AoIP for Radio 2018 (Radio World ebook) - May 2018

AoIP for Radio

2018 Sponsored by

May 2018 From the Publishers of Radio World

Q Radio the Scene for Radio Q Radio SetsSets the Scene for Radio When independent broadcaster Q Radio needed to move their Belfast Studios, it represented an ideal opportunity for them to start afresh and bring their unique brand to the forefront of Northern Irish Radio. In today’s instant and content-hungry world, modern radio needs to provide more than ever to engage, maintain and grow audiences, however this needs to be in addition to, not at the expense of, making great radio.

Radio in Northern Ireland, particularly Belfast, is highly competitive. Q Radio seized the opportunity to get ahead by enhancing live content through well produced video; live streaming; and making this engaging content instantly available and shareable on social channels, like Facebook, Twitter, YouTube, and Facebook Live. However, Q Radio realized that their choice of technology was key in helping them meet their brief within an affordable budget. There’s no doubt that many large corporate radio bands do multiplatform very well, with generous budgets akin to grand-scale TV production, but we all know that radio generally demands more for less! This is where sophisticated software coupled with the right hardware makes all the difference. With years of expertise and experience in providing turn-key projects, Q Radio selected Richard Lawley of Radio Studio Services to help them solve problems, design and deliver their dream.

Q Radio chose Axia consoles, Fusions for their main on-air studios, and IQs for production and news booths.

Richard Lawley enthused…”The Axia AoIP audio platform enables us to provide powerful, flexible control of client stations’ audio in a far more economic format than ever could be achieved with traditional analog equipment, and the user interfaces are all attractive and ergonomically pleasing, enabling us to design studios that enhance the creative process for presenters and production staff”.

With the AoIP Audio network in place, integration between console, PhoneBOX, OASIS, Virtual Director, and playout sys tem is seamless.

Broadcast Bionics talkshow software, PhoneBOX is a real game changer. It’s a multitool for the studio, incorporating a

Advertiser feature-rich phone in system, multifaceted Social Media System, and Virtual Director vizualization system. All on one screen, this was a simple choice for Q’s state-of-theart studios.

“We knew Virtual Director was the perfect solution for us as soon as we saw it. It’s unobtrusive yet powerful. It allows us to quickly produce quality video clips to share on social media, increasing our presence, and strengthening our brand with minimal effort. The system also live streams so our online listeners can also be viewers of “QTV,” giving them a live view of the presenters at work in the studio, with nice switching and branded graphics detailing now and next playing tracks. We’re the only station in Northern Ireland to do radio like this, and it’s paying off.

Our listeners and advertisers love it,” says Jonathan Gold, Program Manager, Q Network. Indeed, Facebook share figures quickly soared, hitting 7.3K for an entertaining drive-time link about Siri!

There is no doubt that Q Radio studios were designed to be seen. The branding is clear, thought has been given to camera positions, the lighting is right, and the ambience inspires the best in the presenters. It’s the epitome of the modern studio.

ADVERTORIAL

Audio over IP for Radio

AoIP for Radio

2018 Sponsored by

May 2018 From the Publishers of Radio World

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That AoIP Sure Gets Around

16

Contribution Audio Gets More Sophisticated

20

Things to Know About IP Remotes

Audio over IP has remade the face of radio broadcast infrastructure. This Radio World ebook is the eighth in a series about AoIP that we launched 16 years ago.

Codecs are being used for remote broadcasts, for network distribution (multi-unicast applications) and for STL. What has changed in each of these areas since we last visited AoIP two years ago? How are remote codecs Paul McLane changing to make use by non-techies easier? What kind Editor in Chief of connection options do they over? What should a user know to pick a suitable codec for multi-unicast applications; how many connections can be supported; how many program channels? What kinds of codecs are suitable for studio-to-transmitter applications? What should users know about forward error correction, low latency and bandwidth?

What algorithms are out there that may find use in broadcast infrastructure, and how well do they play with one another? What vehicles are available to broadcasters for inter-facility transport, and what are the pros/cons of each? What is required for an intra-facility AoIP backbone?

We explore these questions in the four articles that follow.

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Explore the Infinite Possibilities in Your Studio

Photo by Michael Minn

Cover Art: Thinkstock/c.cherezoff

AOIP FOR RADIO 2018 Radio World | May 2018

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That AoIP Sure Gets Around

View from the top of the post office building on Video Road atop Mt. Wilson, looking west towards Deer Park.

Angeles is integrating AoIP in its new TV repack auxiliary transmitter site build.

DESIGN ELEMENTS

It’s not news that the TV repack will affect many FM stations in the U.S. at sites that include TV transmit antennas.

Here in Los Angeles, the situation has come to the fore. In November of 2017 I was directed by our company to design an alternate transmitter site that would be used while work was done on towers in close proximity to ones holding up our main and auxiliary antennas on Mt. Wilson.

Four of iHM’s L.A. FMs are included in this project: KIISFM, the second-highest billing station in the country; KOST, the perennial number one in LA; KBIG, known as “My-FM”; and KRRL, “Real 92.3.” Our fifth FM here, KYSR Alt 98.7, has its main transmitter in the hills above Hollywood and won’t be affected by repack work.

Our preferred site for the “TV repack aux,” as I like to call it, is Flint Peak near Glendale on the far east end of the San Fernando Valley; but unfortunately site owner American Tower could not accommodate us there. Two suggestions were put to us: Mt. Harvard, which is just a bit to the southeast and about 500 feet lower in elevation than Mt. Wilson; or else the site ATC calls Deer Park, which is actually the “old” CBS TV site about three-fifths of a mile west of the main grouping of TV and radio on Mt. Wilson. (CBS TV had earlier moved to the main grouping on Mt. Wilson and sold the tower campus to ATC).

Mt. Harvard had too many “wild card” issues, with the

Let’s explore some real-world uses and solutions based on IP transmission of audio

by Doug Irwin, CPBE AMD DRB The author is vice president of engineering at iHeartMedia in Los Angeles and a technical advisor to Radio World.

The use of IP for transmission of audio isn’t new, it’s been going on for at least a decade; but it has really come into its own over that period of time. In this article we’re going to look at some real-world uses and solutions based on IP transmission of audio.

Let’s start off by discussing how iHeartMedia in Los

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Main and backup STL system configuration for the Deer Park transmitter site.

Main IP radio

trunk

Cisco 2960

Aux IP radio

GatesAir IP MPXp

trunk

Main composite feed

Back composite feed

Deer Park composite switcher

TVs there planning on doing repack work and not knowing exactly when, and with tower space in short supply.

Deer Park had a complete tower and building unused at the time and would not be affected by the repack work at all.

Due to the short time frame we were working in — basically six months to completion — we opted to go with the latter site.

After much study we determined that we would use one eight-bay combined antenna and four new transmitters. However, one of the primary design considerations was the STL link: I wanted access to all of the STLs we have at the main site down at the Deer Park site, but of course at the same time I had to be efficient with the budget.

Deer Park exciter

by about 3 degrees. For this reason I opted to use another set of grid dishes, and two new 950 MHz STL receivers at the house as a backup for any failures on our link down from the main site. I also bought relatively inexpensive audio processors that would complete the backup airchains. Even though they are slightly off-axis, the new receivers picked up “tons” of signal and are ready to use in their back-up roles.

FROM MAIN SITE TO REPACK SITE

Clearly the way to connect the two sites was via a radio system that can carry IP traffic. The 0.6 mile distance meant that I could use one of the higher bands, and I opted to go with a licensed microwave link. But I also decided to add a cost-effective, unlicensed 5.8 GHz radio hop as well.

With two high-speed data links in operation, one backing up the other, we needed to decide how to switch between them or otherwise divide up the data in some logical fashion. Options include Layer-3 switching; use of ether-channel; or use of spanning tree between the Cisco Layer-2 switches that are on either end of the link.

We opted for spanning tree on the advice of our systems administrator in Los Angeles, Casey Truer.

Naturally we had to decide which IP codec to use.

I have used the GatesAir Intraplex IP Links for several projects including our booster system at Oat Mountain (covered by RW’s sister publication Radio magazine) and as an STL for an auxiliary transmitter site for Alt 98.7, which is also on Mt. Wilson.

GatesAir had introduced a new version, the IP MPXp, a full-duplex unit with composite input which (while using

THE OLD WAY AND A COMPROMISE

It made sense to bring an output of the same STL switcher, in use at the main site, down to the TV repack site; in that way I had access to the three STLs that exist “up the street” at the main site. At the same time I needed an alternate means, in case my “link” from the main site (or the main site itself) failed in some way.

I mentioned that the two sites are fairly close to one another; Deer Park is 0.6 miles to the west, and there is a clear line of sight from the “house” at Deer Park, which would soon hold our transmitters and combiner, and the main site at the Post Office — otherwise known as 0 Video Road — home to KIIS-FM, KRRL and KOST. It made sense to consider some type of radio link between the two locations.

