Canford Source Material mag - Issue 3 (2018)

canford.co.uk BRIT School Installs custom Music Technology rack solution from Canford

THIRD

EDITION

A Canford Production

Canford cable provides critical reliability on ground breaking spatial audio project Too Loud!

Excessive sound levels can be a nuisance and especially if they are prolonged.

ON LOCATION WITH: PANAMIC AUDIO NETWORKING OVERVIEW

FUTURE SPECTRUM AVAILABILITY FOR PMSE NEW YORK IN TIME FOR BREAKFAST

UK MANUFACTURED

NEW MDU15 FOR OUTSIDE BROADCAST, TOURING AND FLY AWAY KITS Features 12x universal Locking IEC outlets to protect against unintentional power disconnection.

• 1x 10 amp IEC inlet • 12x Universal IEC-Lock outlets • I ndividually fused outputs with status LEDs

Visit www.canford.co.uk/MDU15 for more information

CANFORD the essential source

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 www.canford.co.uk

WHAT’S INSIDE A Canford Production

4 Welcome The magazine has grown in popularity year on year. It’s now bigger than ever...

6 Too Loud! Loudness can be used as a way

of grabbing someone’s attention, since we are all familiar with raising our voices or shouting in order to be heard...

9 Hearing Damage is Permanent

Our hearing is precious and very sensitive, we can hear very low level sounds to very high level sounds like the dripping of a tap to the take-off of an aircraft...

10 Canford cable provides critical

reliability on ground breaking spatial audio project Spatial audio

occupies an intriguing history...

12 L YNX Technik 12G-4K/UHD SDI

Processing and signal distribution Signal Processing 3G and 12G with Upgrade Path...

14 W ith so many audio channels

on a typical AoIP network, how can you monitor them simply?

Sonifex have the solution.… The

AVN-PXH12 is a world first – it can simply and effectively simultaneously monitor and mix up to 24 AES67 AoIP sources in a compact 1U rack to a speaker/headphone combination...

16 British Audio Manufacturer

addresses the change in Distributed Audio Systems – away from traditional Centralised System Solutions to DeCentralised Applications The impact and phenomenon of digital signage has changed the landscape forever...

18 M aking Connections with TUK

London based TUK originated as a manufacturer of connectors and accessories for voice...

20 The BRIT School installs custom Canford solution From September

2017, The BRIT School will deliver a new Music Technology course, designed for creative, original musicians...

22 Canford in the Community

Canford has embarked on many projects with local schools and university’s offering young people development skills that will assist them in their future careers...

24 Mitigating the risk of unintentional power disconnection Any loss in

connection of power, whether it be at an outside broadcast vehicle, studio, media server or switchers in between, could result in costly issues...

26 On location with: Panamic Sound Recordist Michal Deliopulos travels the world with the production of “Civilisation Seven Rules”...

28 B eyerdynamic Headsets The DT

108/109 series is used throughout the world for news gathering, film, TV production and live events...

30 Ch…Ch…Ch...Changes… Future Spectrum Availability for PMSE...

32 As Clear as a Bel Bel Digital Audio has

recently been celebrating its 40th Anniversary of designing and manufacturing professional audio products in the UK...

34 Audio Networking Overview Long distance communications have been an obsession of humanity for a long time...

36 RDL Dante™- Enabled Endpoints Dante is growing as the industry choice for audio distribution...

40 New York in time for breakfast Canford offers a fast courier service into major cities all over the world, at competitive prices...

42 Different versions of HDMI

Everything you need to know as HDMI enters its twelfth edition...

43 Travel confidently with your

SKB case With a wide variety of transport systems for mixers, rack systems and accessories, SKB provides maximum protection, effortless mobility and in-use functionality...

45 C OAX’s 12G connector range

continues to grow 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...

46 6 6 Laps, 22 Cars, 1 Champion

– Zero Mistakes Understanding the content acquisition and fibre transport requirements of the harsh motorsport environment was fundamental for SENKO in developing a solution...

48 D RAKA - 4K Broadcast Signals

and Infrastructure The important question for broadcasters looking at the infrastructure is what will be the future content and will it affect my infrastructure...

50 M UXLAB delivers uncompressed 4K SDI Over An IP Infrastructure - Plus portable testing tools to gauge system performance When

it comes to distributing uncompressed 4K@30Hz (4:4:4) in the SDI format throughout a facility, studio or lab, MuxLab offers a new, IP-based method of extension...

38 W hy Canford is so much more than just another distributor

Canford has continued to develop and invest in what are now three separate workshops across two different sites...

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

Source Material by Canford | 3

WELCOME

By Stephen Gallagher, Canford Marketing Manager

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

The magazine has grown in popularity year on year. It’s now bigger than ever, we’re printing more copies, and I’m thrilled with the editorial contribution from our authors.

Working in the shadows of the much loved printed Canford catalogue, which was regularly referred to by customers as the ‘industry bible’, in acknowledgement of the huge product range, technical information, and carefully written product descriptions, we’re continually challenging ourselves to produce high-quality and appropriate content, whether that be via email, post or video.

stock level information and orders can usually be placed as late as 5:15pm for next day delivery. User profiles can be linked with trade accounts to view order history and show account specific pricing.

Our communication with you is important to us, and I hope you find this edition of Source Material an enjoyable read.

On behalf of everyone at Canford, I’d like to thank you for your business in 2017, and for your feedback and contributions which regularly help shape new Canford manufactured products.

This extends to our website, which is now our primary publication. Recent updates mean you can view real-time

The journey doesn’t stop here! We have a lot planned for 2018, and we’re very much looking forward to working with you again, more often, and to further strengthening our relationship.

4 | Source Material by Canford

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

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

Source Material by Canford | 5

TOO LOUD!

By Paul Power, Canford Technical Support Engineer

BACKGROUND Many people have been in the position of telling a family member, friend or neighbour to turn it down.

Loudness can be used as a way of grabbing a person’s attention, since we are all familiar with raising our voices or shouting in order to be heard. However, excessive sound levels can be a nuisance and especially if prolonged.

In a similar manner to the previous example where we raise our voices to be heard this can be extended to the music industry. For a long time there has been the so called loudness wars where audio was mastered so that it would sound louder as it would help the music stand out from the rest, the history of which could be traced back to the 50’s where the bar owner would set the overall jukebox level and as a consequence the louder record cuts would be more popular.

Now as music consumption shifts to streaming services these mediums are now looking to improve the continuity and preservation of sound quality by introducing more sophisticated normalizing methods in a bid to preserve the dynamic range.

In broadcast, loudness has been used in adverts, much like the previous example, to grab your attention even when you are not in the same room as the TV, which as a result causes big loudness differences between programmes. This has been a common complaint from consumers which has been levelled at a number of broadcasters prompting them to take action.

There are a large amount of programmes and media being created for TV by a number of differing studios and different content producers, therefore it is essential that standards

6 | Source Material by Canford

are adhered to in order to maintain continuity between programmes and adverts to avoid large sound level jumps.

Previously loudness in broadcast has been measured using what was known as PPM meters (peak programme meters) although this method of metering did not accurately reflect the way humans perceive loudness.

HUMAN HEARING MECHANISM Measurement and perception of loudness is not as simple as it would first seem. Firstly, the human hearing system does not perceive all frequencies with equal loudness, since the shape of head, ear and ear canal has an effect on the perception of sounds and as a result humans are more sensitive to sounds in the 2 kHz-4 kHz range and the frequency dependence is not consistent but changes with frequency (http://www.sengpielaudio.com/ Acoustics226-2003.pdf). In addition when considering loudness in surround sound systems the HRTF (head related transfer function) has an even greater effect and curiously sounds which come from the rear are perceived as louder.

Loudness perception is also influenced by the duration of the sound, since studies have shown that sounds with as short a duration as 200 milliseconds will sound just as loud as a constant sound at the same level. In addition, loudness perception is related to the SPL or (sound pressure level) and the hearing system averages SPL over a 600-1000 millisecond period, varying the duration of the sound in intervals from say 100, 200, 300 milliseconds the sound will be perceived as louder up to 1 second after which the perception of the level will be constant again.

Measurement of musical signals or sounds which are highly dynamic in nature is problematic when trying to obtain an accurate SPL measurement. Therefore an averaging method (Leq), which measures the sound level over a specified

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

period of time coupled with what is termed an A weighting factor is employed. The A weighting places more emphasis on the mid to high frequencies in a bid to approximate human hearing, with the complete measurement term being called LAeq, the ‘A’ signifying an ‘A’ weighting filter is included in the measurement.

True peak Is a measurement that looks at inter sample values in order to identify over shoots that may happen further down the processing chain for example in digital to analog conversion when samples are interpolated. True peak uses the unit’s dBTP (Decibels True Peak) which is referenced to the digital full scale value 0dBFS

NEW LOUDNESS MEASUREMENT

Loudness Range

It can be seen that human perception of loudness is complex therefore in order to find a loudness measurement method which best matches’ human hearing a number of institutions and manufacturers, like ITU (International Telecommunications Union), EBU (European Broadcast Union) incorporating manufacturers like TC Electronic have carried out several years of research to find a better method. As a result this has culminated in the EBU R128 loudness standard called LUFS or LKFS measure, (loudness units relative to full scale). And a new loudness levelling target of -23.0 LUFS, where 1 LU (loudness unit) is equal to 1dB relative to the ungated LUFS measure.

However, this is not the only implementation there are also a number of additional technologies which have been included and these follow.

The loudness range or LRA describes the overall program level range from the quietest to loudest part and is specified as an LU. This also helps in avoiding extreme levels since the top 5% and lowest 10% is excluded in the measurement, therefore loud explosions or long silences would result in a wide ranging loudness. The LRA value helps provide guidance on the need or not for compression.

K-Weighting

TC Electronic who were also part of the loudness research and who published several papers on the subject, which can be found at http://www.tcelectronic.com/loudness/literatureglossary/ have implemented the technology in their loudness processors, which include the DB6, DB2 and Loudness Pilot, these are aimed at the professional broadcast, however there is also the Clarity M which is aimed at the professional and home user wanting a more scaled down version.

A ‘K’ weighting curve has been developed to provide a better match between the subjective perception of loudness and the objective measurement. The ‘K’ weighting consists of a pre filter which accounts for the shape of the head and a weighting to take account of angle of arrival, particularly relevant for surround sound systems where it was previously mentioned that sounds from the rear are perceived as louder.

In addition an RLB filter (revised low frequency B weighting) is also included, this takes into account the fact that humans are less sensitive to lower frequencies. In simple terms the ‘K’ weighting filter is similar to that of the previously mentioned (A) weighting filter where less emphasis is placed on the lower frequencies and a slight shelving filter is used at the higher frequencies, essentially enhancing the higher frequencies.

Gating Measuring average levels of program material may not be ideal since films or TV programs may include long passages of low level background sounds which would affect the overall level reading. Therefore a gate is used which pauses the measurement when the level drops below a threshold of -10 loudness units relative to the ungated audio material. This also helps in creative advertisement where short silences are used to get round breaching maximum levels.

True Peak

NOT SO LOUD Audio broadcast level loudness now follows the new EBU R128 standard utilising the previously mentioned LUFS levelling standard with a target loudness of -23LUFS. This change in loudness standard was needed in order to help curtail the level jumps between programmes and adverts.

Content media consumption now extends to streaming services like Spotify, Tidal, ITunes and You Tube, these services also utilise the EBU R128 standard to normalise their content, however these use a slightly higher level than that of the TV broadcast standard, normalising between -12 to -16 LUFS. It would seem that the new loudness protocol has helped put the dynamics back into TV and music and help create a level playing field overall.

87-0111 TC ELECTRONIC DB6 AUDIO PROCESSOR Loudness management

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

87-0121 TC ELECTRONIC LOUDNESS PILOT

Source Material by Canford | 7

QUALITY YOU CAN SEE AND HEAR WITH

CLARITY

CANFORD the essential source

EXCLUSIVELY AT 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 www.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

CANFORD

For more infor visit www.canford.co.uk/ Hearing-protection-and-noise-control

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

the essential source 8 | Source Material by Canford

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

www.canford.co.uk

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

HEARING DAMAGE IS PERMANENT

By Paul Power, Canford Technical Support Engineer

Our hearing is precious and very sensitive, we can hear very low level sounds to very high level sounds for example the dripping of a tap to the take-off of an aircraft. However, listening to loud music or being indirectly exposed to loud sounds for prolonged periods can damage your hearing and this can lead to permanent hearing damage.

Many people are now listening to music over headphones and a large amount of employees spend their working day either monitoring audio or taking calls utilising headphones and as a result can be spending large amounts of time unwittingly being exposed to high sound levels. In these circumstances users have to be conscious of the time period and sound level to avoid permanent hearing damage, although this can sometimes be difficult as there is no easy way to tell accurately how loud the audio is. Utilising a headphone limiter can be one way that the users can take measures to protect hearing and a way employers can ensure they are taking the management steps to protect workers from hearing damage.

