than approximately 5m, may produce unwanted noise.

Consideration for balanced cabling and equipment provides safer audio routing. Balanced cabling provides greater signal integrity by transmitting two equal and phase opposed signals, at the destination one signal is inversed and the two are summed, nulling the difference (noise) between the two signals. When changing between the two, ensure converters are used at both ends of the cable: www.canford. co.uk/CANFORD-BALANCED-TO-UNBALANCEDCONVERTERS Mixing up RF When radio microphones become obsolete, it can be hard to justify the purchase of a completely new system.

Using Trantec as an example, it is worth noting as a general rule of thumb that: • the newer S4.04 and s4.10 transmitters will work with older receivers.

• the older S4.4 and S4.16 transmitters will not work with new receivers.

Taking your Tec, Pro As your production or workforce grows, so must your intercom!

Adding more components or longer cable runs to your existing Tecpro system then the voltage may be low. Tecpro signals can be boosted by adding a secondary power supply at the point furthest away from the Master Station.

Keep it clean Fibre is providing faster data rates worldwide.

Because of the fragile nature of the technology, ensuring that all terminations are free from debris is essential to getting the best out of this medium, especially when a signal path may be composed of multiple joints. https://www.canford.co.uk/Fibreoptic-tools-and-accessories

54 | Source Material by Canford

Cable Drums Cable drums offer convenience for storage, ease of handling and cable protection.

Using our Cable Drum Capacity Calculator: (www.canford. co.uk/Technical/Article/CableDrumCalculator) input the cable diameter and length, hit calculate and all suitable drums will be highlighted in green. Allow a little extra to allow for less than perfect winding.

How far will my digital video signal go?

To find out the suggested maximum transmission distances digital video cables, Look in the TechZone: www.canford.co.uk/Technical/Article/ MaximumTransmissionDistances Note which digital video signal data rate you are using, look at the various maximum lengths in the table and choose your cable accordingly.

Standard 3-pin XLR wiring Male connectors have pins Female connectors have sockets.

Pins are numbered by the solder terminals.

1 – Ground (connect to cable screen) 2 – Positive (connect to red wire) 3 – Negative (connect to black wire) XLR 4-Pin wiring for DC power connections There is no universal standard for this, however the most common convention for DC power on XLR 4-pin connectors is: Pin 1 0V Pin 2 +12V Pin 3 +24V Pin 4 +48V Pin 1 engages before the other pins when mating, so is ideally the ground contact. This arrangement is used on all relevant Canford manufactured products.

Another well-used convention can be found on many cameras, where pin 1 is 0V and pin 4 +12V, others not connected.

Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

EXCLUSIVE UK DISTRIBUTOR

A treasure chest of

CLEVER BLACK BOXES for Pro-Audio & AV Installers • Dante network interfaces • Format-A network audio • Sysflex complex interface solutions • Audio switchers and controllers • Format converters • Mixers and Amplifiers

Visit canford.co.uk/rdl for more information

CONTACT OUR SALES TEAM UK sales t: +44 (0)191 4181122 e: sales@canford.co.uk Int sales t: +44 (0)191 4181133 e: international@canford.co.uk www.canford.co.uk

Call International sales on +44(0)191 418 1133 or email international@canford.co.uk

Source Material by Canford | 55

CUSTOM METALWORK Working with our customers to develop bespoke solutions • D edicated Metalwork Shop Incorporating Painting, Laser Engraving and Assembly • I n House Design and Development Service • L ow Minimum Order Quantities • S hort Lead Times • C anford Quality as standard

FOR MORE INFORMATION ON CUSTOM METALWORK CONTACT UK sales tel: +44 (0)191 4181122 email: sales@canford.co.uk Int sales tel: +44 (0)191 4181133 email: international@canford.co.uk or the custom metalwork team email: custommetal@canford.co.uk

Your complete toolbox for Music, Broadcast, Mastering or Film production

CONTACT SALES FOR MORE INFORMATION ON THE SYSTEM 6000MKII

UK sales tel: +44 (0)191 4181122 email: sales@canford.co.uk Int sales tel: +44 (0)191 4181133 email: international@canford.co.uk