From our location in Burbank, the sites appear very close to one another; in fact, they’re only off in bearing

Continued on page 8 ❱

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Stream Live, Record, and Play Audio Files with Tieline ViA Tieline continues to revolutionize remotes by integrating comprehensive new file recording and playback features in the ViA remote codec. ViA is the radio industry’s foremost codec for a diverse range of live remotes and the new record and playback functionality lets you stream live, record, and play audio files. Then upload your show as a podcast within minutes of going off the air!

Unprecedented Record and Playback Functions Flexible touch screen record and playback functions in ViA allow you to: • Select input sources to record.

• View and manage recordings.

• Create playlists of local recordings and imported files.

• Control playback routing to specified codec encoders, as well as analog and digital outputs.

“It’s like taking an entire radio studio with you on the road…”

With the inclusion of record and playback functionality you no longer need outdated or additional outboard gear like mixers, equalizers, compressors, recorders and playback machines – with ViA it is all-in-one and ready to go!

An Entire Studio in One Compact Box Create playlists which include music, ad breaks, pre-packaged files with recorded interviews, voice overs, intros and outros, then play and stream all this content live from the remote location! It’s simple to create playlists and add or remove files, plus you can change the order of files in seconds.

Podcasts Created in Minutes at the Remote Site…

Record your live show in MP3 format and then upload the show immediately after you go off the air! ViA makes it simple to produce & record your own broadcast quality podcasts to removable media.

Remotely Control ViA with Tieline’s New Cloud Codec Controller Your entire network of ViA and Tieline codecs can also be managed remotely with Tieline’s new Cloud Codec Controller. This provides online/offline status, connection status, link quality, remote monitoring and adjustment of input levels, plus the ability to remotely dial and hang-up connections from the studio, or anywhere with an internet connection. Plus you can launch each codec’s HTML Toolbox web-GUI and access all codec controls Before purchasing your next remote codec, we strongly urge you to try the impressive range of new and innovative record and playback features in ViA – we’re sure you won’t be disappointed.

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Record • Select & record any input, return audio or file playback • Stream, Record & Play simultaneously • Record to SD card • View & manage recordings

• Create playlists of local & imported recordings • Route file playback to any output or record media • Offline Cue monitoring

+61 (0)8 9249 6688 | info@tieline.com | tieline.com

The GatesAir IP codec lets us effectively “copy” all the audio processing and RDS from our main site and “paste” it on to our Deer Park system via the IP radio link.

❱ Continued from page 5

132 kHz sample rate) will carry stereo information along with RDS. TSL direction is fed via an AES-3 input on XLR. The codec offers Web-based configuration; optionally, Synchrocast can be installed for applications that need precision timing.

Granted, I had configured many of these before; but it only took about 5 minutes to get our critical link between the main and TV repack sites working. I also saved on audio processor expense; remember I said I wanted to use my current STL switch to feed the TV repack site? I’m doing that, but via the main audio processor. The advantages are obvious; I didn’t have to buy an additional processor, and both sites will “sound” identical.

I also didn’t need to buy an additional RDS generator.

We add RDS to an input of the main audio processor, and then it shows up on the sampled composite output, and thus also on the far end IP MPXp codec.

Regardless of which IP codec you use, you’ll want to consider ways to extend your LAN to the transmitter site from your studio site. There are at least two ways to do that.

First, you can build your own private network for IP transit as we have done for Deer Park. Part 101 now allows for “last-mile” carriage via 11 GHz, for example.

And you may have used unlicensed microwave shots for various functions already, so don’t be afraid to add IP codecs on to them; just don’t “oversubscribe” the radio links themselves by adding in too much traffic.

Several of the large carriers now offer private Layer-2 connectivity, which we have used successfully here in Los Angeles. AT&T offers ASE (AT&T switched Ethernet) and Verizon offers E-LAN (Ethernet LAN), so check with your provider to see if this is an option for you.

BIG APPLE APPLICATION

Let’s take a look at another great example of a broadcaster using IP for STL purposes.

In the U.S. there may be no more well-known backup transmitter site than 4 Times Square in New York. I have spent many hours there and have written about it in the context of its role as the backup site for iHeartMedia in New York.

I was a member of the team that built a very effective STL system in New York in 2008, based on the use of IP codecs, and it’s still in use today, though it has evolved and gotten bigger. I think it’s safe to say that it was ahead of its time when put together.

The iHeartMedia studios are located at 32 Avenue of the Americas in Manhattan. There are two identical steel

THINGS TO CONSIDER ON A LAYER-2 NETWORK

Our radio links between sites would comprise a private, Layer-2 network, which provides certain advantages. For example: Latency not a problem. Since we’re on our own network there’s no time spent going through Layer-3 routers so latency is short and consistent.

No dropped packets. Unless our radio link fades there’s no reason for any packets to be dropped. As I mentioned, there are no routers along the path, and dropped packets (due to network congestion) won’t be a problem.

Jitter. Due to the simplicity of the network system, network jitter is unlikely to be an issue either.

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Identical towers adorn the top of 32 Avenue of the Americas in New York.

Photo by Michael Minn

radio links, Josh Hadden, the VP of engineering and IT for iHM in New York, leased complete T3 data circuits from AT&T and Verizon, and we used them in conjunction with the radio links.

One circuit served as the “main” (actually the radio link) and one as the backup (the wired T3s) for both transmitter sites.

At this point you may be wondering how we ran IP codecs over TDM circuits.

In fact we did it with clever configuration of the Layer-3 routers that are on either end of the link. Though the routers had IP interfaces, between the two of them, and over the link, we actually made use of nine of the 28 T1s bonded together. The routers actually divided up the data, sent some of it out over each of the T1s, and then recombined them in the

towers on the building, constructed to hold up a myriad of microwave antennas. (The building, after all, is a carrier hotel in New York.) From the top of the tower, we had 11 GHz radio links installed, one pointed at the Empire State Building, and one at 4 Times Square.

The 11 GHz radio systems were both built to carry T3 data levels, each equivalent to 28 T1s. In addition to the

Continued on page 12 ❱

ESB

Routed OSLO

iHeartmedia NYC Microwave, T3, and ELAN network

PPP Ceragon OSLO

BCO

ELAN NOTE: WOR<->32 is static via Ceragon

Adtran

Adtran

via Ceragon DS3 or ATT DS3

32 Avenue of the Americas

via Ceragon DS3 or ATT DS3

OSLO

Adtran

Ceragon

PPP

This basic one-line drawing of iHM NYC’s STL system shows the continued use of the T3 circuits from 2008, along with the network Ceragon expansion brought on by the acquisition of WOR. ELAN is used in parallel with 11 GHz radio links to provide a high level of redundancy.

Ceragon

WOR

4TS

AOIP FOR RADIO 2018 Radio World | May 2018

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OSLO

Routed

Adtran

Virtually Yours New Workflows, New Functions, New Studio.

It’s All in the Network.

A good majority of what broadcasters do today – schedule music, stream it, record news updates, and turn mics on and off – can be done without ever leaving the IP audio network.

Things don’t get much more virtual than that.

figure 1

This is especially true now that you can add new functions, workflows, and even an entirely new studio using little more than a Windows® tablet and your existing IP audio infrastructure.

The ability to tap into virtually all aspects of the network is a relatively new development. It began with button panels and other hardware that talked to elements and triggered events through the network. It then graduated to virtual mixers, which moved basic console controls to the glass but were still largely fixed in purpose.

Now, with ScreenBuilder virtual development tools, you determine what to put behind the glass, right down to the functions and when to perform them, based on logic such as the status of a crosspoint in the WheatNet-IP audio network.

CREATE YOUR OWN

ScreenBuilder includes scripting tools and an intuitive GUI for developing news desks, producer workstations, control panels and other virtual interfaces. It uses WheatNet-IP elements, routing and intelligence to automate workflows and create windows into any function along the network for multiple purposes, from signal monitoring right on up to transmitter control.

You can create entirely new virtual workflows or augment existing flows and hardware. By coupling a WheatNet-IP TS-4 talent station (see figure 1) or M4IP-USB mic processor with a virtual news desk on a Windows tablet, for example, you can combine standard mic input and announcer controls with virtual access to RSS feeds, fader control and profanity delay in a much smaller footprint than the equivalent, hardware-only news editing workstation.

BROADCAST AUDIO PERFECTIONISTS®

IT’S ALL IN WHEATNET-IP

It all starts with the network. Because there are two virtual stereo mixers in each WheatNet-IP I/O unit (we call them BLADEs), mixing is no longer limited to a location in the studio. Virtual mixers at every connection point in the network means you can segue remotely between feeds, overdub and pan, set up IFBs on the fly, and essentially do all those mixing functions independently from the console.