In the UK the HSE (http://www.hse.gov.uk/noise/) provide guidelines which employers must follow to protect workers hearing, this can be found on their website along with tools and information about taking the necessary precautions to protect hearing. In short, the guidelines detail the upper and lower exposure levels, which include peak values and daily exposure levels. As an example a mobile phone used as a personal audio player is capable of delivering around 103dB to the ear drum at full volume, as a result after approximately seven minutes may cause irreversible hearing damage.

Generally the daily threshold should not exceed 85dB for an eight hour continuous period, but exceeding this threshold will be dependent on several factors, most notably the time period of exposure and sound level.

At Canford we provide a unique headphone limiting service, this is an exacting service which requires specialist equipment in order to tailor the limiter to the headphone. There are retro fit limiters available on the market which can be added to headphones, however these have not been calibrated to work with a specific headphone, therefore there is no way of being certain that the limiter is working at the correct level. This is due to the fact that every headphone varies in electrical characteristics, as a result it is necessary to assess the headphone to determine if the limiting level required can be achieved. In short, this process involves fitting the limiter to the headphone then utilising specialist equipment that include an ear and cheek simulator which basically utilises a synthetic ear which mimics the shape and contour of the ear canal and pinna. The ear and cheek simulator is connected to a sound level meter and then using a test signal and application of correcting coefficients we are able to then tune the limiter and calibrate it to the limit level required.

Not all headphone models requested by the customer have to go through the initial assessment stage since we have a vast headphone database of previous headphones that we have assessed, this includes a large variety headphones from in ear headphones to headphones for audio monitoring and communication systems, although the limiter still has to be properly calibrated to the specified level. The limiter circuits used are passive and do not require batteries to work, therefore you can always be certain that they are engaged, in addition the only time they will affect the audio is when they are in limit.

Utilising headphones fitted with properly calibrated limiters ensures that users are taking the steps to protect their hearing from damaging sound levels and from an employer’s perspective that they are taking the necessary precautions to manage and ensure the health and safety of their employees and comply with legislation.

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

Source Material by Canford | 9

CANFORD CABLE PROVIDES CRITICAL RELIABILITY ON GROUND BREAKING SPATIAL AUDIO PROJECT

By Myles Eastwood, Producer and Sound Engineer at Eastwood Records

Spatial audio occupies an intriguing history.

From offshoots of nineteenth-century telecommunications such as Clément Ader’s théâtrophone a binaural ‘streaming’ device showcased at the World Expo in 1881 - to surround sound experiments like Walt Disney’s Fantasia (1940) and less successful innovations of the postwar hi-fi market, notably quadraphonics in the 1970s, the playback of audio has long been tied to imaginative attempts to create immersive auditory environments.

However, it is stereo - thanks to FM radio and later the Sony Walkman - that has remained the dominant spatial format.

And it is aspects of this technology that are likely to facilitate mainstream acceptance of much more advanced spatial formats in the twenty-first century. The smart phone paired with headphones is effectively the Walkman’s successor and it just so happens that this setup, due to the phone’s onboard gyroscope, doubles as a decent head-tracking playback system for 3D audio.

When viewing 3D footage on a phone, the user scrolls around in 2D using their fingers or fixes the phone within a headset to survey the footage. In both cases the device receives sufficient information about the viewer’s orientation to inflect spatial audio embedded in the video. When a source is viewed head-on the sound appears straight ahead; when the viewer turns to the left the same source sounds 10 | Source Material by Canford

on the right. The technology relies on ambisonics, which encodes the sonic cues of azimuth and elevation within four or more audio channels, and binaural playback, which is configured by the platform hosting the video. Through the use of head-related transfer functions (HRTFs), which effectively standardise unique aspects of human hearing, a virtual sonic environment can be rendered with startling accuracy.

It seems surprising, then, that spatial audio gets so little attention in the music industry. More generally it seems audio development has always lagged behind visuals in the VR industry. Mainstream artists are increasingly turning to 360° music videos, including Bjork, Avicii, Taylor Swift, Muse and Gorillaz, yet nearly all of them rely on headlocked stereo audio supplied by the record company. This means the soundscape is perceived as static regardless of which way the viewer turns.

The effect is one of detachment which leads to a less engaging sensory experience.

There are exceptions of course. A handful of indie artists and established orchestras such as the Philharmonia have recorded 360° footage with spatial audio. The results are often impressive and far more immersive than audio mixed without head-tracking.Yet movement plays little part in these productions. There are no dynamic sources to incorporate within the mix and grab the listener’s attention.

It was these ideas that led to a collaboration between FixTheMusic’s NOMAD, one of the UK’s only amplified roaming bands, Epiphany VR and Eastwood Records. The aim Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

was to record an interactive function band using conventional multitrack pop techniques and then programme the mix to match the band’s choreography. In this way the project was inspired by Bob Clearmountain’s work on The Rolling Stones’ 2008 film Shine a Light, where the mix followed Scorsese’s onscreen direction.

The recording was made at The Postal Museum in London using a variety of wired and wireless microphones, MIDI triggers and other gadgets drawn upon during NOMAD’s live performances. Miming seemed a cop-out when the aim was immersion so the band needed to be well rehearsed for the session. On the audio side the postproduction drew on several months of work undertaken by producer and engineer Myles Eastwood who was keen to explore new possibilities opened up by this medium. The final result is part of his company’s DynaMix™ service, with potential uses extending to drama, dance, art installations and sound design as well as music videos.

The video is available at https://www.canford.co.uk/News/588 and on YouTube, currently the most accessible platform for immersive media.YouTube videos filmed in 360° can be switched to ‘cardboard’ mode, which splits the screen in two and delivers a 3D field of view via the headset’s biconvex

lenses. Headsets range from cheap cardboard variants that work with most phones to Samsung’s hardware-accelerated models. As processors, graphics and screens improve, the general experience of 3D footage will become more immersive for an expanding audience. At the same time the results of this session only scratch the surface of what’s possible when a project is conceived of with a new medium in mind.

Myles Eastwood, Producer and Sound Engineer concludes: ‘As always time was limited on this session and setup - including configuring the wireless mics, setting up a comfortable monitor mix for the band and rearranging the venue’s lighting - took a considerable amount of time.

Furthermore, when working in 3D you’re invariably dealing with whole takes so you need to be ready to capture the perfect performance. It’s at these moments that the reliability of your equipment is paramount, and it is for this reason we use Canford for so much of our cabling including a number of custom analogue multicores. We also work frequently in urban and dilapidated venues where the structural integrity and shielding of our cabling is critical.You need utmost confidence in your rig when working in these conditions - only then can you focus on more creative concerns!’

NEED CABLE? Rapid response standard and custom cable assemblies... ...for situations where speed is of the essence!

Fibre • Audio • Video • Data • Power

CANFORD

CONTACT OUR SALES TEAM

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

the essential source

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

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

Source Material by Canford | 11

LYNX Technik® 12G-4K/UHD SDI PROCESSING AND SIGNAL DISTRIBUTION

By Dave Holloway, Lynx Technik (UK) Limited

Signal Processing 3G and 12G with Upgrade Path The greenMachine® 2-channel callisto processing engine launched last year is now joined by the 4-channel titan machine. greenMachine is not just another piece of terminal signal processing equipment, but a new concept that allows near instant customisation, reconfiguration and expansion of your 3G-HD SDI processing workflow as well as a costeffective upgrade path to 12G-4K/UHD SDI.

All units accommodate analogue and/ or AES audio and HDMI in/outputs, with full cross-point switching and distribution at input and output.

Fibre interfaces for 3G-HD SDI, 12G-UHD/4K SDI and Gigabit Ethernet LAN control are via optional SFPs. 3G processing applications (APPs) are compatible with both callisto and titan and can be augmented to process 12G within titan by adding a 4K extension APP.

Traditional rackframe systems such as the LYNX Technik Series 5000 are configured using dedicated boards for individual or combinations of processing tools, such as audio embedding/de-embedding, frame synchronisation, format conversion/scaling, video adjustment, colour correction, audio processing, timing etc.

The greenMachine changes the game by providing a powerful self-contained FPGA/ARM processor bases processing engine within which the functionality is determined by running software applications. APPs are selected and purchased individually by the user and can be combined in any combination on each signal channel and across an unlimited number of greenMachines.

Callisto (2 channel) the first greenMachine in the range, won the TVB Europe “Best of Show” award on its launch at IBC 2016. Titan (4 channel), winner of the TV Technology NAB 2017 “Best of Show Award”, simultaneously processes four 3G/HD/SD-SDI video streams or a single 12G-SDI 4K/UHD video input (up to 3840 x 2160 @60 Hz) and can convert between single-link 4K video (12G) on BNC coax or 12G fibre and quad-link 4K video (4x 3G-SDI coax) and vice versa.

12 | Source Material by Canford

Like the callisto, titan is housed in a 1U, ½ rack frame package which can be used stand-alone or rack mounted.

One or two units (mix or match) may be mounted in the optional rackframe that also houses the off-board PSUs. Just two PSUs are required to provide full redundancy for two greenMachines by connecting a link cable between modules.

In addition to the ip/op monitors, video and audio preview panes are available within the greenGUI™ control software allowing real time views of adjustments to colour, aspect ratio/ format and audio levels for each channel. A combined channel timing screen is included allowing a clear comparative view and adjustment of all timing delays. APP and greenUniverse management tools are included and are continually being enhanced based on customers operational feedback.

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

Callisto and titan will soon be joined by SMPTE 2110 gateway callisto IP and titan IP with full cross format conversion.

The flexibility of the greenGUI configuration software and the APPs are the real ground-breaking benefits of the greenMachine. The greenGUI software (Windows and OSX compatible) is free to download and can be run in simulation mode to test and evaluate the software. Current APPs are factory installed into the greenMachine and can be fully configured and run on the hardware in any combination offering real-time signal processing for testing before purchasing licences, with just a watermark added to the output to prevent unauthorised use. Then simply buy a licence either directly from the greenStore® or through an authorised reseller and download the key. All you are downloading is the activation licence key, a very small, quick to download file with virtually no possibility of corruption or delay due to poor Internet connection. You can even download a key using the basic cellular phone data network.

(Keys can be downloaded to any Internet connected device and physically ported to a secure broadcast network via USB stick if required.)

And here’s the revolutionary benefit, once you own a licence for an APP, it can be moved to any greenMachine or networked array of greenMachines in what is called the greenUniverse. So, if for example you need a frame synchroniser and scaler in a studio on one day and then need the same in an OB truck on another occasion when the studio is dark, simply release the licences from the studio machine and apply the required APP configuration to the OB greenMachine while it is connected to the network, and the licences will be automatically transferred across the network.

Licences are perpetual with no service contract required and can be moved between any greenMachine devices (callisto or titan), with no limit to the number or frequency of reassignments. Because the APPs reside in the individual greenMachines, the changeover is almost instantaneous.

When user locked, powered down or disconnected from the network, licences applied to a greenMachine are ‘locked in’ so cannot be accidentally reassigned. Licences not in use and released from a greenMachine ‘float’ in the greenUniverse and can be called into use in any connected greenMachine by using the greenGUI software application. Simply create and apply a ‘Constellation’ (configuration of APPs) and deploy it by dragging and dropping it to any greenMachine in the ‘Universe’. If insufficient licences are available the greenGUI will indicate those required and automatically add them to its shopping basket. Licences can be instantly purchased using a credit card or PayPal account or alternatively an order can be placed with an authorised dealer who will supply a pre-paid voucher for use at the greenStore.

greenMachine has full SNMP v2 support when the MiniNova APP is purchased, so will run under the control of most automation systems including VSM, Dataminer, KSC Core, BNCS, etc. In an emergency, APPs and parameters can be configured via the front panel controls and preview images and audio levels viewed on the integral LCD display.

Current APPs include: Frame Sync, 3G level A/B, Test Generator, Scaler/UDX Converter, Colour Matching, Automatic or Manual I/P and O/P Switchover, De-Interlacer, Video Adjustment, Colour Correction, Embedder/Deembedder, Timing, MetaData, Audio Processor, Teletext Monitoring, Dual-Transport (video/audio/GPI/Ethernet over duplex fibre) and MiniNova. Many more are coming soon including Dolby E Processing, MADI Processing, Enhanced Colour Correction, Still Store, Logo Inserter and HDR Colour Management.

For full details and introduction videos please visit www.green-machine.com

12G Coax and Fibre Distribution yellobriks The trusted and reliable yellobrik range now includes 12G4K/UHD SDI distribution and transport modules. New 12G coax DAs offer dual 1>3 or 1>7 distribution. 12G coax transport over fibre is catered for by Transmitter, Receiver and Transceiver modules supplied complete with 12G SFPs. As with all yellobriks, they can be used stand alone with the supplied plug-top power supply and optional single module mounting bracket, or mounted in the 14-way 19” rackframe offering compact installation and a redundant PSU option.