Add to this the ScreenBuilder factor, and you can now source, route, mix, and send to air from just about any interface imaginable, in some cases without touching a single physical fader.

On the opposite page are just of few of the creative ways broadcasters are using ScreenBuilder to develop their own interfaces for the WheatNet-IP audio network.

Designed and built in the USA Phone +1-252-638-7000 wheatstone.com | sales@wheatstone.com

SAVE Diffusionâ&#x20AC;&#x2122;s Rafael Dolomazan put together this screen which provides control over a live show, complete with specific console and automation functions. .

This is a screen from Macquarie Media, Parliament House News Bureau, Canberra, Australia. The newsbooth is based on the M4IP-USB four channel mic processor, which cleans up and levels mic, phone and TV sources. Play and record for the newsroomâ&#x20AC;&#x2122;s NewsBoss automation is done via USB, direct to the M4IP processor. An eight-channel AoIP driver is also employed.

Using this simple virtual panel, producers can press the desired chair to bring up a monitor mix or simple intercom and control profanity delay if needed.

Townsquare Media developed this screen for off-air monitoring of their multiple stations. With the switching options, they can choose exactly which leg of the broadcast chain to monitor.

ScreenBuilder faders, meters, labels, buttons, clocks, timers, and other widgets tie into function commands and elements on the WheatNet-IP audio network, which is a complete ecosystem of consoles, talent stations, I/O units, and accessories. More than

50 different types of elements are at your fingertips, ready to be connected together through the WheatNet-IP audio network, as well as many third-party products that can be integrated into the network, including other networks that also are AES67 compatible.

❱ Continued from page 9

far end router, which in turn presented the IP data back to our network on the far end.

The IP codecs we used were made Worldcast APT AoIP/MPXoIP Multi-Channel Codec. The frame can hold four IP codec cards, each of which can carry four audio channels (two stereo) simplex or duplex. Other cards can

by Worldcast Systems. The Oslo carry MPX over IP (with AES or analog BNC I/O) or a Dante interface card, which can make it a is a legacy product today; in 2018 handy “edge device” for connections to a Dante-based network. the Worldcast APT AoIP/MPXoIP Multi-Channel Codec, called the Oslo 1U when it was broadcast on multiple radio stations simultaneously, introduced, would take its place in a new installation. The such as a main site, an aux site and perhaps a booster or one RU frame can hold up to four IP codec cards, each of translator; or as a way to distribute a program to multiple which can carry four audio channels (two stereo) simplex radio stations — say an owner wants to share a morning or duplex. Other cards can carry MPX over IP (with AES show among all of his/her stations or analog BNC I/O) or a Dante interface card, which can Let’s take a look at a couple of codecs that can be used make it a handy “edge device” to make connections to a for this purpose.

Dante-based network.

The Comrex BRIC-Link II supports the ability to run one Ten years later iHM NYC’s IP-based STL system has encoder per box, and this single encoder stream may be evolved. I reached out to Josh for an update on how the sent to up to three destinations simultaneously. Comrex system has held up over the years. refers to this feature as multi-streaming, since the encod“As time has moved on, I’ve had the opportunity to er creates a separate but identical outgoing stream to add new 11 GHz links, actually as 100 Mbps IP bridges. each decoder.

We also had, as part of our triple redundancy system, the old telco Pulsecomm circuits,” he told me.

“When those went endof-life, I replaced them with what Verizon calls E-LAN, which is essentially The Comrex BRIC-link II can be configured so that a circuit between one or each encoder can stream out to three independent multiple points and where decoders by way of multiple-unicast. you can buy different port speeds at different locations (a good cost control measure). So, for example, Clearly if you expect to make use of this feature your I have an E-LAN from 32 to ESB and 4TS. There is a 100 IP connectivity must be able to support the speeds you Mbps port at 32, and 10 Mpbs ports at ESB and 4TS, and need. It’s all a math problem: If there are three identical just one Cat-5 jack at each location. You have the option versions of a 128 kbps stream being sent, then your conto run Layer 2 or Layer 3 over it and change it without nectivity needs to support at least 3*128,000 or 384 kbps. involving Verizon, and it supports QoS too.”

IP Multicast is another way of delivering BRIC-Link II One of the best things about this sort of Layer-2 netdigital audio streams to multiple locations. This involves work is the ease of use. “The Verizon network doesn’t relying on the network to distribute the stream to the care, it just passes packets,” Josh said. “I started off using locations that require it, rather than creating an indepenLayer 2 between 32 Avenue of the Americas, WOR and dent stream for each user. Examples in which you might the Secaucus backup studio location, but pretty quickly do this are distribution of a morning show to a large changed to Layer 3 because it allows me to use routing network of stations, and distribution of a sports team protocols (either OSPF or EiGRP) to facilitate ‘self-healing’ network to a large group of stations. of the network. The routers are configured to switch Before you plan on doing this, be aware that IP Multibetween network links if one fails.” cast requires the use of an IP Multicast-capable network.

The commercial Internet, generally speaking, is not capable of supporting IP Multicast. Your group of stations IP CODECS FOR MULTI-UNICAST, OR MULTICAST would all need access to a private WAN that supports IP One of the primary advantages in using IP for STL or multicast. Clearly you would need to speak with your netprogram distribution is the ability to configure a single work provider to see if this is an affordable service before encoder to “stream” to multiple decoders. Examples in committing to this method of signal distribution. which you might do this are distributing a program for AOIP FOR RADIO 2018 Radio World | May 2018

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ANOTHER WAY OF REACHING MANY AFFILIATES

StreamGuys and audio codec manufacturer Barix this spring announced enhancements to their joint Reflector stream delivery and management service. They said that support for uncompressed audio streaming with metadata makes possible new cloud-based workflows and expands your options and quality for point-to-point transport.

The Reflector managed service was developed by Barix and is operated and supported by StreamGuys. It allows broadcasters to create IP-based audio delivery links without the need of configuring static IP addresses and firewalls. Audio from a Barix hardware endpoint is transported across StreamGuys’ content delivery network, while management of the link is simplified through a cloud-based portal.

Plug-in cards for SAS’ 32KD allow for integration of AoIP codecs into the system.

Audinate AVIO connectors.

Simple twochannel analog audio in, to Dantebased AoIP out.

BRIC-II, the Telos Z/IP one, and Tieline codecs (using the AAC option for Tieline).

After either the KEL- or KDL-16 is inserted in to a 32KD frame, its associated R-45 allows for an Ethernet connection to the network used for communication between the module and codecs in the field. The user interface allows you to configure up to 10 outside locations; the KEL/KDL IP address of course is the same for all codecs, but each codec is assigned its own port number.

The codecs are stereo and are mapped to output Channels 1 through 20 of that module. For example if you plug the KEL into slot 1, the codecs appear as inputs and outputs 1 through 20, and are treated the same as any other analog or digital output. If you plug the KEL into slot 2, then the codecs appear as inputs and outputs 33 to 52 (because each slot on the 32KD is 32 channels wide).

One of my favorite discoveries at the 2018 NAB Show was the new line of Dante AVIO “legacy” to Dante converters from Audinate. For example, the line includes analog audio input to Dante out; Dante in to analog audio out; AES-3 in to Dante out; and Dante in to AES-3 format out. I have yet to try these but it appears to be a simple and inexpensive means by which you can add legacy audio devices to a Dante network.

In this article we’ve touched on some real-world applications of IP codecs for sending audio over IP, as well as some new devices that have lots of promise. The use of IP for transmission of audio, especially in a pointto-point fashion, has made our jobs much easier over recent years, in my humble opinion. I hope, if you haven’t already, that you’ll take some of these ideas to heart and apply them in your own radio stations. n

Hosted by StreamGuys, the Barix Reflector managed service allows broadcasters to create IP-based audio delivery links without the need of configuring static IP addresses and firewalls. Management of the link is simplified through a cloud-based portal.

A Barix Exstreamer 500 encoder/decoder unit transports the source audio via Reflector to StreamGuys’ cloud infrastructure as an uncompressed PCM stream with metadata. StreamGuys’ virtualized Remote Encoder offering then converts the uncompressed audio into your desired combination of bitrates and profiles for subsequent distribution. The new support for metadata in the stream allows you to transmit program data such as song and artist titles along with audio data, and to trigger metadata-driven systems such as server-side ad insertion.

DANTE FOR POINT-TO-POINT CONNECTIVITY

Sierra Automated Systems is a console and router manufacturer; though internally their system is based on TDM, the company has AoIP interface plug-in modules for its 32KD frame: The KDL-16 is for the Dante-formatted AoIP, linear PCM, 24 bit word depth, using IEEE1588 PTP (precision time protocol). The KEL-16 is the Encoded Audio Link and provides an IP interface for AAC and G.711/722 formatted encoded (bit rate reduced) audio.