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

Source Material by Canford | 13

WITH SO MANY AUDIO CHANNELS ON A TYPICAL AOIP NETWORK, HOW CAN YOU MONITOR THEM SIMPLY?

SONIFEX HAVE THE SOLUTION….

In the ‘new’ world of AoIP, imagine the situation where every audio network has hundreds of inputs from multiple sources streaming to multiple destinations. How can you check and monitor so many AoIP audio sources easily?

The AVN-PXH12 is a world first – it can simply and effectively simultaneously monitor and mix up to 24 AES67 AoIP sources in a compact 1U rack to a speaker/headphone combination in a quick and intuitive way.

• SAP can be used as a discovery mechanism to discover Dante devices and monitor Dante® AES67 streams. Dante® is a trademark of Audinate Pty Ltd. • Confidence monitoring on the translucent volume knob for each channel so you’ve got ‘at-a-glance’ monitoring available.

• The front panel Mute button and the Solo feature on the control knob allow a single channel, or a handful of, channels to be auditioned quickly.

• For each channel, ‘Normal’ and ‘Alternate’ inputs can be switched quickly (with <1msec accuracy) for direct comparison.

Over the last year, Sonifex have been working with a UK TV broadcaster to produce a product which solves a problem that they have, and one which many more broadcasters will face: With audio moving to the AoIP network infrastructure allowing hundreds of audio sources to be available on the network, how do you easily monitor them, in a product which is simple to use and without adding complexity?

• Each channel can be directed to headphone left ear, right ear, or a stereo mix, providing you with the ability to set up a familiar headphone mix.

The broadcaster in question has up to a thousand audio sources on their network, available through a large router/ mixer and they wanted a device at each position in their main Production Gallery/Control Room which could select multiple audio sources and either mix them down for monitoring, or select them individually. These would largely be AES67 audio sources but they would also need to be combined with physical audio sources available locally.

• Destinations to AoIP or rear panel balanced outputs.

What Sonifex came up with was the AVN-PXH12, a 24 input monitor mixer in a 1U rack frame. Typical applications include production gallery or control room channel monitoring positions, OB truck monitoring, confidence channel monitoring of any AoIP installation.

In terms of operational ease, the main benefits of this product are as follows: • AES67 as a format has been established, providing compatibility with most other AoIP products – the unit uses RAVENNA audio to ensure AES67 compatibility.

• A built-in web server is used for all configuration. Sources for all channels are simply assigned on one webpage and can be freely selected and altered at will.

• 6.35mm (1/4”) & 3.5mm headphone outputs and a speaker output with separate LS & HP volume controls.

• Sources from AoIP, balanced or 3 x unbalanced inputs.

• 10 GPIO ports.

• Dual AC & DC power supply inputs & dual 1Gb lan ports.

• Speaker mute button.

Other Sonifex AoIP products of interest will be: - The AVN-GMCS PTP grandmaster clock is a GPS receiver used to synchronise PTP enabled devices on Audio over IP networks.

- The AVN-TB10AR is a 10 button talkback intercom to aid communication between studios, stages, theatres, offices and different areas in a facility or building complex. 6 station and 20 station units are available soon..

- A Presenter In-Ear Monitoring System, providing multiple 4 channel presenter mixers.

- Coming in 2018 – multi-channel audio interfaces, AVN Portals, of 8 stereo analogue I/O, 8 mic/line I/O and 8 AES/ EBU I/O to and from AES67.

For more information on the AVN products, please email sales@canford.co.uk, call +44 (0) 191 418 1122 or go to the Canford website at www.canford.co.uk/Sonifex 14 | Source Material by Canford

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

AES67 AoIP Interfaces & Talkback Systems Multi-Channel Mix Monitor

Multi-Channel Audio Interfaces

Talkback System Using AoIP

PTP Grandmaster Clock

Presenter In-Ear Monitoring System

AVN-PXH12 12 x 2 Channel Mixer Monitor, AoIP AES67

• 12 x 2 stereo channel inputs with 12 x input selectors and 12 x mix volume controls.

• 12 x solo buttons, 12 x stereo/mono buttons.

• Inputs mixed to 2 x stereo headphones & speaker with separate volume controls.

• 12 x rotary encoders showing input level metering.

AVN-PA8D 8 Stereo Analogue Line I/O With Display •

8 x stereo line inputs & outputs on AES59 D-type sockets, paralleled with 8 x RJ45 connectors using StudioHub® pinout.

• • •

‘T’ version has audio I/O on terminal blocks.

‘D’ version has input & output metering.

Input/output full-scale line-up.

AVN-TB10AR 10 Button Advanced Talkback Intercom • •

10 illuminated key-cap Talk buttons plus Listen & Page buttons.

• Mic & headset inputs, headphone & speaker

outputs with volume control.

Sources & destinations from/to AoIP, balanced & unbalanced inputs/outputs.

AVN-GMCS PTP Grandmaster Clock With GPS • • •

AES67/RAVENNA/AES-R16 compatible.

GPS satellites received indicator.

Master and slave sync modes.

• • •

8ns PTPv2 time stamping resolution.

AES-3id, wordclock & variable PPS outputs.

Analogue master input.

Call For Info

w w w.s o ni fex.c o.uk + 4 4 (0)19 3 3 6 5 0 7 0 0

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

Source Material by Canford | 15

BRITISH AUDIO MANUFACTURER ADDRESSES THE CHANGE IN DISTRIBUTED AUDIO SYSTEMS â&#x20AC;&#x201C; AWAY FROM TRADITIONAL CENTRALISED SYSTEM SOLUTIONS TO DE-CENTRALISED APPLICATIONS. The impact and phenomenon of digital signage has changed the landscape forever, the longstanding idea that distributed audio and paging all comes from same centrally served rack space or cupboard is a thing of the past.

Cloud Electronics, are the last remaining British Audio Manufacturers of high-quality commercial audio products such as Zone-Mixers, Multi-Channel Amplifiers, Paging Microphones and Install Speakers used for distribution audio applications in Retail, Hospitality, Education, Commercial and Leisure markets.

Commercial Audio manufactures need to adapt to a deOperating from its headquarters and assembly factory in centralised solution by designing products that the installer Sheffield, employing more than 30 staff who hand-build, quality can use to integrate existing (centralized) systems into a more control and test to exacting standards. Cloud Electronics has flexible, local content source application. over 40 Global Distributors plus a branch distribution office in The ability to tap into the existing 100v circuit and split-off to a Park City, Utah serving the Americas markets. new independent Zone but still be part of the building Paging and Fire Control is a cute example of how Clouds NEW MA40 Mini Amps are addressing this trend.

CS-S4B CS-S4B

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Surface Mount Speaker Surface Mount Speaker

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MA40E Mini Amp

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The MA40E Mini Amplifier provides a compact MA40E Mini Am The MA40E Mini Amplifier provides a compact solutionsolution for Thefor MA40E Mini Amplifier space audio reinforcement.

Combined thehuddle LM-2 space audio r huddle huddle space audio reinforcement.

Combined with thewith LM-2 Remote Input/control plate and BT-1 Bluetooth streaming Remote Input/contro Remote Input/control plate and BT-1 Bluetooth streaming The MA40E Amplifier provides aintegration compact solution forplate. plate. Mini Ethernet control allows into complex AV Ethernet contr plate.

Ethernet control allows integration into complex AV huddle reinforcement. Combined with the LM-2and VC systems. and VCaudio systems. and VCspace systems.

Remote Input/control plate and BT-1 Bluetooth streaming plate. Ethernet control allows integration into complex AV and VC systems.

VC SYSTEM VC SYSTEM

VC SYSTEM

Withaudio discrete audio outputs With discrete outputs

With discrete audio outputs

VC SYSTEM

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MA40E MA40E

40W Amplifier with & Ethernet Facility Port Mini 40WMini Amplifier with Ethernet Facility &Port

Analogue Line Audio

BT-1ABT-1A

Function Plate Function Plate

Plate BluetoothBluetooth Plate

LM-2A

MA40E Function Plate Mini 40W Amplifier with Ethernet & Facility Port

LM-2A

Function Plate

BT-1A

Bluetooth Plate

CAT5 -CAT5 Audio- Audio & Control & Control

CAT5 - Audio & Control 40W Speaker 40W Speaker Alarm Input Alarm Input SystemSystem Mute Mute

40W Speaker

CAT5 -CAT5 Audio-&Audio & ControlControl

CAT5 - Audio & Control CAT5 - Audio & Control

Analogue Line Audio

MA40E

Mini 40W Amplifier with Ethernet & Facility Port

Analogue Line Audio

Analogue Line Audio

IP REMOTE CONTROL

AnalogueAnalogue Line Audio Line Audio

IP REMOTE CONTROL

Analogue Line Audio

IP REMOTE CONTROL IP REMOTE CONTROL

Analogue Line Audio

With discrete audio outputs

40W Speaker Alarm Input System Mute

Alarm Input System Mute

ELECTRONICS LTD. SHEFFIELD, UK CLOUDCLOUD ELECTRONICS LTD. SHEFFIELD, UK

16 | Source Material by Canford

CLOUD ELECTRONICS LTD. SHEFFIELD, UK

MA40ELM-2A BT-1A CS-S4B PRODUCTS PRODUCTS CS-S4B CLOUD ELECTRONICS LTD.MA40E SHEFFIELD, UK LM-2A BT-1ACLOUD CLOUDCLOUD PRODUCTS

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Call UKCS-S4B sales on +44(0)191 418 1122 or email sales@canford.co.uk APP NO. 049

BT-1A

CAT5 C

MARANTZ PMD PORTABLE SD CARD RECORDER • Up to 24bit/96kHz recording • SD flash memory compatible • Dual XLR/Jack inputs Visit: www.canford.co.uk/Marantz

CANFORD the essential source

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 www.canford.co.uk

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

Source Material by Canford | 17

MAKING CONNECTIONS WITH TUK Emerging from the telecoms liberalisation of the early 1980’s, London based TUK originated as a manufacturer of connectors and accessories for voice. With manufacturing facilities in both the UK and Far East they were ideally placed to identify the transition to converged networking and are now one of the UK’s leading specialists in copper connectivity for datacoms.

Canford has successfully distributed TUK products to the professional AV and Broadcast markets for almost 20 years, both as raw materials and incorporated into distinctive Canford manufactured panel solutions.

TUK’s focus on the Voice and Datacom market sectors has meant that they have perhaps operated under the AV radar in many respects, but not for Canford, who have over forty years’ experience of producing innovative, cost and time saving connection solutions. Cooperation first started with TUK’s CONNECT+ range of LSA+ type connection modules which are fully compatible with other similar designs. This wide-ranging offering of high quality items, including several specifically designed for the broadcast market, provided the foundation for the long standing relationship of today.

The collaborative approach between Canford’s Portland (Dorset) manufacturing team and TUK has produced multiple Category 5e, 6 and 6A solutions, but also extended into more identifiably broadcast and AV developments such as the TUK D UNIVERSAL range of XLR style connectors.

snap-in range to incorporate not only Cat 5e, 6 and 6A but also various popular Broadcast and AV connections such as BNC, HDMI, and USB along with several Fibre Couplers.

The consistent high-quality, reliability and competitiveness of the TUK product range has enabled Canford to equip major systems integrators worldwide with fully performing ‘Cat’ standard broadcast infrastructure.

Gavin Drake, Canford’s Production Manager (Portland) commented: “Many years of reliable product delivery from TUK, together with their adaptability and flexibility to meet the requirements of our clientele have long encouraged our confidence in the brand. TUK offer us an innovative and cost effective alternative to traditional panel mount connectors”.

Although TUK’s product set is almost entirely passive, TUK strives to respond to user demand so that new products are continuously developed. As examples, their various plugs for extra-large Cat 6A and Cat 7 cables answered requirements from installers who wanted to terminate directly onto horizontal cable and when the same people complained about the challenges of successfully performing field terminations a dedicated plug was offered.

The centre point of much of the recent development work has been connectivity in ‘keystone’ format. This type of connector was originally developed in the USA for use in telephony applications but TUK have extended the time saving

18 | Source Material by Canford

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

In terms of sockets, when the market was looking for a Cat 6A coupler to fit XLR outlets, TUK was quick to offer one and when engineers asked how they could differentiate between the multiple uses of Category 6 cabling they offered the simple solution of coloured outlets.

TUK’s connectors in keystone and other forms have added to Canford’s abilities to offer not only a huge range of panels with rapid turnaround times, but also easy customisation within that range of panels – if it can fit into the keystone format, TUK probably do it!

Innovations continue and with Category 6A increasingly required in Broadcast and AV, TUK are already exploring Category 8 and panels meeting the new standard could even be available by the New Year.

Stephen Mercer, TUK Director concludes: “We are very proud of our relationship with Canford and shall continue to look for ways to support them, and together develop innovative solutions in response to the demands of the Broadcast and Pro AV markets”

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

Source Material by Canford | 19

THE BRIT SCHOOL INSTALLS CUSTOM CANFORD SOLUTION

By Stephen Gallagher, Canford Marketing Manager

Assistant Director of Music & Course Leader for Music Technology, Chris McInnes commented:

The BRIT School is a one of a kind The problem that we needed to solve Performing Arts and Technology School. It is was how to make use of the limited space an independent state funded City College available whilst maximising the equipment for the Technology of the Arts, dedicated to education and choices for the students. We were vocational training for the performing arts, media, art and committed to installing Ableton Push controllers at every design and the technologies that make performance possible. station but needed to have the space free for note-taking or other items when they were not in use.

The school provides a high quality education for 14 to 19-year-olds through a specialist curriculum. Performing and After researching studio furniture and pull-out rack trays we creative arts with their related technologies are at its core realised that there was no off-the-shelf solution suitable for and contribute to a curriculum aimed at developing the our needs, and this is where Canford came in. whole person.

Our music technician discussed our needs with one of From September 2017, The Brit School will deliver a new Canford’s representatives – Kim – and she helped us put Music Technology course designed for creative, original together a custom solution with a specific size of pull-out musicians who want to learn more about the world of shelf that would house the Push controller. technology and how it relates to music performance Canford were great at communicating with us regarding and composition. our needs and sent us a prototype to do final checks. We Although the new course makes use of many of the schools found that we required further adjustments which were existing facilities, it has necessitated the repurposing of an easily accomplished. existing classroom into a new, state of the art computer suite, We felt confident that our requests were being listened to whilst making sure that it could still be used as a standard and acted upon swiftly. As there were many other elements teaching room.

20 | Source Material by Canford

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

to this large install it was comforting to know that this part was being looked after by professionals. The bespoke solution that Canford designed and built for us has worked superbly, allowing us to maximise the space available whilst giving the students easy access to what they need.

This new room is now the envy of the rest of the school, and Canford’s input and expertise has been a great help in getting the new course off to a flying start.

Canford manufacture a wide range of high-quality timber products to include 19” Rack Pods and Lecterns. Many of which have been designed directly as a result of client feedback.

Kim Lamb, Canford Accounts Manager concluded: “Many of today’s studio and commercial audio installations call for functional racking solutions which are also aesthetically pleasing. Canford rack pods offer exactly that. With specific requirements, it was clear that we’d have to manufacture a bespoke product for The Brit School. Our cabinet making team has over 30yrs experience of producing custom solutions, and working with customers on projects which evolve. As such, the process was straight forward. We produced a prototype, and following final modifications, were able to meet the tight delivery requirements and fit in with the installation schedule.”

More product information can be found at www.canford.co.uk/Enclosure-Systems-Racks-Open-and-timber and custom joinery enquiries should be directed to sales@canford.co.uk

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

Source Material by Canford | 21

CANFORD IN THE COMMUNITY

By John Slider, Canford Non-Executive Director

Canford Audio Plc believes firmly in differentiating itself by offering technically excellent products coupled with outstanding customer service. Canford also believes that this can only be achieved through its people who are not only technically competent but understand that the personal approach and interaction with the customer is an essential part of successful businesses in today’s world.

Quite apart from its daily business Canford wants to be recognised as a good neighbour within the community in which it resides and has embarked on many projects with local schools and university’s offering young people development skills that will assist them in their future careers.

This participation has the added advantage of not only improving the local talent pool but also offering young people an industry recognised brand and accreditation throughout the country.

One such programme is Industrial Cadets, supported by the Department for Communities and Local Government, which has provided over £4m of funding since its inception in 2012.

This programme is administered by Engineering Development Trust (EDT) which is a registered charity and has regional representatives who act as a conduit between participating employers and schools.

Over the past 3 years several local schools have participated with Canford in such far reaching projects as helping design electronic test gear to the rejuvenation of Whitley Bay Ice Rink for which Canford received a Gold Certificate of Recognition.

Canford also participates in STEM (Science, Technology, Engineering and Mathematics) projects that bring teachers and employers together to help grow the workforce of the future.

Canford has two STEM Ambassadors, individuals who offer their time and enthusiasm free of charge helping schools to deliver exciting and inspiring activities that will assist students in preparation for life beyond school.

In 2012 the Government concluded that schools were failing to prepare students for the world of work and set about creating an entity that would see a great connection between employers and schools.

This resulted in University Technical Colleges (UTC’s) being set up in England which are basically schools for 14-19 year olds and are smaller than traditional secondary schools. Each UTC is backed by employers and a local university and has normally around 600 places.

The UTC’s specialise in science, technology, engineering and mathematics with very strong emphasis on what goes on in the workplace. Students have to take their O and A grades similar to conventional schools but leave with a much better understanding of industry.

Through a variety of different programmes school pupils get the opportunity to visit employers and get a unique insight into industry by participating in projects that are “hands on” working with company mentors who offer advice and guidance on a variety of topics.

Canford currently works with UTC South Durham by offering company visits where the students get to meet with technical specialists who explain the various types of technical career that exist within the company and what preparation is necessary for students to follow a particular path.

Students are given the opportunity to meet with all departments within the company to give them a better understanding of the different types of jobs and career paths open to them in the future. Normally on such programmes the students have to produce a short report on their findings and what they think their preferences might be.

The participation in these programmes and events is Canford’s way of giving something back to the local community whilst at the same time keeping abreast of what is going on in the world of learning and trying where possible to improve the essential relationships between industry and education.

22 | Source Material by Canford

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

UK MANUFACTURED

FOR APPLICATIONS DESERVING OF SOMETHING BETTER

Pt: 15-1233

RACK PODS

• S uitable for Commercial Audio Installations, Background Music Systems & Studios

•A djustable rack strip front and back for custom fit set-up • L ockable for security • 4 50mm useable rack depth for Amps & Media players

•A vailable in 4U, 6U and 8U •H igh-Gloss, black, 5mm acrylic door

• L uxurious Ash, Beech or Oak finishes

PRESENTERS LECTERN

Pt: 15-1702

• T hese floor-standing lecterns combine a sloping script-space with, below, a sliding shelf for a keyboard

• R ack cabinet fitted inside for AV equipment such as mixer-amplifier or media player

• I ntended for use in such environments as boards rooms, universities, lecture theatres, conference centres, etc

• S upplied fully assembled •A vailable in Oak, Ash, Beech or Walnut

CANFORD the essential source

EXCLUSIVELY AVAILABLE FROM CANFORD UK sales tel: +44 (0)191 4181122 email: sales@canford.co.uk Int sales tel: +44 (0)191 4181133 email: 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 | 23

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UNIQUE PATENTED LOCKABLE FEMALE C13 & C19 IEC CONNECTORS AND OUTLETS

GUARDS AGAINST ACCIDENTAL DISCONNECTION

OF MDUS, KVM SWITCHES, AND OTHER VITAL BROADCASTING EQUIPMENT call: +44 (0)1827 63454 email: oemsales@scolmore.com visit: www.ieclock.com IEC lock half page ad.indd 10

25/10/2017 13:26:09

MITIGATING THE RISK OF UNINTENTIONAL POWER DISCONNECTION

By Steven Bettson, OEM Sales Manager, IEC Lock â&#x20AC;&#x201C; Scolmore Group

According to a Grand View Research report, the global VOD (Video On Demand) market is projected to witness significant growth over the forecast period (2015 to 2022), growing at a compound annual growth rate (CAGR) of over 12% by 2022. This surge in demand can be attributed to rising demand for on-demand content and HD programming.

The global VOD market was estimated to have reached over USD 6 billion in 2016. VOD service providers use data centers that are used to deliver, store, encode, and decode video content through broadcast, cable or telecom networks.

Increasing number of smart devices, along with technological advancements in business models is expected to drive the industry. In addition, several innovations in connected TVs, smartphones and tablets have led to a substantial increase in the demand for VOD. These factors have increased the data traffic volume along with increasing on-demand content including music, TV shows, videos, and movies.

The aforementioned developments, along with IoT, networked audio and video such as DANTE and AES67 24 | Source Material by Canford

means that even more pro audio and broadcast content is flowing across our networks and the internet.

The changes from traditional methods of content acquisition and distribution means you have to be extra vigilant to ensure you maximise uptime - from the lens of the camera, to the screen of the viewer. Any loss in connection of power, whether it be inside an outside broadcast vehicle, the studio, a media server or switchers in between, could result in costly issues.

Possible effects of downtime could include business disruption, lost revenue, damage to reputation and brand, and could possibly lead to increased insurance premiums.

According to Beaming, UK businesses clocked up 149 million hours of internet downtime between them last year and the cost to the economy was ÂŁ12.3 billion. Over two thirds (72%) of UK firms experienced up to eight internet connection failures and 43 hours of downtime each - in the year to 31 March 2016 - which prevented them from trading or accessing vital online services.

This information, along with a number of recent high profile unintentional power disconnection issues, means that proactive measures must be taken to mitigate risk, and an effective way to mitigate this risk is to look at the power infrastructure, more Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

specifically the connection of servers, mains distribution units (MDUs), KVM switches, etc.

A single human error can escalate into a large scale failure and, with over 70% of IT downtime caused by human error (according to Uptime Institute), there is a need to look at what can be done to minimise this risk.

HOW CAN WE MITIGATE RISK? Plug Retention It is not uncommon for plugs to be removed, either accidentally or by vibrations. One way to reduce this risk is the introduction of some form of plug retention, of which there are several options available. Here are some examples with some pros and cons; Pros

Cons

External Clip System

• Secure connection • Improved reliability

• Bulky •D imensional body differences, reduced options • Additional costs • Time consuming installation • Impact on Airflow

Cable tray

• Secure Connection • Improved reliability

• Bulky • Additional costs • Time consuming installation • Impact on Airflow

Sleeves

• Budget solution • Minimal impact on airflow

• Very limited retention strength •R eduction in engagement can cause arching/flashing??

Propriety solution

• Secure Connection • Improved reliability • No impact on airflow, reduces waste space • No impact on installation time

• Propriety solution, reduced options • High premium cost

Integrated IEC Lock Mechanism

• Secure Connection • Improved reliability • No impact on airflow, reduces waste space • No impact on installation time • No propriety solution required • Greater availability of options • Reduced total cost ownership

• Limited premium cost

Colour Coding 1. Allows the identification of corresponding outlets to inlets.

Reducing time spent hunting the power source and missidentification. Also makes it easier for working in the rack 2. Easily identify unused power feeds 3. Variant voltage identification Hot-swapping Hot-swapping MDU’s allows for maintenance to be carried out without the need to down power any critical equipment.

By using dual input power cables from separate power sources, you can manually switch the load from one source to another.

This allows you to carry essential, cost-saving maintenance (such as UPS systems) without creating downtime.

Conclusion We are living in an increasingly connected world and as demand for instant media, VoD, connectivity and data grows, there is a need for devices to stay connected. By taking the appropriate steps, risks can be mitigated and downtime can be reduced.

The reduced risk to your system may also help prevent additional physical damage to equipment and thus reduce any resulting financial burden to businesses. Small steps to eradicate potential issues can add up to larger benefits, such as a reduction in lost revenue or lower insurance premiums and of course increased reputation and brand recognition.

Sources: Grand View Research: Data Center Video on Demand (VoD) Market Analysis, Market Size, Beaming: https://www.beaming.co.uk/press-releases/12-billon-cost-internet-downtimeuk-businesses/ Uptime Institute: https://journal.uptimeinstitute.com/datacenterinsurance/ Eaton: Optomizing Rack Power Distribution

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

Source Material by Canford | 25

Panamic p o l e s

a p a r t

ON LOCATION WITH: PANAMIC

by Stephen Gallagher and Michal Deliopulos

Established in 1972 by professional Sound Recordist Colin Charles, Panamic has long been regarded as the industry’s leading Boom Pole brand. Drawing from his award-winning experience, Colin knew exactly what was required on-set and designed Panamic Boom’s to be lightweight, durable and accurate.

The first Panamic poles were aluminium before moving to the current carbon fibre design. The carbon tube is manufactured in the North East of England from a composite weave, carefully chosen to control bend and rebound.

Eleven poles make up the Panamic range, which offers booms in Mini, Midi and Maxi formats, ranging 0.48mtrs to 5mtrs.

Canford acquired the Panamic brand in 2007, and moved production to our Portland (Dorset) manufacturing facility along with the original tooling, where Panamic booms are still hand-crafted, using the same materials, and the same manufacturing techniques.

We often see, or rather, we hear the superb audio recorded for TV drama series and film productions by sound professionals who use Panamic Boom Poles. We might hear anecdotal stories about interesting projects set in extreme production locations and might occasionally see on-set photographs, like the popular “Panamic Selfie” taken on a glacier somewhere in Austria.