Connections can be made directly via IP with Comrex

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Comrex — Broadcast Reliable In the early 2000s, Comrex was deep in development of our IP audio codec technology. We were bringing to the table decades of experience in leveraging widely deployed data networks and transmitting high quality audio over public switched telephone network services like ISDN and POTS. We knew IP technology offered tremendous possibilities but also tremendous challenges.

Most importantly, Comrex felt the need to create an IP-based product that delivered both quality and reliability which would meet the expectations of our customers. So, Broadcast Reliable Internet Codec (BRIC) technology was born. We felt so strongly about the term Broadcast Reliable that we made it our tagline and even added it to our logo.

We believe that a great codec is one that you don’t have to think about. Comrex builds codecs that connect easily and deliver high-quality audio over IP networks with low delay. To make sure our codecs provide stable connections even under the worst conditions, we’ve developed some highly-specialized tools. These ensure that your broadcast stays solid, even if your networks don’t.

What is CrossLock?

When audio is streamed over the Internet, it is packetized into data, and the packets are sent to an IP address (that belongs to a computer, or a codec, or your smartphone, etc). If you’ve got a solid, wired connection, the

packets will arrive in the order they were sent and you’ll have a solid stream. But what if the connection isn’t very good?

Throughout the course of extensive testing and user feedback, Comrex has found that most network impairments are due to congestion - routers may become overloaded with incoming data and create queues of packets waiting to be sent, making them late rather than lost entirely. We have also found the type of occasional parity-based FEC used by some codec manufacturers to be fairly ineffective overall for anything other than the shortest errors, which are not typical on IP connections, thereby needlessly increasing bandwidth (and potential congestion) further.

To most efficiently deal with these network issues, Comrex developed CrossLock — a “smart” ARQ-based (packet-resend) error protection, along with FEC (if requested) and redundancy or bonding on multiple networks. Our testing shows resending packets only when required offers the proper balance between bandwidth and delay without risking additional congestion.

CrossLock also offers a choice of simple redundancy (most useful in the case of networks with no data rate constraints) or aggregation (bonding) which sums the capability of networks together. Bonding is very useful on networks like wireless, where data rates may be severely constrained.

Where the Rubber Meets the Road

CrossLock demonstrated through the ACCESS Rack web GUI. In this instance, CrossLock is being utilized in “bonding” mode, aggregating Ethernet and a cellular modem.

ADVERTORIAL

Andy McDonald, Chief Engineer and IT Director for iHeartMedia’s Melbourne, FL and Brunswick, GA stations, recently experienced CrossLock for the first time.

“We were doing a morning show,” says Andy. “One of the hosts was in Melbourne and the other was in the Bahamas. This was the third time that we’ve used the ACCESS from this resort and we were counting on their pretty good wired Internet connection we had used before. The first and second times, we never had a problem…until this year. As soon as I heard the problem with very delayed and garbled audio, I had a feeling that the resort had changed their ISP. So I asked, and they said they actually had. I could tell that their upload speed had changed because we’re getting really bad results at the other end.”

With some assistance from Comrex

“It just works” “I’m at a loss as to what I should say,” said Frank Alwine of Vermont Public Radio in an interview with Comrex about the BRIC-Link codecs he uses for his station’s STL. “It’s kind of boring — our BRIC-Links simply work, and that’s pretty much all there is to it.”

“As I’m thinking about it, I realize that “boring” is the best endorsement I could give,” said Frank.

“I don’t have to worry about these things — they just plain work all the time. Since we purchased them in 2010, not a single unit has failed. That means 24/7, every single day, for the past seven years, these units have just been working. From a broadcast engineer’s standpoint, you can’t get much better than that.”

ACCESS 2USB helps iHeart get on the air. Photo supplied by Andy McDonald at iHeartMedia.

Technical Support, Andy was able to setup a CrossLock connection between his host in the Bahamas and the host back in Florida and “the difference was night and day,” says Andy. “We are able to use both the underperforming wired network and the hotel’s Wi-Fi network to increase the reliability. And the CrossLock connection was solid and sounded great.”

“I’m surprised that this is the first time that I’ve had to use CrossLock. I’m glad it was available because we would have been totally messed up for the entire week had CrossLock not been there. So thank you! Thank you for CrossLock.”

Multiple Network Connections During his remote, Andy was able to take advantage of CrossLock’s “bonding” mode to aggregate multiple networks. The default bonding mode goes even further, employing a sophisticated algorithm to determine how best to allocate packets across each network, even going so far as to quarantine networks that are significantly underperforming. Networks that suddenly get constrained, which is common on wireless data connections, are detected quickly and more packets are immediately dedicated to the good network. In most cases, this results in seamless audio without the “bandwidth hogging” that would happen on competing systems.

This is best illustrated using the statistics page of the codec’s user interface. Using color-coded graphs, you can see that CrossLock likes each of its networks equally, and has applied about half of the data load to each network. Users can even adjust target latency for both transmit and receive streams in real-time using the delay slider tool.

A sample of the more than 30 Comrex BRIC-Links handling all of the STLs for VPR News and VPR Classical. Photo supplied by Frank Alwine at VPR.

Learn more about Comrex codecs at www.comrex.com.

ADVERTORIAL

Contribution Audio Gets More Sophisticated

By Doug Irwin

Skype TX for Radio is a Windows service that can run on your existing machine or hosted as a virtual machine.

Up to 14 lines of Skype connectivity can be accommodated from one server.

Well known in the area of contribution audio is Comrex, whose lineup includes AoIP codecs and other telephone-related products. Opal is a new Comrex device

The ability to generate unique content for your radio station has probably never been as important.

A simple way to do it is by taking live shots from a news or sporting event or by hosting guests who reach the station by calling in in some fashion. Fortunately, stations no longer have to rely on POTS or 3G cellular phones as a way to connect to remote callers, because there is a (relatively) new use for IP codecs that I refer to as contribution audio.

Let’s consider three offerings available today.

Broadcast Bionics developed Skype TX for Radio in partnership with Microsoft, as a way for stations to receive high-quality audio “from anyone, anywhere,” whether it’s a remote host, guest, reporter, commentator or listener. It’s aimed at the workflows of radio broadcasters wishing to use Skype calls on air by connecting to Skype users by way of their mobile phones, web browser or desktop.

Skype TX for Radio gives you the scale and flexibility to deliver multi-line talk-show and contest formats via Skype with a PC. The company’s PhoneBOX4 integrates Skype calls alongside traditional phone lines, SMS and social media.

The ability to generate unique content for your radio station has probably never been as important. that enables remote guests to connect to the studio by clicking on a link delivered in an email message originating from the station.

Opal works by activating the Opus encoder built into popular browsers including Chrome, Firefox and Opera.

(Support for Safari, on iPhones with iOS11, along with newer versions of the Mac OS, was added in early February.) As a result, the remote user can connect to Opal from any computer or mobile device with one of those

Broadcast Bionics developed Skype TX for Radio in partnership with Microsoft.

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Opal works by activating the Opus encoder built into popular browsers.

so that there is no need to tie up a computer.

The primary purpose of QGoLive is to replace the live shots that are typically broadcast in phone quality when a reporter has just arrived on the scene and has not had an opportunity to set up equipment for of a broadcast-quality live shot.

QGoLive has three major functional aspects: Live, Playlist and Scripts. The “live” mode allows the user to connect to the receiver at the radio station after logging in.

To connect, the user hits the “play” button in the center of the screen, which will send audio to the station receiver and send cue audio to the app. The app will run in the background so you can use other non-audio apps while broadcasting with QGoLive.

The “Playlist” function allows the user to play out cuts recorded and edited in external apps (such as Twisted Wave) or any audio program that can open its output (mp3) in another program (or a browser that can open downloaded files in another app).

QGoLive allows you to write or dictate scripts which the talent can read while live. The user can also insert edited audio directly into the script for playback during a live report. And imported cuts can be added to and played from the scripts tab. n

browsers installed. Opus transmits high-fidelity, low-delay audio in both directions; all the remote guest needs to transmit audio is a browser and a microphone.

At the station, the half-rack-width Opal device makes the actual send and receive connections to the studio facility via balanced XLR connectors (analog or AES).

Aside from its Ethernet connector, it has a nine-pin DIN for remote contact closures.

In order to use Opal you will need a static, public-facing IP address and a domain name associated with that IP. “In order to keep the web browsers from complaining, we need to provide SSL/TLS security. In order to have Opal provide this security, it needs a URL with a real Domain Name instead of an IP address,” the company states.

Another solution is QGoLive, a software-to-software offering that does not require purchase of hardware at the studio (receive) end. The transmit app runs on iOS or Android devices; the receiver application runs on PC or Mac. An Android-based hardware receiver, with balanced XLR inputs and outputs, can be used on the receive end

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The remote control app lets the producer see who’s connected to QGoLive and manage who’s on the air. Connected users hear the reporter on-air.

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Axia for the Perfect AoIP Transition Axia AoIP revitalizes the airwaves at Colorado Public Radio, keeping the facility on air, making the system more reliable and convenient, and saving time and money.

Colorado Public Radio Bridges Broadcast Center’s old TDM system was failing. With more than 470,000 listeners via 14 stations, the integrity of the network was on the line. Enter Axia with a fully integrated AoIP solution that would keep CPR on air, be more reliable, and save time and money.

Never Off Air

CPR chose a Livewire+ AES67 AoIP network for its tech specs and the immaculate look and build quality of Axia gear, including the Axia Fusion console. The seamless flexibility to transform the facility to Axia AoIP one studio at a time also proved to be a huge benefit. CPR was able to run the old system in parallel with the new Axia system as they converted to AoIP. “It went really smoothly and we were never off air, which was extremely important to us,” says broadcast engineer Judy Bandstra.

No Single Point of Failure

The decentralization of the network was also a major bonus for CPR. “With Axia, you are no longer tied to putting everything in the same location. This also means there is not one single point of failure, making it very reliable,” says Bandstra.

Faster, Cheaper, Better

Judy has integrated numerous TDM systems, so she’s familiar with its pitfalls: “It’s very labor-intensive, slow, and expensive pulling all the copper required….For Axia Audio over IP, there’s one kind of connector on everything, and that’s really nice.” Devices that have AoIP already in them, like Livewire partner gear, are even easier to install. By choosing Axia, CPR was able to get their AoIP system up and running quickly and inexpensively, while staying on air and ensuring years of reliability and performance well into the future. “Axia has been rock solid,” says Bandstra. “At the end, when all of the studios were fully converted to the Axia system, we decommissioned the old TDM router. Now that was a great feeling!”

Phone +1 (216) 241-7225 | TelosAlliance.com | inquriy@telosalliance.com

Pure AoIP

Largest Broadcast AoIP Network

AES67 Compliant

Operates purely in the AoIP domain throughout the network, unlike other protocols that still rely on TDM.

100,000 connected devices, 8,000 Axia AoIP consoles, 115+ partners.

Livewire+ lets you Connect to More.

Beyond compatible. Livewire+ is AES67-compliant, meaning every aspect of the AES67 standard— like Unicast mode—is met.

Program Associated Data

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GPIO

Send audio and PAD together, without incurring extra costs for separate audio and data networks.

Source text name and numeric ID can be transmitted from sources to the Axia network. Any device can build lists of all available sources to let you easily use audio on the network.

Goes beyond AES67’s capability of passing basic audio to support control (GPIO).

Phone +1 (216) 241-7225 | TelosAlliance.com | inquriy@telosalliance.com

Things to Know About IP Remotes Broadcast equipment manufacturers have gone “all in” when it comes to remote broadcasts using AoIP

By Mario Hieb, CPBE

to as latency or jitter. There are changes in bandwidth availability, often referred to as congestion or contention.

There is always some latency in IP networks due to the time it takes for data packets to travel between encoding and decoding codecs. IP codec manufacturers have developed techniques to deal with packet loss; packet arrival times can be minimized to deliver low latency and high reliability, even over the public internet.

Data packets travel independently and arrival times can vary greatly depending on network congestion and the type of network used, for example LAN versus wireless networks. Forward Error Correction (FEC) increases the stability of IP connections. FEC works by sending a secondary stream of audio packets, so that if your primary audio packets are lost or corrupted, then packets from the secondary stream can be inserted into the primary stream.

So why go through the contortions to make audio on IP networks practical for a remote?

When you consider the amount of bandwidth that comprises the internet and the amount of data that resides on it, it doesn’t take much imagination to consider using internet protocol networks for the transmission of remote broadcast audio.

Unfortunately, the internet is not perfectly suited for the transmission of audio. Unlike ISDN, IP digitized audio is not sent synchronously through the internet; it is sent in packets and as a result there are subsequent errors like packet loss, delay and jitter.

But as always, broadcast equipment manufacturers come to the rescue and creatively explore solutions to the IP issues.

THE ISSUES WITH IP

During the course of a broadcast, it is not uncommon to experience variable packet arrival times, commonly referred

1. S lowly, ISDN is disappearing worldwide.

2. I P is ubiquitous and affordable.

3. S ome IP codecs offer auxiliary features such as IFB and talkback.

4. 4G/5G are making wireless remotes more practical.

REMOTE BROADCASTS VIA WIRED IP

Radio remotes were first done over leased circuits and dialup phone lines. ISDN came along and offered CD-quality stereo audio from the studio to all over the globe. Today one can purchase many IP codec products for remote broadcasts that utilize a standard IP circuit and often, this configuration is less expensive than an ISDN circuit. The trick is to configure the link in such a way that minimizes IP packet issues.

Here are a few considerations for service with a wired IP connection: Comrex Access NX. “These days, wired Internet on both ends of a link really creates an ISDN-like experience in terms of delay and reliability, and that’s what everyone wants,” said Tom Hartnett of Comrex.

• Will the connection be single or redundant service?

• Will the audio be in stereo or mono?

Continued on page 22 ❱

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❱ Continued from page 20

• What are the audio quality requirements?

• Delay — is it a problem?

• What is the skill level of the event team? ​ “Wired connections nearly always afford the best connections, especially if the ‘last mile’ is of good bandwidth and reliable, and not over-subscribed,” said Kirk Harnack, senior systems consultant of the Telos Alliance. “Some broadcasters are even using ‘PCM-Linear’ mode for remote broadcasts. This provides the lowest possible latency, and literally perfect audio transmission. Most wired connections will support the AAC (or AAC-LD - Low Delay) codec at higher bit rates up to 384 kbps. The quality is excellent and delay is low enough for easy, comfortable two-way conversations over the link.”

“These days wired Internet on both ends of a link really creates an ISDN-like experience in terms of delay and reliability and that’s what everyone wants,” said Tom Hartnett, technical director of Comrex. For high-quality service, a great deal of attention must be paid to the IP network configuration.

“Most of the IP configuration is done on the studio side,” he said. “It’s really worth it to forward ports on the studio side (rather than use a reflector) as more links in the chain can mean more potential kinks. Once that’s done correctly, you can survive a host of IP-related badness on the remote side.”

With IP, you will often need to configure your gateway or firewall. “At Tieline we set up a Server & Client relationship for the best possible connection,” said Jacob Daniluck, technical sales specialist at Tieline. “A secondary IP connection for your studio unit would help insure IP connections.”

Tieline ViA. The company’s redundant IP streaming technology is SmartStream Plus. Tieline also offers data aggregation of multiple IP connections using technology called Fuse-IP that allows you to bond multiple networks and create higher bandwidth IP connections.

in some areas, but coverage and congestion will always be factors. So wireless requires a bit more pre-planning and expertise,” said Hartnett, “The biggest change is manufacturers providing the ability to use multiple networks, or better error correction techniques on single networks, to either bond networks or provide redundant transmission. For 4G remotes, this can make a huge difference in reliability, as you can use different 4G carriers and let your gear make decisions on which is better.”

But one must consider that broadband is a shared service and that the available bandwidth may be shared with other users — not the case with a wired IP link, says Tony Peterle, manager at WorldCast Systems Inc. “Particularly when using cellular data, it’s vital to have data on the network performance when the big crowd is there, but even wired networks can be more congested during an event than the days before.”

Another factor in recent years is the ubiquitous nature of IP and its cost advantages over other synchronous networks like ISDN. “IP is now widely available over wired and wireless networks and super-reliable, in many cases more reliable than ISDN. Plus, it’s very difficult to get new ISDN lines installed at a venue,” Daniluck said. “ISDN line rental can cost up to $900 per month, plus call costs on top of that.

So when you do the math, by switching from broadcasting over ISDN to IP, you can actually pay for the cost of brand-new codecs in much less than a year.”

One “rule of thumb” is to have a minimum of 36 kbps per mono stream of audio (64 kbps for stereo). If you

REMOTES BROADCASTS VIA WIRELESS IP

Here are a few considerations for service with a wireless IP connection: • Will the connection be single-line or redundant modems?

• Will the audio be in stereo or mono?

• What are the audio quality requirements?

• Delay? Is it a problem?

• What is the available bandwidth?

• What is the skill level of the event team?

In the broadband world, newer services such as 4G and 5G have more bandwidth and can pass data better. Some remote IP codecs utilize small USB RF modems. Others have customized modems with features that aid remote broadcast transmission.