We’re always interested to know what Panamic Sound Recordists and Boom Operators are working on, and appreciate your photographs via social media.

Canford Marketing Manager, Stephen Gallagher recently followed the journey of Sound Recordist Michal Deliopulos as he travels the world with the production of “Civilisation Seven Rules”.

Michal Deliopulos explains: “I’m a sound recordist and sound designer, predominantly working on feature films, TV series and documentary movies for cinema. I’m currently working on a documentary called Civilisation Seven Rules.

We’re Travelling the world to explore different kinds of civilisations, old tribes and their specific approaches to life.

So far we have been to destinations like Chile, Easter Island, Ecuador (Amazonia - old Indian tribes), Sudan, Uzbekistan. The production will also take us to Egypt, Russia, New York, Utah, Botswana, Nambia, Papua New Guinea, Australia and Alaska.

These demanding locations are incredibly tough for filming and so the correct equipment is essential. For instance, in Amazonia, high humidity stopped 2 of our 4 cameras from working!

I’d been thinking about the conditions we might experience, and chose my sound equipment very carefully.

Ahu Tongariki, Easter Island

26 | Source Material by Canford

I use a Sound Devices 688 + Sl 6 with Lectrosonics receivers and always carry lots of batteries in order to work for 2-3 days without charging. Also, a little heavier but Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

VIDEO Subscribe to our YouTube channel

reliable, V-mounted lithium battery, which can provide 18 Amh of power. For my boom microphones I have a Sennheiser MKH 60 and MKH 30, and use a modular Rycote kit in order to record everything in Stereo MS. Because my windshield kit and microphones are quite heavy I have to use an accurate boom pole to handle it and control bend.

As such, I use Panamic. I have been using them for feature films for years. They can be a little heavier, but this weight is worth it, for example to avoid handling noise with their unique Adjustable End Stops and Silent Bushes.

Travelling to Easter Island

They are extremely well made and can withstand rough conditions - like big humidity, unpleasant sand and heavy blimp.

To be honest I love them, Panamic Boom Poles never let me down. Their locking rings are definitely the best on market nowadays.

Panamic booms can handle the unavoidable rough treatment of documentary filming. They are like army tools.You can feel it when you hold them in your hand.

I am looking forward to working with them every day.â&#x20AC;?

Amazonia - old Indian tribes

Ecuador

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

Michal Deliopulos

Source Material by Canford | 27

PROFESSIONAL HEADSETS Available in a wide variety of impedances to suit any application, with both single-sided and double-sided models.

All headsets can be fitted with a variety of cable terminations to suit any intercom system or connection type.

Beyerdynamic Headsets Canford.indd 1

Beyerdynamic headsets are the worldwide

headset standard for live, remote broadcasting, studio, film, TV and language lab applications. All headsets can be configured and fitted with straight or coiled cables and a variety of terminations including 3.5mm, 6.35mm jack, 3-pin / 4-pin XLR and bare-ended to suit any intercom system or connection type.

10/24/2017 2:09:11 PM

microphone, for very high-quality speech reproduction and excellent intelligibility.

For outdoor broadcasts or other loud environments, the DT 790 series provide the best ambient noise attenuation in a comfortable but rugged design based on the DT 770 PRO, with an adjustable, soft padded headband construction and softskin, circumaural ear pads.

The DT 108/109 series is used throughout the world for news gathering, film, TV production and live events. The headphones are exceptionally comfortable with a soft headband and circumaural ear pads to accommodate long periods of use without fatigue.

Featuring a pivotable, flexible gooseneck for optimal positioning and Neutrik Connectors fitted to the single-side cable. Available with either high-quality dynamic hyper-cardioid microphone or condenser cardioid microphone for improved bass response, both with very high gain before feedback.

This legendary, classic design combines highly sensitive headphone and microphone transducers with an adjustable boom. The closed headphone design offers excellent ambient noise attenuation and is capable of handling very high SPLâ&#x20AC;¨

beyerdynamic professional series headphones and headsets can now be ordered with a high quality integrated level limiter.

This new option, available throughout the range guarantees that an operators hearing is protected when the headphone is used over a prolonged period.

A high level of ambient noise attenuation is achieved with the closed design of the ear cups. Rugged construction ensures reliability for many years of use with all parts being replaceable. Available as the DT 109 double-sided or DT 108 single-ear versions. All models are available in grey or black.

The DT 280/290/291 series headsets feature a flexible, pivotable gooseneck for optimal positioning with either dynamic or condenser microphone and optional limiter.

The DT 280/290 offers a high-quality dynamic hyper-cardioid microphone with very high gain-before-feedback. The DT 291 features an Omni-directional electret condenser 28 | Source Material by Canford

Designed to meet health and safety criteria, our passive circuitry which achieves an audio response similar to that of a complex, expensive VCA limiter. This clever two-phase limiting concept incorporates firstly a smooth decrease of the audio signal by 6 dB then secondly a hard, protective, brickwall limit of the audio signal.

This two-step process ensures that sound quality is maintained throughout any peak in signal. The limiter threshold can be defined freely by the customer when ordering.

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

Multi-award winning Digital Intercom

We need to talk!

New Multi-Channel Main Stations • 1U Rackmount and compact desktop versions • 36 Assignable fields (presented as 2 pages of 18) • Assign each field as an intercom channel or a system control function • Multi-colour pushbuttons indicate ‘Talk’, ‘Listen’ and ‘Call Alert’ • TFT multi-colour touchscreen shows ‘Channel Ident’, ‘Listen Level’ and ‘Cue Status’ • Soft menu buttons control main operating features • Integral loudspeaker and XLR3 for gooseneck mic • Headset connection • XLR3 analogue line In/Out connectors for distributed audio • GPIO control via 9-Pin D-Sub connector • Power by PoE, PoE+ or external 12V DC supply

Coming soon 24-Channel EXT Extender units. Link up to 9 EXT units to a single main station.

This innovative technology is a cost effective digital intercom over Ethernet, which uses a unique design concept to create complex communications systems for major live events, multi-function performances venues and broadcasters.

CANFORD the essential source

SOLE UK DISTRIBUTOR UK sales tel: +44 (0)191 4181122 email: sales@canford.co.uk Int sales tel: +44 (0)191 4181133 email: 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 | 29

CH…CH…CH...CHANGES… FUTURE SPECTRUM AVAILABILITY FOR PMSE Access to radio spectrum for wireless microphones and in-ear monitor systems (Program Making & Special Events equipment) is taken for granted by many people. However, the world of spectrum access is changing and some wireless PMSE equipment will be adversely affected by these changes…

The 700 MHz Band This frequency band (694-790 MHz) will cease to be available for PMSE applications in the UK from April, 2020. The band has been allocated across the EU for the deployment of new mobile broadband services. In Germany and France the band has already been auctioned and services are starting to be rolled out. This situation will be replicated across other European countries over the next 3 years. This change will not just affect equipment that tunes to frequencies in the 700 MHz band. The re-stack of Digital Terrestrial Television (DTT) services into frequencies below 694 MHz could also render some equipment that tunes to frequencies below 694 MHz, redundant. This is because DTT services will ‘appear’ on frequencies below 694 MHz where there were previously no DTT transmissions. At time of writing, the DTT re-stack plan is still being worked on. Consequently, it is not possible at this stage to predict precisely what equipment will be affected, or where.

However, a ‘700 MHz clearance look up tool’ has been produced by Ofcom UK and can be found here; https://www.ofcom.org.uk/manage-your-licence/ radiocommunication-licences/pmse/700-mhz-clearance-lookup-tool PMSE equipment users/purchasers are advised to read the last sentence on the above referenced web page carefully.

Also still being worked on, is just what the UK PMSE compensation/funding scheme will ultimately consist of.

While it is good news that, after considerable lobbying activities by the British Entertainment Industry Radio Group (BEIRG), the UK authorities have accepted that a funding scheme is required, there is still much debate going on with regards to what the terms of the final scheme will be.

Discussions are ongoing.

30 | Source Material by Canford

Where to Go and for How Long?

The EU’s Radio Spectrum Policy Group (RSPG) released a draft opinion on the medium to long-term spectrum requirements after 2020 for PMSE (both audio and video) earlier this year. The draft opinion was released for public consultation and the closing date for responses was September 30th, 2017. In the draft opinion it is suggested that the remainder of the UHF band (470-694 MHz) should be secure for DTT and audio PMSE until at least 2030. However, there are plans for a review of the use of all UHF spectrum in 2023/2025.

Outside of the ‘traditional’ UHF bands there are other ‘sub-bands’ that are available for audio PMSE use in the UK. Below is a list of what bands are currently available for use by audio PMSE along with details on ‘terms of spectrum access’, including the established UHF bands.

173.8 – 175 MHz (licence exempt) 175 – 210 MHz (licence required) 470 - 606 MHz (Licence required) 606 – 614 MHz (shared licence required* – this band is commonly referred to as ‘channel 38’ – UK only) 614 – 790 MHz (licence required – this frequency band will be ‘truncated’ by the release of the 700 MHz band, eventually becoming 614 – 694 MHz) 823 – 832 MHz (shared licence required*) 863 – 865 MHz (licence exempt) 1518 – 1525 MHz (licence required) 1785 – 1800 MHz (shared licence required*) 1880 – 1900 MHz (licence exempt - DECT) 2400 – 2483 MHz (licence exempt – shared with WiFi, Bluetooth etc.)

A shared licence covers users for the three bands 606 – 614, 823 – 832 and 1785 – 1800 MHz.

*

Details on licensing audio PMSE equipment in the UK can be found here; https://www.ofcom.org.uk/manage-your-licence/ radiocommunication-licences/pmse

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

Now available

DIGITAL 6000

Compromise is not an option when everyone is counting on you.

Better performance, quicker setup, immediate payoff: Digital 6000 was developed to exceed the expectations of audio professionals and business managers alike. Our new professional wireless series delivers reliable performance in even the most challenging RF conditions.

Intermodulation is completely eliminated by Digital 6000, enabling more channels to operate in less space.

Digital 6000 utilizes groundbreaking technology from our flagship Digital 9000. Dependability is guaranteed by our renowned Long Range transmission mode and proprietary audio codec.

Digital integration is seamless with AES3 and optional Dante output. Monitoring and control of the two-channel receiver is at your fingertips, with an elegant, intuitive user interface.

Discover more: www.sennheiser.com/digital-6000

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

Source Material by Canford | 31

AS CLEAR AS A BEL Bel Digital Audio has recently been celebrating its 40th Anniversary of designing and manufacturing professional audio products in the United Kingdom. Throughout that time the brand has been synonymous with quality, reliability and service. i.e., a company you can trust. These ideals are just as relevant today (if not more so) as they were in the past.

Return on investment is also as important now as it ever has been, and Bel is a brand that provides the reassurance of many years of trouble-free operation, as can be attested by broadcasters throughout the world. It is not uncommon to come across Bel designs being used 24/7 in all sorts of environments for in excess of ten years.

Bel currently manufacture products ranging from Audio Monitoring Solutions to Audio Synchronisation Delays and Audio Format Converters. These find homes not just in broadcast and remote production facilities, but also in commercial and corporate infrastructure, fixed installations and live sound.

AoIP anyone?

Recent developments in the world of professional audio include Audio over IP (AoIP) technology and especially AES67.

AES67 is an open standard for AoIP interoperability between various audio networking systems, such as Dante, RAVENNA, Livewire, WheatNet and Q-LAN. In response to requests for an AoIP monitoring solution, Bel developed the world’s first Dante AoIP audio confidence monitor. Based on the popular Dante platform from Audinate, the BM-A1-64DANTE provided an immediate solution of being able to monitor any channel in a Dante stream, thus providing an exceptionally useful tool in the monitoring of Dante networks (however complex) and being a great time-saver when configuring and installing new networked audio systems. With a continual philosophy of feature enhancements and development, the BM-A1-64DANTE now monitors both Dante and AES67 streams simultaneously, while also providing a range of useful features such as displaying Dante Channel Receiver names and having an ever so intuitive user interface.

While AES67 is understood to be the method of audio transport over IP, the standard does not specify a definitive method of how streams are discovered on the network. This has led to a degree of confusion in industry as different 32 | Source Material by Canford

networking systems make use of different discovery protocols, but during IBC2017 we demonstrated how our BM-A164DANTE can successfully monitor audio streams from both Dante and RAVENNA networks by making use of this AES67 standard.

AoIP monitoring The BM-A1-64DANTE provides audible monitoring as well as visual signal strength indication of up to 64 selected Dante/ AES67 channels, any of which can be routed to the device’s loudspeakers.