“4G networks are getting good enough to rival wired

Continued on page 24 ❱

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❱ Continued from page 22

☐ For best reliability, use a matched pair (same manufacturer) of codec. Several codec makers offer their own schemes for connectivity and packet loss mitigation. ☐ Use good-quality equipment (routers, modems, etc.) to connect your codecs to the internet. ☐ If you have multiple codecs connected to a local area network (LAN), ensure that your network infrastructure is designed for media streaming and not domestic usage. ☐ If you are using a DSL or ADSL connection make sure you purchase a high-quality modem that can easily meet your speed requirements. This is especially important if you are over 2 miles from an exchange. ☐ If using a wireless connection, ensure that the antenna signal strength reception is strong. The type of antenna used and the mount of output gain also affects connection quality. ☐ Consider pre-wiring a “go box” that has a router, Ethernet switch, Wi-Fi hotspot, etc., built in for easy codec and laptop connections.​

are looking at using higher bitrates, you should simply consider the bitrate, in question, plus 20 to 25 percent bandwidth overhead.

“I’d avoid 3G entirely in the U.S.,” said Hartnett, “It’s really been demoted in bandwidth in many areas to the point of non-usability. And lots of folks like to use hotspots, but I don’t see the advantage to having an additional wireless link in the chain, so stick with direct-connect USB modems when you can. These are becoming rarer so we’ve been forced to offer our own for use on the major U.S. networks.”

Remote broadcasts often require more than just program audio and effects. Talkback and IFB are useful when coordinating the studio and location.

“At Tieline, the ViA remote codec has full-duplex stereo program capability, plus a separate full-duplex mono IFB communications capability,” Daniluck said. “As an example, you can send stereo program to the studio, receive stereo mix-minus program back from the studio and route it to headphones and a PA, plus separately communicate in mono bi-directionally with the studio.”

Internet Service Provider (ISP) ☐ Always use the best-quality ISP. Tier 1 service providers are best as their infrastructure actually makes up the internet “backbone.” ☐ You will get the best connection if both the local (studio) and remote codecs use the same ISP. This can substantially increase reliability, audio bandwidth and reduce audio delay. ☐ Sign up for a business plan that provides better performance than domestic or residential plans. Business plans typically have a fixed data limit per month with an additional cost for data beyond that limit.

A HANDY CHECKLIST FOR IP REMOTES

Here is a list of aspects to consider; much of this information was inspired by a checklist provided by Tieline, and we’ve added recommendations from other sources we’ve researched.

Hardware ☐ Choose codec hardware that’s easy to configure or that self-configures when plugged into power and internet at the remote site.

Tony Peterle of WorldCast Systems said, “By diversifying the pathways, you reduce the chances of packet loss ... and any kind of IP bandwidth can be used. We have customers streaming across microwave IP, DSL, Wi-Fi, satellite, cable, fiber — even on our SureStreamer Mobile rig, we can use cellular LTE modems and SIM cards.”

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Telos Z/IP One. “Most wired connections will support the AAC-LD codec at higher bit rates up to 384 kbps,” said the company’s Kirk Harnack. “The quality is excellent and delay is low enough for easy, comfortable two-way conversations over the link.”

The Connection ☐ Use a dedicated DSL/ADSL line for your codecs. Do not share a link with PCs or company networks. The only exception to this rule is if an organization has network equipment and engineers that can implement and manage quality of service (QoS) on its network. ☐ Ensure that the speed of the connection for both codecs is adequate for the job. Generally, the minimum upload speed recommended is 256 kbps for a studio codec and 64 kbps for a field unit connection. ☐ Test new IP connections and record performance. ☐ Avoid shared connections and WiFi, except as a backup. Bring your own Internet (MyFi, etc.) as a backup​, or as a main if you also bring a backup. ☐ Once your internet connection is installed at the studio, check that the connection performance corresponds with what you ordered and are paying for. A connection can perform below advertised bit rates if: • There is an error in ISP configuration.

• There is an error in modem configuration.

• There is a poor quality line between the studio and the exchange.

• There are too many phones or faxes connected to the phone line.

• Line filters have been connected incorrectly. ☐ Wireless IP connections can easily become congested and result in packet loss and audio dropouts. It is very difficult to guarantee connection quality when there is no way of knowing how many people are sharing the same wireless connection, particularly at large sporting events etc

MAKING THE CONNECTION

Broadcast equipment manufacturers have gone “all in” when it comes to remote broadcasts using AoIP. Here’s a sampling of recent offerings.

“The Telos Z/IP One was designed to provide reliable end-to-end audio and GPIO signals over less-than-ideal IP connections,” said Harnack. He said broadcasters use this model for full-time studio-transmitter links, pop-up remote codecs, long-form program backhaul, voice talent contribution and other roles.

Features include Agile Connection Technology, which automatically senses network conditions and adapts codec performance to provide the best audio. It offers a large choice of codecs and provides dual Ethernet ports for separate streaming and control.

It also offers extended compatibility with the Telos iPort Plus Multi-Codec Gateway, which can now connect with up to eight Z/IP Ones.

Several equipment vendors have developed systems that help make the connection from the field, and in some cases, fine tune it.

“Presence servers like Comrex Switchboard can be a big help in maintaining fleets of codecs and making challenging connections possible,” said Hartnett. “They can help establish connections from the studio side without knowing IP addresses, etc. on the remote end.

Our codecs sync with our cloud server and deliver a list of available destinations and their current availability.

Non-techies really just have to apply Internet and power, and push the button.”

At Tieline, said Daniluck, “We recommend using SmartStream Plus redundant IP streaming over the connection back to the studio to deliver greater reliability. This offers the possibility of network diversity, so you can stream over, say, Verizon with the primary connection and AT&T or Sprint over the other. If one connection becomes unreliable, the codec will automatically switch to the backup stream as required.”

One of the biggest changes over the past few years is network diversity over the public internet. “This technology has made remote broadcasting over IP twice as reliable and is something that Tieline offers at no additional charge.” said Daniluck. “Our proprietary Redundant IP streaming technology is called SmartStream PLUS. Tieline also offers data aggregation of multiple IP connections using technology called Fuse-IP. This allows you to bond

Configuration ☐ Use UDP as the preferred audio transport protocol. ☐ When using UDP, ensure the total bit rate (audio bit rate plus header bit rate) is no more than 80 percent of the ISP connection rate ☐ Configure codecs for full two-way communications with the studio. IFB, split channel backfeed, etc. are useful for best-quality execution. ☐ Use the best coding algorithm available. AAC provides unimpeachable audio quality at higher bit rates (256 kbps or higher). ☐ Use the highest bit rate that’s reliably supported by your internet connection.​Remember that this coded audio will likely be “cascaded” into another codec elsewhere in the audio chain, especially if streaming to the public.

Continued on page 26 ❱

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❱ Continued from page 25

multiple networks and create higher bandwidth IP connections.”

SureStream is a technology developed by WorldCast to improve reliability of sending streaming content over network connections, with a focus on maintaining audio quality and no instability in playout timing.

“We wanted to make open Internet connections as reliable as dedicated, synchronous link such as ISDN or T1 services,” said Peterle. “We have for years been sending 15 kHz stereo audio from Belfast to Miami on open public internet with only basic connections on each end — Comcast cable, DSL, etc. By diversifying the pathways you reduce the chances of packet loss even further, and any kind of IP Simplified AEQ graphic depicts using the Phoenix Mobile and AES’s SIP server over bandwidth can be used. We have customers public IP internet. streaming across microwave IP, DSL, Wi-Fi, sattransparent protective cover. ellite, cable, fiber — even on our SureStreamer It provides popular encoding algorithms, an adaptive Mobile rig, we can use cellular LTE modems and SIM packet buffer that mitigates network jitter and DHCP for cards.” automatic configuration of IP connection parameters, Digigram offers Iqoya, a 1RU, full-duplex codec though they can be done manually as well. The company with two RJ-45 ports that can be used for separating says the unit includes an internal web server that allows management traffic from streaming traffic or for you use a computer’s internet browser to perform mainthe generation of redundant streams, with up to tenance, do updates and carry out configuration tasks one second of delay in the redundant stream. The on the codec without the need for special software. The company emphasizes the codec›s ability to manage unit is compatible with other manufacturers’ IP codecs; network conditions often seen on the public internet and to simplify operation over the public internet, AEQ like excessive jitter and lost, duplicated or disordered offers customers the services of its own SIP server that packets. The unit features selectable FEC (+10%, +20%, facilitates communication with any other user by making +33%, +50%, +100%). ​ the physical location of the codec independent of its netAEQ also is active in this market segment; it offers the work identifier.

Phoenix Mobile IP audio codec, a lightweight, portable unit with color TFT display, navigation keys on the face, multiple analog inputs and a digital mixer, a 12VDC CLOSING THOUGHT power supply/charger (and optional battery) and hinged Darren Chan has been working with a Comrex IP audio codec for several years as producer/engineer with the San Francisco Giants. Major League Baseball, he says, hasn’t pushed a switch to IP. “It is more of a co-op of all the teams agreeing to support this method of transmission. Now, each team has a signed agreement to provide dedicated, non-shared IP in each visiting radio booth.

POTS (lines) are still provided in each broadcast booth.

“AoIP is the way to go now. ISDN is generally not supported anymore, and radio stations are now saving a ton of money by not incurring long-distance phone charges.

Of course, the system is not foolproof. Dropouts can and will happen. I expect codecs to be more advanced and user-friendly as we progress here in the coming years.” n

Darren Chan, left, says each Major League Baseball team “has a signed agreement to provide dedicated, non-shared IP in each visiting radio booth.” He’s shown with San Francisco Giants radio announcers Jon Miller and Duane Kuiper.

AOIP FOR RADIO 2018 Radio World | May 2018

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Welcome to

Broadcast 3.0 ruby – Radio never looked so good.

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Feast your eyes on the new ruby mixing console.

Intuitive. Uncluttered. Powerful, yet so refined. Streamlined from every angle.

Optimized controls: everything you need, nothing you don’t. Only 5 cm (2”) tall, from the bottom of its exquisitely cast side frames to the tops of its carefully chosen rotary selectors.

But great design goes beyond mere good looks. Which is why ruby is expertly crafted for both speed and accuracy — controls perfectly placed to fall naturally to hand. Premium-grade displays, faders and switches. Standardsbased AES67 networking. Powerful features like AutoMix smart mixing and instant one-button switching between live and production modes. Up to 96 channels of DSP and 1,920 routing crosspoints*. The cherry on top? A customizable, context-sensitive touchscreen GUI that puts virtual control of

Welcome to your command cockpit. Graphical, intuitive, customizable: ruby’s onscreen interface, powered by our VisTool GUI builder, is so much more than just meters and a clock. Multi-touch controls instantly give what’s needed to control studio devices, tweak dynamics, adjust virtual faders, meter true loudness — even design your own custom screens. The possibilities are virtually limitless.

mixer functions, playout software, studio devices, even Web feeds, social media and video, right at your operator’s fingertips.

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Who says small can’t be mighty? ruby’s mixing engine, Power Core, is equipped with redundant IP networking, dual-redundant power capability, and tons of built-in I/O – 384 stereo channels, standard – with room to add even more. There are dozens of DSP channels, and a built-in routing switcher, too. It’s like 12 rack units of power, packed into only 1RU.

Explore the Infinite Possibilities in Your Studio AoIP has given designers the opportunity to implement stunning, feature-rich functions unheard of 20 years ago

By Chris Wygal, CBRE Years ago, a box with blinking lights connected our office computers to each other and to the internet. The non-descript box was called a switch or a router. Occasionally engineers at radio stations would take care of IP needs; but IP was IP and radio was radio.

However, as the planet began to witness a reshaping of telecommunications via the internet, the broadcast industry realized: If these switches and routers can accommodate massive amounts of data transfer, can our audio infrastructure live on them too?

The answer was “yes,” and our industry was introduced to the concept of audio over IP. For many, it boiled down to an issue of trust. Granted, standalone time-division multiplexing systems from companies like Wheatstone and Harris had been in service since the early 2000s. So the idea of packetizing audio wasn’t a foreign notion. But in the mid-2000s, when AoIP rolled out in full bluster, the radio industry had some reckoning to do: Should we really put our entire audio plant on an IP platform? Is that safe?

Fast-forward to today. Audio over IP is a proven success. It has given engineers and Part 101 now allows for use of 11 GHz, and high-speed IP radio links can be used to studio designers the opportunity to impleconnect and extend AoIP networks such as those discussed here. ment stunning, feature-rich functions that were unheard-of 20 years ago. Fortunately, AoIP developto-day office use. The needs of the student broadcasters ment has continued at light speed and numerous options and the increasing market share of the radio network for optimizing AoIP networks are virtually a click away. were discussed and we concluded that office data and AoIP could both live on our switch stacks. The next step was to select an AoIP platform. Leaders in this space AOIP CONSIDERATIONS include Wheatstone, Axia and Lawo; Calrec has recently The student station and the regional radio network at come back into radio with an IP offering as well. In the Liberty University underwent studio relocations in 2011 case of Liberty University, our radio operations had a relaand 2013. Both facilities benefitted from the services of a tionship with Wheatstone, so we settled on WheatNet. large university IP infrastructure. Cisco Catalyst switches and Cisco routers were in place at both facilities for dayContinued on page 30 ❱ AOIP FOR RADIO 2018 Radio World | May 2018

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How far can you take your programming?

Type R: The building blocks for your station Calrec Audio, a specialist in live broadcasting for over 50 years, has unveiled a new IP-based radio system.

Type R is a modular radio console from Calrec, which utilises standard networking technology and combines it with configurable soft panels which can be tailored to operator needs.

Type R’s physical control system consists of just three slimline panels: a fader panel, a large soft panel and a small soft panel. Each is compatible with COTS hardware and powered over Ethernet to minimise cabling. It has a simple 2U core with integrated I/O resources to get customers up and running immediately, and can power up to three independent mixing environments.

ronment which forward-thinking radio broadcasters can take advantage of. Type R provides simple customisation across established networks, open control protocols and surface personalisation. Its IP backbone provides an infrastructure for future expansion and guarantees stations are able to keep pace with changing demands, as well as use its capabilities to ignite their audiences with new and innovative programming.”

Type R’s soft touchscreen panels are designed around simple control elements and can easily be customised as multi-function panels. Both soft panels can be utilised in either landscape or portrait formats to provide adaptable and specific functionality for talent, while ensuring overall control is maintained by the station technical team.

Functionality can be quickly changed from show-toshow using simple memory loads, and can be tailored to fit the needs of the talent.

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Whether used as independent studio consoles, microphone processors, or utility mixing, the ability to use multiple mixing engines combined with the flexibility of an AES67-compatible network provides enough flexibility to keep pace with radio’s changing requirements.

“The emergence of open IP standards provides the opportunity to create a very stable and flexible backbone across multiple radio sites — we felt it was a perfect time to re-enter the radio market,” says Calrec’s Director of Product Management, Henry Goodman.

“The standardisation of networking technology, and the widespread adoption of AES67, has created an envi-

Fader panels are small and simple, with six faders and immediate access to essential controls. Fader panels can be added or removed as simply as plugging or unplugging an Ethernet cable, creating a radio infrastructure that is easily expandable.

Broadcast-specific control is clear and concise across the system. Bussing, including the creation of mix-minus feeds, is quick to assign, while EQ and dynamics control is clear and fast. It is a pure radio platform designed for a fast-paced modern environment.

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Wheatstone’s IP88AD analog and digital blade, front view. Blades are used to interface the AoIP network in to the remainder of the radio station’s studio system ❱ Continued from page 28

Regardless of your vendor of choice, AoIP studio design is a game-changer. It negates the need for audio I/O termination at the console. The board becomes a glorified mouse and is responsible only for the human element involved in on-air and production. In an AoIP environment, the analog and digital I/O along with GPIO control should all terminate in one central location.

This is where Wheatstone Blades, Axia xNodes and Lawo Power Core I/O devices exist. They are all racked up with the IP switch, but with one exception. AoIP platforms generally provide I/O devices that live in the same room with the conA Wheatstone sole. Wheatstone, for example, provides a “Connetworkable sole Blade” that handles in-studio devices like console at work. microphones, CD players, headphone amps and studio speakers. This model allows wiring to stay on RJ-45 patch bays in the studios and in engineering. This in the rack, while the console does no more than provide leaves ample utility cabling for nearly everything. a control point for the AoIP network.

The next AoIP considerations involve OSI Layers 2 and 3: The first AoIP consideration involves “Layer 1” (see the switches and routers. At our facility, the broadcast staff the Open Systems Interconnection model). What do we has little access to switches and routers. This introduces need to interconnect this AoIP gear? At our network, the an important point: If IT folks are available, use them. Also, studios were wired for analog and AES with 30 runs of take them to lunch. My good friend Tirian is our local IT Category 5 cabling each. The Cat-5 installation proved to expert and his help in this endeavor was and is invaluable. be a good choice when the time came to install WheatNet. Broadcast engineers have plenty to do. If IP Layer 2 and 3 Wheatstone consoles and console Blades only need one issues can be delegated, consider it a Godsend.

Cat-5 cable (as a minimum) to connect to the IP switch.

With IP switches (Layer 2) and AoIP, the marriage can This would be the same for Axia consoles and xNodes and sometimes be “plug and play” (within reason). WheatLawo consoles and Power Core interface products. So the stone and Axia boast excellent results using “off-thewad of 30 Cat-5 cables per studio effectively was reduced to two, but all the cabling was left in place and terminated Continued on page 32 ❱

Calrec Audio recently returned to radio with its Type R, an IP-based modular system for on-air use; it combines networking technology with configurable soft panels in three slimline types, all powered over Ethernet. It has a 2U core with integrated I/O resources and will support three independent mixing environments.