Two modes of monitor operation are available: Mono mode, for monitoring on a channel-by-channel basis - simply scroll through the channels to audibly monitor them individually; and Combination mode, where the operator can combine any channels (up to 64) to provide a unique stereo monitor mix. A pan control allows the user to position each channel in the stereo image. Selection between modes is completely transparent, making operation extremely intuitive. Channel combinations can also be stored as user Presets, which allow rapid recall of common configurations.

The front panel of the device features a volume control, mute button and headphone output socket, with the loudspeakers muting when headphones are connected. The pre-volume signal level is displayed on a dual, multi-colour, high-resolution bargraph meter. The display also incorporates various tallies showing volume level, L/R channel routing, Preset selection, sample rate and PSU statuses. In addition, Receiver Channel Names are automatically displayed on the front panel to provide ‘at-a-glance’ confirmation of the channel(s) being actively monitored.

The front panel LED matrix display relays the status of the 64 channels and indicates which are currently being monitored.

On the rear panel, the stereo audio monitor mix is available both as balanced analogue outputs (on a pair of XLRs) and an AES3 output (a further XLR). Two (primary and secondary) RJ45 Ethernet ports allow the unit to be connected to a dual redundant Dante network. A USB port allows firmware updates to be performed.

Housed in a rugged, stainless steel compact 1U rack chassis – suitable for life on the road - the BM-A1-64DANTE also features a redundant power supply as standard.

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

The BM-A1-64DANTE can be found in OB vehicles and as broadcast facility monitoring stations, in flyaway systems for major sporting events, for wireless mic monitoring with Dante-enabled digital wireless microphone systems (from manufacturers such as Sennheiser and Shure), in fixed installations such as theatres, houses of worship and museums, and in many corporate A/V installations.

New Optimised Acoustic Design Bel showcased a number of new technologies at IBC2017, including a new optimised acoustic design for our 16 channel 1U range of Dolby-ready audio and audio/video monitors.

Following feedback from engineers and exhaustive research and development, Bel demonstrated a new acoustic design incorporated into the BM-A1-16SHD audio monitor. This development provided a significant enhancement in sound reproduction for in-rack audio monitors, with excellent clarity and a very detailed soundstage across the entire acoustic spectrum - ideal for critical monitoring applications.

Already recognised as being exceptionally intuitive and userfriendly to use in busy operational areas, the new acoustic design really enhances the range of monitors on offer.

SDI de-embeddingâ&#x20AC;ŚKeep it tidy and keep it cost-effective.

Tired of trying to make SDI de-embedders look tidy in an installation? Are you concerned about the reliability of their PSU connections? Bel has a solution with the SAM64.

Taking note of System Installersâ&#x20AC;&#x2122; concerns for a reliable and

tidy solution, the SAM64 is a 1U quad-SDI de-embedder with active loop-through for each SDI source. Featuring independent auto-sensing SDI inputs (up to 3G) the quad SDI streams are de-embedded in their entirety and are simultaneously made available as fibre and coaxial MADI outputs (64 channels) and 32 pairs of AES3-id outputs. Thus making this a really compact and tidy solution for use in SNG trucks, interfacing to digital consoles/routers and intercom systems as examples. Configuration is exceptionally simple, immediate and intuitive and the SAM64 is even Dolby compliant. A breakout panel with pre-wired cable assembly is also offered as an option to provide all 32 x AES3-id outputs on BNC connectors. Thus saving installers even more time and money.

If you are looking for SDI de-embedders that provide hasslefree installation, are tidy, that come with a redundant power supply and are compact and cost-effective, then look no further than the Bel SAM64.

Whether your application requires basic two channel analogue monitoring for radio use, sixteen channel audio/video monitoring with Dolby decoding and loudness measurement for monitoring transmission feeds, AoIP confidence monitoring in a fixed installation, audio synchronisation delays for lip sync, or audio format conversion for studio use; all Bel Digital Audio products can be purchased directly from Canford Audio.

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

Source Material by Canford | 33

AUDIO NETWORKING OVERVIEW

By Charles Phelps,

Basics of networking

Canford Technical Support Engineer

There are now several AoIP’s (Audio over Internet protocol) available, each provides a different service depending upon the application for different infrastructure and bandwidth requirements. It is therefore important to understand the nuances of each, ensuring we have appropriate networks before embarking on any AoIP deployment.

Multimedia networks synopsis Long distance communications have been an obsession of humanity for a long time, with the earliest methods of relaying messages consisting of smoke signals or drumming.

Although primitive these methods use an agreed standard between transmitter and receiver, encoding and decoding a message which is the basic principle still used today.

In 1451 Johannes Gutenberg invented the printing press, allowing widespread access to mobile information, exampling the “one-to-many” motive in communication.

1844 introduced the Telegraph, after Samuel Morse and his colleague’s relayed electrical impulses “Morse code”. The telephone, developed by Graham Bell in 1876, domesticated by the 1940s, transmitted the human voice on shared party lines. The journey to modern telecommunications is punctuated not only with major milestones but also with ideas that were ahead of their time. For instance, Bell’s wireless telephone call in 1880 eventually led to today’s fibre optics.

Traditionally in the analogue world, sending an audio signal from one device to another requires cables capable of transporting the voltage differentiation of a transduced signal. Consisting of one physical line of one way traffic from each source to their respective destinations. In the digital networking domain, the same is true but signals are transcoded into a binary format, which is then wrapped in a codex protocol. Allowing multiple channels of data to not only be sent down the same line but generally, a line of smaller size, substituting the use of bulky multicores with one or two low profile data cables.

Based on the French scientific network “Cyclades“, developed in the 1970s, a modern network is a group of devices that can communicate with each other. With each device acting as a node, inter-connected between network types. The underlying theoretical model for networking is the Open Systems Interconnection (OSI), developed by the International Organization for Standardization (ISO) that splits up the functions of network communication into seven layers.

TCP/IP is also a layered protocol, with equivalent operation and function to the ISO model. Developed by the Department of Defence’s (DoD) Advanced Research Projects Agency (ARPA). Today, it is the main protocol used for all Internet operations.

TCP/IP

OSI

6 Presentatio

n

n

Applicatio

Translates data between a networking service and an application.

Managing communication sessions exchange of information between two nodes.

5 Session 4 Transport

Internet

Outlines reliable and sequential packet delivery of end-to-end message delivery.

3 Networ

Transport

Under the umbrella of IP internet protocol, it structures and manages a multi-node network.

k

2 Data link 1 Physical

34 | Source Material by Canford

Defines interface to user processes for communication and data transfer.

7 Application

Network

Utilises the MAC address with the transmission of data frames between two physically connected nodes.

Depicts the transmission and reception of raw bit streams over physical medium between devices.

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

As protocols, TCP (Transmission Control Protocol) and UDP (User Datagram Protocol) are used to control data in the 3rd Layer of OSI model, determining what kind of connection is to be established whether Connection-Oriented or Connection-Less.

Connection-Oriented or TCP/IP protocol is used when there is an established session retransmitting lost packets. Whereas Connection-Less or UDP/IP (User Datagram Protocol) protocol provides constant streams with no retransmission.

Networked audio standards Since the evolution of digital transmission thus the inerrant implementation of audio across a network, there have been many protocols designed to tackle handling audio across a network. Minimising packet loss and or buffer time that would be more acceptable to straight data transferring examples. To date, networks are Standardised by SMTPE 2022-6 allowing deployment of IP infrastructures and realizing operational efficiencies such as SMPTE 2110, which provides an ‘essence based’ approach by separating audio, video and metadata into separate streams. The most common audio protocols occupying layers 1, 2 and 3 of the ISO model are: Layer 1: AES10 “MADI” (Multichannel Audio Digital Interface), developed in 1991 by AES (Audio Engineering Society) as a means to transport bi-directional audio.

Layer 2: IEEE802, Audio Video Bridging (AVB), developed in 2011 by the Institute of Electrical and Electronics Engineers (IEEE) specifies the operation of Media Access Control (MAC) Bridges and Virtual Bridged Local Area Networked audio.

Layer 3: AES67 encompassing: Ravenna, developed in 2010 by ALC NetworX is a technology for real-time transport of audio and other media data in IP-based network environments.

DANTE (Digital Audio Network through Ethernet), developed in 2006 by Audinate, as a combination of hardware and software used to transport multi-channel, digital audio over a standard Ethernet network.

Whilst AES67 looks set to be the preferred AoIP standard, broadcasters use a variety of protocols across the industry and see the importance to continued development and support for AoIP solutions such as Dante networks.

the best performance at 70 meters) for solid copper core cabling, CAT5e or higher. Greater distances can be achieved through the implementation of additional switches and or active optical cabling, yet the actual potential transmission distance varies, dependant on factors such as the cable environment and termination quality.

100Mbps

Audio channels: bi-directional:

Gigabit

48 x 48 48 kHz/24bit

512 x 512 48 kHz/24bit

96

1024

For 96 kHz 24 bit audio the channel capacity is halved.

When installing an AoIP system, a dedicated network infrastructure is recommended but not required. As an example, Danteenabled devices can happily co-exist on an existing converged data network. Using standard Voice over IP (VoIP) Quality of Service (QoS) switch features to prioritize audio traffic using what are called DSCP/Diffserv values. In contrast, a low load on a full Gigabit network will function without QoS. As load increases, QoS will aid in a better system performance, outlined by the following procedure table. However, for the best performance, a dedicated network is suggested.

Priority

Usage

DSCP Label

HEX

Decimal

Binary

High

Time critical PTP

CS7

0x38

56

111000

Medium

Audio, PTP

EF

0x2E

46

101110

Low

(Reserved)

CS1

0X08

8

001000

None

Other traffic

Best effort

0X00

0

000000

Cabling, bandwidths & data rates Networks generally use CAT5 or higher cables, with the original CAT5 standard was designed to carry 10 Mb and 100 Mb signals, yet the demand quickly grew for 1 GB compatibility, consequently, CAT5e offers 1 GB support as an enhanced standard. Sequentially the introduction of CAT6 offered a more stable 1 GB line, achieved through more twist per meter and separation between twisted pairs. The latest standard, CAT7 adding an individual shield for each pair, boasting 10 GB compatibilities.

When caballing for AoIP networks the use of gigabit switches in a dedicated network is recommended, while MADI, Ether Sound, and many other formats are 100 Mb, Dante is 1 GB of which the best results are found from a dedicated network, using switches with a capacity equalled to two times the number of ports. Cabling to a maximum length of 60 meters between nodes when using copper stranded cable and up to 100m (suggested

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

Source Material by Canford | 35

RDL DANTE™- ENABLED ENDPOINTS PROVIDE SOLUTIONS FOR AV SYSTEMS Dante is growing as the industry choice for audio distribution over dedicated and standard IP networks, supporting simultaneous channels of uncompressed audio with ultra-low latency and submicrosecond synchronization accuracy.

Those getting started with Dante or exploring networked audio, are looking at how Dante implementations are accomplished and want to understand the benefits.

Integrators who have done networked audio installations are often looking for additional solutions and how to fulfill their customers and clients needs.

Here are some frequent examples of Dante implementations: Application Example 1: Adapt Existing Audio Power Amplifiers to a Dante Network Adding Dante networked audio to an existing system doesn’t require replacing existing power amplifiers or loud speakers.

It may be adding a Dante enabled DSP and connecting to the audio system already in place.

Routing audio from the DSP to an RDL Network to Mic/Line Interface connects two Dante audio channels to any mic or line-level amplifier input. Available as PoE or local power, the RDL FP-NML(P) is the connector of choice.

A related model, FP-NML2V adds a VCA to each output. Each VCA is compatible with a variety of RDL Remote Level Controls or OEM equipment providing 0 to 10 Vdc or 0 to 10 kΩ control output. The two VCA’s may be controlled together or separately.

Application Example 2: Troubleshoot a Dante™ Audio Network Using a Dante Headphone Amplifier Since each RJ45 data port is a potential audio out from a Dante network, common installation issues can be resolved with a Dante-enabled Stereo Headphone Amplifier used as a troubleshooting tool. This allows a technician to quickly confirm that a port on a switch is properly configured for the Dante network simply by receiving audio.

Using Dante Controller, apply a static IP address to the RDL stereo headphone, the SF-NH1 and route an active audio signal to its Left and Right outputs. Connecting the PoEpowered SF-NH1 to a network port and receiving audio will confirm that the port is properly configured. Simple, effective and fast.

Application Example 3: Converting Dante to AES/ EBU or S/PDIF without Leaving the Digital Domain Keeping digital audio in the digital format rather than converting to analogue and then re-converting maintains audio quality. Often, it is a need to feed AES/EBU or S/PDIF into a recorder or studio monitor.

Use the RDL SF-ND2 to convert 2 channels of Dante to stereo AES/ EBU or S/PDIF inputs without leaving the digital domain. The SF-ND2 is powered via PoE and offers selectable Dante Sample Rates of 44.1 kHz, 48 kHz, 88.2 kHz or 96 kHz. The output is switch selectable to provide AES/EBU (male XLR), or S/PDIF (coaxial or optical).