AOIP FOR RADIO 2018 Radio World | May 2018

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Even inexpensive 5.8 GHz radio links can be used to connect and extend AoIP networks. The smaller dish, running at 60 GHz, is actually used to extend a network between neighboring buildings.

It prioritizes data packets and can be useful in congested data environments.

In our specific installation, we needed one WheatNet Blade for every eight audio sources and destinations. Our AoIP network as a whole involves 12 WheatNet products that could potentially load the Cisco switches with approximately 790 Mbps of IP bandwidth.

For example, a WheatNet 88ad Blade, depending on configuration details, can use as much as 73.7 Mbps of throughput. As it turns out, the Cisco Catalyst gigabit switches have 40 GB backplanes, which means we are only utilizing 1.97 percent of the switch throughput. This is good news for a network with potential studio expansion in mind.

While off-the-shelf router/switch combos may do the job for very small AoIP installations, managed switches and routers from Cisco Systems, Juniper Networks and Arista Networks (to name only a few) are highly recommended.

AoIP systems are designed to do their best work in well-managed Layer 2 and 3 environments. It can be worth the investment in contracting with qualified IT personnel who can take the IP infrastructure to a better level. However, IT guys aren’t necessarily broadcasters.

Switch configuration MUST be a team effort! Additionally, we have backup switches with our exact switch configurations readily for deployment in the event of a switch failure.

❱ Continued from page 30

shelf” gigabit switches. This is good news in theory, but there are important considerations. First, AoIP systems use multicast protocols to move data packets to and from specified devices. Essentially, without multicast, the payload from each AoIP device would be broadcast and made available to IP network resources that aren’t relevant to AoIP devices. This would eat up unnecessary switch bandwidth. Nonetheless, even with multicasting in action, for the reasons of prioritizing AoIP traffic, manufacturers strongly suggest dedicating an AoIP-only switch. However, when this option isn’t viable, VLAN (virtual local area network) and IGMP (internet group management protocol) configurations will be required to segregate AoIP data. IGMP “snooping” or an IGMP “querier” manages multicast traffic and only sends the data frames to devices that request it. Another function called QoS (quality of service) is employed in managed routers.

TYPICAL AOIP GEAR INTERFACES

It might be time to take a break from the “IP” part of AoIP and talk about the “audio” part. Remember that AoIP networks do not send audio through the console surfaces. The goal is to reduce wiring, enhance routing and processing and control, and to centralize the audio plant.

Using, for example, the aforementioned interfaces, we bring our audio world into the IP world. Blades and xNodes have a combination of RJ-45 and DB-25 connectors that are used for audio I/O and GPIO connections. ​ The Lawo Power Core has DB-25 connectors as well as MADI fiber terminations; the 2-RU core for the Calrec Type R includes I/O. Blades, xNodes and Power Core each have considerations for microphone, AES and analog inputs and outputs.

A fantastic case for the “cross-connectability” inherent

AOIP FOR RADIO 2018 Radio World | May 2018

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to AoIP systems is GPIO routing. As an example, in our facility, on a Wheatstone E1 console, when the board op pushes one of the user-programmable buttons, the relay closure happens on a Blade in engineering and it starts automation playout.

Another example involves our tally lights, which are actually powered from the engineering room, not their corresponding studio. This means that a microphone channel in production can issue a GPIO command to close a relay on a Blade in engineering that will turn on the light. Also, all of this is configured from my computer in my office.

There are infinite possibilities when it comes to using AoIP to move things around the facility.

WheatNet, as an example, uses software to control each Blade and console, IP Navigator being the primary tool. It is used for audio and

Axia Fusion console and IP tablet shown with virtualized system.

and it conditions bandwidth to handle latency and packet loss. Axia uses the xSwitch to extend its Livewire+ AoIP network and has a fiber connectivity option.

Point-to-point IP radio links are becoming less expensive, are unlicensed or licensed and can generally carry IP data more than 20 miles. While an unlicensed system may be cheaper to operate, it is still prone to interference. Additionally, traditional IP transport over a commercial internet provider can be a safe bet. It is important to take latency and packet loss into consideration when sending audio over the public internet, but delay times can be as minimal as 3 or 4 milliseconds, and unless provider service is chronically poor, overall results can be remarkably stable.

The goal is to reduce wiring, enhance routing and processing and control, and to centralize the audio plant.

GPIO XY routing as well as Blade configuration and salvo/ macro programming. Glass-E is used for virtual control of each console. Aura1 ip Pro is used to control the built-in audio processors on the Blades. Essentially, any PC can be assigned to the WheatNet network and control of the entire audio plant is available from anywhere in the world (which is why reasonable IP security measures are vital!).

Axia offers software options like Pathfinder and SoftSurface, and Lawo uses VisTool for all the same functions.

AOIP INTEROPERABILITY

An interesting caveat involving AoIP-capable devices has raised this question: “How can differing products recognize each other and speak the same language over Ethernet?”

The question is answered through technologies like Dante, Livewire, Ravenna and AES67. These use OSI layer protocol standards that, put simply, allow otherwise competing audio devices talk to each other. For example, WheatNet and an Omnia.9 processor can live on the same AoIP network and transfer audio to one another because they are both AES67-compliant. An Orban processor and Axia can work together because they adhere

INTER-FACILITY TRANSPORT VEHICLES

So far we’ve taken the lid off of AoIP as it pertains to in-studio applications. However, an AoIP platform can exist in more than one location. Whether over commercial IP, fiber or Part 101 microwave, VLANs can extend local AoIP networks to areas far and wide. The most common example of facility-to-facility AoIP would be STL links. For this, WheatNet provides the Network EDGE Blade. It interfaces with publicly addressable IP routers or IP wireless radios

Continued on page 34 ❱

xNodes provide the interfaces of the Axia AoIP system to other pieces of gear (analog, digital, logic) at the radio station. This particular unit provides four AES (eight channels total) inputs and outputs.

AOIP FOR RADIO 2018 Radio World | May 2018

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May 2018

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Lawo’s Ruby can accommodate from four to 60 physical faders and up to 96 channels of DSP. It natively supports AES67.

ADVERTISING SALES Group Publisher, TV/Video/Radio John Casey, john.casey@futurenet.com, 212-378-0400 x512 Publisher, Radio World International Raffaella Calabrese, raffaella.calabrese@futurenet.com, +39-320-891-1938

The Lawo Power Core has DB-25 connectors as well as MADI fiber terminations.

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❱ Continued from page 33

MANAGEMENT Managing Director/Senior Vice President Christine Shaw Chief Content Officer Joe Territo VP/Marketing Meg Estevez Managing Director/Europe Mark Burton Head of Production US & UK Mark Constance

to the Ravenna standard. Axia’s proprietary Livewire+ products can talk to a multitude of other products because it is also AES67-compliant. AoIP interoperability products like AES67 synchronize and unify protocols, namely RTSP, across various manufacturers. It’s important to note that networked audio devices bypass the D/A and A/D conversion process by converting the I/O to an IP stream via the device’s network port.

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A GOOD DEAL

When we decided to eliminate our trusty, tried and true analog and AES audio architecture, it didn’t happen without some level of anxiety. Let’s face it: You put tone on a pair, and chances are you’ll hear it on the other end. AoIP design takes away the bare-bones, familiar approach to audio and GPIO routing. It also requires that we learn IP networking, hire good IT people, or both.

Nonetheless, even though AoIP is a radical departure from what seems normal, the benefits far outweigh the initial angst. We are yet to regret any aspect of our AoIP installation. It continues to amaze us with its inherent capabilities. Plus, our IP infrastructure was designed in such a way that we anticipate no problems with growth and scalability. Twelve years ago, AoIP for studio audio infrastructure was somewhat of a leap of faith. Today, it has become standard for radio operations that are looking ahead to what IP technology has in store.

The author is operations engineer for Liberty University. n

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AOIP FOR RADIO 2018 Radio World | May 2018

CONTENT Managing Director, Content Paul J. McLane, paul.mclane@futurenet.com, 703-852-4628 Senior Content Producer — Technology Brett Moss, brett.moss@futurenet.com Content Manager Emily M. Reigart, emily.reigart@futurenet.com Technical Advisors Thomas R. McGinley, Doug Irwin Technical Editor, RWEE W.C. “Cris” Alexander Content Director — International Marguerite Clark Contributors: Susan Ashworth, Dave Beasing, John Bisset, James Careless, Ken Deutsch, Mark Durenberger, Charles Fitch, Travis Gilmour, Donna Halper, Craig Johnston, Alan Jurison, Paul Kaminski, John Kean, Peter King, Larry Langford, Mark Lapidus, Jim Peck, Mark Persons, Stephen M. Poole, James O’Neal, Rich Rarey, Jeremy Ruck, John Schneider, Randy Stine, Jennifer Waits, James G. Withers, Tom Vernon Production Manager Caroline Freeland Managing Design Director Nicole Cobban Senior Design Director Karen Lee

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