Application Example 4: Converting Digital Audio from AES/EBU or S/PDIF to Dante New TVs and monitors are now being produced without traditional analogue outputs but do have optical or coaxial S/PDIF. The need is to get this audio into a Dante network while keeping audio in a digital format. A similar need is to covert legacy AES/EBU audio to Dante.

Both needs can be fulfilled with the RDL SF-DN4 where coaxial, S/PDIF or AES/EBU digital audio can be brought to Dante. Digital audio from 32 kHz to 192 kHz can scale to Dante rates of 44.1, 48, 88.2 or 96 kHz. These traditional applications are used in house of worship, schools and universities, entertainment venues, studios, broadcast, meeting rooms and all of the traditional uses of audio systems. Without need of special software and in multiple form factors, RDL offers 35 Dante interface models that meet application requirements with high quality and reliable product they are known for. www.rdlnet.com

36 | Source Material by Canford

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

DISCOVER NETWORKED AUDIO Simplify installations and reduce equipment costs with RDL Format-A and Dante interface products Exclusively distributed in the UK by Canford

CANFORD the essential source

6-7 MARCH 2018  ISCEx.org.uk

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

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

Join us at the most relevant event in the sound industry calendar.

STEVE SM C1234567 ITH 8

ISCE SOUN

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ISCE is now approved to assess and issue ECS cards.

If you’re working in commercial audio system design, integration, project management or sales, ISCEx 2018 provides excellent opportunities to learn, engage and discuss commercial audio solutions in an intimate, non-imposing environment.

JOIN US TODAY

Taking place at Coombe Abbey on Wednesday 7th March 2018, ISCEx 2018 combines educational seminars with leading networking opportunities and a table-top exhibition from more than twenty five commercial and pro audio market leaders.

Registration is free at www.iscex.org.uk

JOIN US

Annual Networking Dinner 6th March 2018 (7p m) Only £41 per person

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30/10/2017 16:22

Source Material by Canford | 37

WHY CANFORD IS SO MUCH MORE THAN JUST ANOTHER DISTRIBUTOR

By Gavin Drake, Canford Manufacturing Production Manager (Portland, Dorset)

It would be fair to say that Canford’s traditional distribution market place has changed significantly over the last 20 years. Not only do we now have to contend with our long-established and very familiar competition but also the modern day phenomenon known as the internet which facilitates direct and easy access to not only the manufacturers themselves but also “one man in a shed” operations who previously would have struggled to reach the wider market without significant investment. The net result of these changes is a far larger cross section of suppliers now able to offer the more standard distributed “widget and glue” products that Canford is famous for.

To compound the above, in more recent times, we are now also faced with the industries wider adoption of newer and slightly more alien technologies that require completely different approaches to infrastructure products and solutions.

The question you might ask is what is Canford doing to address these modern day challenges and where do we see the future?

In answer to the first part of this question Canford has, since its inception way back in 1976, always adopted the philosophy that it was never going to be just another distributor of other people’s products but instead would work alongside our customers to design, develop and manufacture both standard and, where required, custom solutions which specifically met their needs.

38 | Source Material by Canford

In keeping with this principle Canford has continued to develop and invest in what are now three separate workshops across two different sites which today account for over 40% of the company’s turnover.

At our Washington site we still have our original workshop which is responsible for the manufacture of the Canford MDU’s, Tecpro, EMO, Neal and the more conventional cable assemblies. This particular operation has received significant investment in recent months to allow it relocate into a modern purpose built facility within the main building enabling us to now offer improved service, efficiency and flexibility.

Coupled with this we have also increased R&D resource to identify and develop the next generation of Canford own brand solutions.

Down on the Isle of Portland in Dorset we have our metalworking facility that includes a full sheet metal working shop, three vertical machining centres and our own powder coating suite. The Portland site is primarily involved in the manufacturing of both standard and custom 19” rack mount connection panels, wall plates and enclosures though also provides the Washington workshop with all of the metalwork required for its products. Following increased customer demand the Portland workshop invested heavily this year in a state of the art laser engraving machine which now allows us to not only manufacture panels but also mark them with customer specific logos and legends where required and within sensible lead times.

Canford’s third and most exciting workshop is our new fibre termination facility based at our Washington site. Given the increasing use of fibre technology within our core markets Call UK sales on +44(0)191 418 1122 or email sales@canford.co.uk

Canford became aware of a growing demand for high quality fibre cable assemblies within reasonably short leads times.

With this in mind at the end of 2016 the group made a significant investment in equipment, training and stock to fill this niche in the market. We are already certified by both Lemo and Neutrik to terminate their respective connectors and in 2018 our plans are to expand this to include HMA fibre offerings. The early success of this venture has far exceeded even our own expectations and we have already become the preferred supplier to many major installers.

Obviously the equipment and workshops are only half the story and experienced staff who understand both the products and industry is the other critical element. To this end not only do the managers of our three workshops have over 80 years of combined Canford experience between them but this is also equally reflected within our workforce which gives us a depth of knowledge that few companies could match.

All of the above already make Canford pretty unique however we understand the future brings with it further new challenges and not only do we need to adapt to a continually changing market place but at the same time embrace the new technologies as they develop. We also understand that we cannot do this on our own.

With this in mind Canford have always taken the view that we donâ&#x20AC;&#x2122;t have suppliers and customers but instead we have partners. It is the facilitation of these close relationships that has helped us to develop both our services and products over the last 41 years and cement our position as the wellrespected market leader. Though the world may be rapidly changing around us this core ethos will remain deeply engrained within Canford culture ensuring that we maintain this position for many more years to come.

RELIABLE WIRED INTERCOM

tecpro

by Canford

International Sales UK Sales

tel: +44 (0)191 418 1133

tel: +44 (0)191 418 1122

email: international@canford.co.uk

email: sales@canford.co.uk

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

tecpro.co.uk

Source Material by Canford | 39

NEW YORK IN TIME FOR BREAKFAST

By Ian Farina, Shipping Manager

Canford operates in a truly international Broadcast and Pro AV market place with approximately 30% of its revenue derived directly from exports. The worldwide nature of the business is emphasised with many of the company’s domestic customers themselves operating globally, which demands the trusted, timely and secure movement of goods around the planet.

Canford has supported overseas clients with a multilingual sales team for the entirety of its forty-one years history, and now has offices in Dubai and France.

The company has developed a specialist International Shipping Department. The Team has accrued over 50 years’ experience, gained here at Canford, in the logistics of audio and video product.

From its headquarters in Washington, Tyne and Wear, UK, Canford offers a fast courier service into major cities all over the world, at competitive prices. The most popular services include a 2-day shipment to Dubai, Doha, Muscat and Riyadh or New York, Next Day by 10:30am and two-days 10:30am service to Toronto.

navigate without the experience we’ve developed. These include Certificates of Origin, EUR and ATR forms that are certified and approved for customs by our local Chamber of Commerce, conveniently located just under 10 miles away from our headquarters in Washington.

As a department we are responsible for completing Letters of Credit, Certificate of Conformities and Export Control Regulations too.

“Quick deliveries don’t stop at the smaller shipments! To ensure we can ship larger consignments with a tight deadline, Canford hold ‘Known Shipper’ accreditation, which involves our premises being audited annually by the Civil Aviation Authority.”

“This speeds up the movement of goods through the airport and reduces the risk of delay onto the aircraft. To offer a recent example of this, a 3 piece 1,000kg consignment to Jordan was collected at 10:50am on Tuesday and arrived at Amman airport 11:05pm on Thursday.”

Canford Marketing Manager, Stephen Gallagher, asks: “How do they do it?”

Shipping Manager, Ian Farina explains: “We have a trusted network of couriers and forwarders that provide a high-quality service which is best suited to handle our Business to Business deliveries in the UK, Europe and Worldwide.

We provide a service to customers who are located in over 185 countries, some with very complex documentation requirements to clear customs or to qualify goods for Free Trade Agreements required for a zero rate of duty.

Our complete service includes all of the necessary documents.

The complex nature of these would be very difficult to 40 | Source Material by Canford

Canford Shipping Team: James Akerman, Ian Farina and Peter Herkes

SHIPPING DEPT FACT: Our 3 members of the Shipping Team joined the Canford Family as Apprentices.

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480MHz

490MHz

500MHz

510MHz

520MHz

530MHz

540MHz

550MHz

WE HEARD YOU. Wide tuning up to 184MHz across all receivers and transmitters

ShowLink® remote transmitter control

Up to 63 active channels per 8MHz TV band in High Density mode

AES3 and redundant Dante digital audio

True digital diversity with Quadversity™ and transmitter frequency diversity

Industry-leading two milliseconds of latency

Two- and four-channel receivers

The first micro-bodypack with an internal self-tuning antenna

Axient Digital uses the most innovative wireless technologies in the world, delivering uncompromising performance – anywhere, every time.

Learn more at shure.co.uk/axientdigital © 2017 Shure Europe GmbH

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Source Material by Canford | 41

DIFFERENT VERSIONS OF HDMI

By Bernadett Horvath, Canford, Audio & Video Engineer

HDMI in all of its forms can be a baffling subject, and following the recent HDMI 2.1 specification announcement we thought it was about time to review its evolution, debunk some miss-truths and tell you everything you need to know as HDMI enters its twelfth edition.

HDMI is a hardware update, where the version numbers mirror its competency. Put simply, the various specifications simply denote compatibility with source and display hardware such as screens.

All HDMI versions are backwards compatible.

Version 1.0

Version 1.4

Version 2.1

• Single cable connection for digital audio and video with maximum 4.9Gbps

•A dded audio return channel

• Supports up to 165Mpixels/sec video (1080p at 60Hz or UXGA)

•A dded support for Ethernet over HDMI

• Up to 8 channels of PCM audio @192kHz/24-bit

•A dditional colour spaces for digital photography and computer graphics

• Improved video resolution, frame rate and audio return channel

•D efined input/output protocols for major 3D video formats

• Game Mode Variable Refresh Rate (VRR) to enable more fluid and better detailed gameplay

• S upport for UHD-1 @ 24, 25, 30 Hz and DCI 4K @ 24Hz

• Increased 48 Gbps bandwidth

Version 1.1 • Support for DVD Audio

Version 1.2 • Support of 1-bit audio format up to 8 channels used for Super Audio CD’s • Requirement (1.2 and later) to support future low-voltage sources • Added support for a variety of new formats (720p@100 and 120 Hz) • HDMI type A connector for PC sources and displays with full support for PC video formats • Availability of the widely-used HDMI Type A connector • Ability to let sources to use their native RGB colour space while maintaining the support the YCbCr colour space

Version 1.2a • Specifies Consumer Electronic Control (CEC) features, command sets and compliance tests

Version 1.3 • Added support for lossless compressed digital audio formats

•A dded data channel for high-speed bi-directional communication

• I ntroduction of the new micro (D) and automotive (E) HDMI connections

Version 1.4a

• Support of Deep Colour: 10, 12 and 16-bit (RGB or YCbCr) colour depths • Increased colour space and support for xvYCC colour standard

• Added 3D format for broadcast content

• Introduction of a new mini (C) connector for portable devices

• Enabled 3D 1080p video at 120Hz

Version 2.0 (HDMI UHD) • Up to 32 audio channels for multi-dimensional audio • Up to 1536 kHz audio sample frequency • Multi-stream audio deliver up to 4 users • Same screen dual video streams • Added support for the wide angle theatrical 21:9 video aspect ratio • Increased bandwidth up to 18 Gbps • 10 and 12-bit colour depth • Frame rate support up to 60fps (UHD-1)

42 | Source Material by Canford

Version 2.0a

• Introduction of the new 48G cable will be required for the high video resolutions (such as 8K@60 or 4K@120)

Standard (category 1) HDMI Cable and Standard HDMI Cable with Ethernet is aimed to handle most domestic appliances up to 720p or 1080i (75 MHz to 2.25Gbps). Ethernet enabled cable offers a dedicated data channel for device networking only if the items are HDMI Ethernet Channel-enabled.

The High Speed (category 2) HDMI Cable and High Speed HDMI Cable with Ethernet is able to transmit video resolutions of 1080p and over (340MHz to 10.2Gbps), moreover it provides support for advanced display technologies such as Deep Colour, 4K, and 3D. Just as the previous the Ethernet enabled offers a dedicated data channel for device networking only if the items are HDMI Ethernet Channel-enabled.

Standard Automotive (E) HDMI Cable supports up to 720p/1080i for automotive system since they might require more internal relays these cables are required to send a stronger signal than other cables types.

The Premium High Speed HDMI Cable and Premium High Speed HDMI Cable with Ethernet are designed for 4K and advanced features (higher frame rates, 4:4:4 Chroma sampling and High Dynamic Range)

Active or passive HDMI

• Added support for High Dynamic Range (HDR) with static metadata

• Added support for Hybrid Log Gamma (HLG)

•A dded support for dynamic HDR

HDMI recognised the customer’s confusion regarding the cables, therefore it introduced a 6 tier uniformity to help the buyers choose the right cable.

Version 1.4b

Version 2.0b

•A dded support for advanced audio signal control capabilities including device auto-detect

What about the cables?

• Added auto audio sync • Increased 10.2 Gbps bandwidth HD@120Hz and WQHD@60Hz

• Enhanced Audio Return Channel (eARC) for object-based audio support

These terms only refer to the cables in use.

How far a cable can go depends of the manufacturer as well on material being sent. On average the length of a passive copper based cable is able to run up to 10 metres.

Active Optical HDMI cables, such as the Lusem OxLinx use on-board electronics which enable the cable to reach much further, up to 100m. These cables require +5V power which is typically available from the connected HDMI port.

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

We protect your

Passion www.skb-europe.com

TRAVEL CONFIDENTLY WITH YOUR SKB CASE Every professional Audio Engineer understands the value of transport products while traveling. Because their number one priority is securely transporting their expensive, sensitive, and highly customized gear.

With a wide variety of transport systems for mixers, rack systems and accessories, SKB provides maximum protection, effortless mobility and in-use functionality. With our extensive range of injection molded and rotomolded cases as well as rack solutions, we are seen as a specialist for any possible packaging solution in the Broadcast and Pro AV industry.

Continuous innovation: high quality / low weight Focussing on continuous innovation, we offer our customers the highest quality of transport protection. The “3i Series” injection molded cases have been designed and developed to meet the highest required standards in the market place. With weight becoming more and more important the 3i series is seen as a perfect solution for transporting any delicate equipment in a relatively low weight packaging.

Newest products SKB’s Fly Racks will revolutionize the way you travel and protect delicate electronics. These new Fly Racks are equipped with a shallow shock rack frame packed in our 3i injection molded cases. The added value of the Fly Rack is that you can simply transport your rack unit and take it out of the case when needed.

Introducing the world’s first injection molded waterproof carry-on studio rack case, the 1SKB-iSF2U Studio Flyer is a powerhouse of innovative features packed into a compact, convenient carry-on size. Boasting a virtually indestructible injection molded shell that is both lighter, stronger, and less expensive than comparable racks.

Studio Flyer

Fly Racks

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Source Material by Canford | 43

PO RTA B L E SOUN D SYST EMS BATTERY POWERED | DURABLE | RELIABLE

Sup e r i o r A u d io wit h Un ma t ch e d Simp l icity MADE IN THE USA | SIX YEAR WARRANTY Anchor 44 | Source Material by Canford

Audio | anchoraudio.com +1 on 760 827 7100 Call UK |sales +44(0)191 418 1122 or email sales@canford.co.uk

COAXâ&#x20AC;&#x2122;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. Itâ&#x20AC;&#x2122;s in response to these needs that COAX Connectors continues to expand its 12G connector range.

12G Korus 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.

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

12G Micro BNC (HD BNC) 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.

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

Source Material by Canford | 45

66 LAPS, 22 CARS,

1 CHAMPION – ZERO MISTAKES Returning from the recent 2017 SuperGT Race in Buriram, Thailand, it is clear that the world of motorsports takes place at the ragged edge where men and women, machines and the supporting infrastructure are expected to perform continually at the highest level – failure is not an option. The same standards apply to the teams responsible for capturing the excitement of the event and transmitting it around the world for the fans.

Understanding the content acquisition and fibre transport requirements of the harsh motorsport environment was fundamental for SENKO in developing a solution. By developing a new product based on the Universal Broadcast Connection (UBC) system and using elements from Senko’s weatherproof IP-Series Technology, the solution offers instant plug and play into a UBC form factor. At the control end of the cable the UBC fibre connection solution offers panel mounting feed-through connectivity for LC, SC, ST and E-2000 fibre connectors within a standard D-shape cut-out.

Supported out of Kuala Lumpur and Thailand by Senko Asia the IP-Series has found a new home and application in the world of motorsports broadcasting. “We just love it” says Paulynne Cheng, Production Manager of TWTV, who has been a partner in developing this new solution.

Bernard Lee, technical director Senko Asia, elaborates “When SENKO started to develop the Broadcast solution jointly with TWTV, we broke convention and instead of saying ‘this is what the industry uses’, we took the time to understand the environment and the people who will have to handle the solution on a daily basis. We went beyond the initial remit, and instead of designing something that simply caters to the needs of TWTV we developed something they were excited to use. Ease of use, light weight and flexibility are the key design principles that governed every specification and design decision.”

“By spending time at the track with TWTV, we understood that the people most impacted by our solution were the riggers. They had limited time to set up the cameras and links, and they work 16 to 20 hour days during the races.

After the race, the clock starts again and everything has to be dismantled and shipped out in less than 12 hours. When we understood this, the first thing we did was to reduce the weight of the cables, making it easier and safer for the riggers to deploy and retrieve. The bayonet locking system of the connectors means the cable cannot be accidentally pulled out and the IP-68 rating throughout the system ensures peace of mind come rain or shine, or even the occasional inquisitive kid.

After numerous broadcasts since 2015, the SENKO solution has withstood all the knocks that outside broadcasting can throw at it, and continues to deliver. “ Together with the IP solution, Senko supports the broadcast industry with compact & effective Cleaning & Inspection tools,

led by the ground breaking wi-fi connected Smart probe.

There is also the option to make IP connector repairs in the field with the IP XP Fit. With these tools at their disposal TWTV technicians are able to troubleshoot and rectify any issues in the field and ensure that every twist and turn of the race is captured for the fans.

46 | Source Material by Canford

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Source Material by Canford | 47

4K BROADCAST SIGNALS AND INFRASTRUCTURE

By Oli Hentschel, Global Product Manager- Broadcast, Draka, Prysmian Group

Today’s broadcasters´ infrastructure is designed for 720p, 1080i or even 1080p video content. The important question for broadcasters looking at the infrastructure is what will be the future content and will it affect my infrastructure. For example, the typical infrastructure of an outside broadcast truck is the coaxial cable 0.6/2.8AF. For a stadium it is the coaxial cable 1.4/6.6AF or 1.6/7.3AF.

RESOLUTION 4K

VIDEO CONTENT 1.5G

2. Dual link

The HD-SDI signal is defined by SMPTE 292M. Like the SDI signal, this content is an uncompressed component signal, serial transmitted via one coaxial cable. The resolution of 1080i is 1080 lines x 1920 pixel. The i stands for interlaced.

The resolution of 720p is of course 720 lines x 1280 pixel, p stands for progressive scan. The bit rate is 1.485Gbit/s.

3. Quad link (4x3Gb/s, ½ clock frequency =1.5GHz)

Based on the SMPTE 292M specification the maximum transmission distance of 0.6/2.8AF is 70m plus headroom.

Practical tests showed 90m.

The latest SMPTE calculation is based on a maximum allowed attenuation of 40dB/100m at 1/2 clock frequency.

3840 x 2160 progressive scan, the bit rate is 12Gb/s.

The high bandwidth of 12 Gb/s (4 times 3G /1080p) reduces the transmission length dramatically. Three different 4K solutions for broadcast production are in discussion: 1. Single link (1x12Gb/s, ½ clock frequency = 6GHz) (2x6Gb/s, ½ clock frequency = 3GHz)

The dual link and quad link solutions will solve the issue with the high bandwidth for new installations. To know the 4K situation of an existing broadcast infrastructure, we have to look at the single solution.

Maximum Transmission length 4K calculated@ 40 dB max.

usage

max.length [m] 4K single link

max.length [m] 4K dual link

max.length [m] 4K quad link

4.5

Racks

41

67

99

0.8/3.7AF

5.9

Racks

56

86

127

0.8L/3.7Dz

5.9

Patch

51

77

117

1.0/4.8AF

7.0

Standard

71

107

160

1.4/6.6AF

9.2

Stadium

86

132

204

1.6/7.3AF

10.3

Stadium

95

151

236

Cable type

OD [mm]

0.6/2.8AF

The increase of the maximum allowed attenuation from 20 dB (known from SMPTE 292M and SMPTE 424M) to 40dB at 4K enables a maximum transmission length of 0.6/2.8AF up to 41m. For the technical realization it is essential to check the equipment e.g. equalizers if they are suitable for 4K to achieve the maximum values.

Draka have developed a range of coaxial cables which can handle 4K in a single-link. They are manufactured in our production facilities in Europe, and are available from Canford.

48 | Source Material by Canford

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Source Material by Canford | 49

MUXLAB DELIVERS UNCOMPRESSED 4K SDI OVER AN IP INFRASTRUCTURE PLUS PORTABLE TESTING TOOLS TO GAUGE SYSTEM PERFORMANCE When it comes to distributing uncompressed 4K@30Hz (4:4:4) in the SDI format throughout a facility, studio or lab, MuxLab offers a new, IP-based method of extension.

MuxLab’s SDI over IP 4K Uncompressed Extender (model 500767) connects a multitude of cameras and video sources to many different displays. Nearly unlimited configurations are supported when transmitters and receivers connect directly to a 10Gig Ethernet switch to support pointto-multipoint and multipoint-to-multipoint distributions.

A virtual matrix of cameras, mixers, displays and other equipment can be easily installed, scaled up or down, and accessed anytime, all manageable from a centralized location.

Making use of 10Gig Ethernet switches with fiber stack ports allows for even greater distance extensions between sources and sink devices. This virtual matrix of broadcast cameras, mixers, displays and related equipment may be interconnected and rearranged at the click of a mouse.

For point-to-point extensions, integrators can use this same transmitter/receiver system to connect source to display using multimode fiber optic cable for extension up to 400 meters in distance, or with CAT5/6 cable up to 30 meters.

Both scenarios support uncompressed video resolutions up to 4K@30Hz (4:4:4), providing unaltered high quality video transmission with zero latency. This model also provides an RS232 port for traditional remote control of end devices.

“This new extender is designed for use in commercial broadcast AV systems and TV stations because it provides unprecedented flexibility and delivers uncompressed, high quality video with no latency, which is fundamental in this industry,” said MuxLab’s Product Manager, Joe Teixeira.

Evaluating System Integrity Integrated extension systems are only as good as the quality of signal they deliver. Two new accessories for professional broadcasters include the HDMI 2.0/3G-SDI Signal Generator (model 500830) and the HDMI 2.0/3G-SDI Signal Analyzer (model 500831). These two devices work separately or together to provide tools that quantify and qualify AV signal delivery. Both are portable for anytime, anywhere operations, and support up to five hours activity on a single charge via an internal rechargeable Lithium-ion battery.

The Signal Generator provides SD/HD/3G SDI and HDMI 2.0 test patterns in a full range of resolutions up to 4K@60Hz (4:4:4). It provides a comprehensive selection of tools to test the performance of projectors, monitors and TV displays. When combined with the Signal Analyzer, the entire cable infrastructure can be qualified. The Signal Generator includes various test patterns, resolutions, refresh rates, color spaces and other related parameters ideal for testing sink devices and AV infrastructures.

The Signal Analyzer gives the ability to analyze the integrity of SD/HD/3G SDI and HDMI 2.0 signals in a full range of resolutions up to 4K@60Hz (4:4:4). The unit assists users in validating the capabilities and proper operation of their source devices. Combined, these devices provide the tools needed to deliver a high performance, validated AV system.

Users can control the entire connected AV system via smart phones and tablets when the system is configured using MuxLab’s ProDigital Network Controller (model 500811), which simplifies control options for a more user-friendly experience.

50 | Source Material by Canford

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Extend Four HD-SDI, Two 3G-SDI, or One 6G-SDI over 1 UTP or Fiber Cable with Return Channel, Mixed modes and Directional ports

©2016 MuxLab Inc. All rights reserved.

Return Channel

500733/734 (over Fiber)

Mix Modes

Over Fiber Link

Directional Ports

500730/732 (over UTP)

www.muxlab.com

CANFORD FIBRE TERMINATION SERVICE Qualified and speedy service • Short lead-time for situations where speed is of the essence • T ested to IEC and Telcordia standards for complete geometry inspection • Termination of LEMO, Neutrik and other fibre connectors • Ready-made and custom cable assemblies

CANFORD

CONTACT OUR SALES TEAMFOR MORE INFORMATION

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

the essential source

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

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Source Material by Canford | 51

UK MANUFACTURED

NEW CANFORD LEMO 3K.93C SMPTE BREAKOUT BOXES Breakout from Lemo SMPTE304 connectors to provide a point-to-point link Canford break-out boxes split a standard two-channel Lemo SMPTE to a variety of other formats, including SC, ST, duplex LC, opticalCON DUO SMPTE or split two standard two-channel Lemo SMPTE to a single opticalCON QUAD connector.

50-0351

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CANFORD the essential source

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 www.canford.co.uk

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Source Material by Canford | 52