AoIP Leads The Way For The Broadcast Industry

There have been a number of changes within the broadcast audio sector in recent months – take the increasing popularity of Audio-over-IP for instance – and these developments also mean more solutions need to be created in order to meet the demands of the industry.

Audio-over-IP (AoIP) is becoming increasingly used within the industry as a means of providing high-quality audio feeds over a distance across an IP network, such as the internet. It isn't a new phenomenon, but it does appear to have taken a while for IP to have been adopted.

In fact, just last moth, the coming adoption of IP was one of the key talking points of NAB '15. Not only does the solution provide greater flexibility with regards to signal routing, but it also comes with a low cost of implementation for companies.

At the beginning of June, Audinate – developers of the Dante™ Audio-over-IP technology – presented a day-long workshop dedicated to AoIP for the broadcast market in Germany. Highlighting the growing acceptance of AoIP, the event featured a large demonstration of the interoperable AoIP broadcast products available and shipping today, as well as roundtable sessions covering the latest topics in Audio-over-IP, including WAN and geographical IPs, understanding AES67, the role of control standards, and the importance of network security in a broadcast environment.

With regards to products, Digigram featured its range designed to address the performance and cost requirements of all IP audio and video applications at BroadcastAsia 2015. One of which was the IQOYA *SERV/LINK Audio-over-IP Codec for professional IP audio distribution, which incorporates multiple distribution codec instances as well as its FluidIP™ technology on a single processing hardware platform to simplify the transport of multiple audio programs (mono, stereo, multichannel) over IP networks in a high-density format. Designed for radio broadcasting and for intercom and commentary for both radio and TV, the IQOYA *SERV/LINK codec allows users to configure multiple-stereo or multichannel solutions for links between studios and between the studio and transmitters, DVB operators, or content delivery networks.

The company also unveiled its new Video-over-IP contribution product, the AQORD HEVC Encoder, which ingests video from SDI inputs, encodes one raw UHD video signal or up to four simultaneous raw HD video signals using EVC, then streams the encoded video over IP to the broadcaster's production base.

Video Transmission Systems are key when it comes to broadcasting. Take the upgraded LiveShot IP Video codec by Vortex, which has improved connectivity and provides flexible control over the IP stream, as well as the benefit of return video and audio. A real-time delay target "slider" gives control over quality vs latency, accompanied with packet, bitrate and bonding information helps to get the best out of a connection. Full integration with Comrex's free Switchboard Server allows remote management and control by just logging into a webpage, while the updated interface comes with additional streaming options, improved peer management and more control over the IP stream.

Meanwhile, Dynamic Crosslock initiates between units with every stream, coupled with improved forward error correction and error masking, ensuring high quality video and audio that withstands the most unforgiving connections.

Turning to Radio over Fibre (RoF), a great solution is the MFL from Wisycom, which assisted in the broadcast of the 2014 and 2015 Formula One circus. The MFL features an easy-to-read OLED display of optical power, control of remote sites, internal and external loop out filtering options, adjustable gain at all points in the signal chain. It is able to send four RF paths multiplexed over a single strand of single mode fiber and offers control via Ethernet. The Fiberbox's MFL2 Fiber Module comes equipped with two SC-APC fiber inputs and a CWDM 4 channel with mux/demux Output/Input on a BNC connector. In addition, the unit features an Embedded Gigabit Ethernet data channel. Also included in the Fiberbox, is a Dual Power Amplifier with two Carrier 2 2W output, one Output combiner – 1 W per carrier as well as a BNC connector and DB25 connector (data/power). The unit can be configured at the factory to set the four channels in either direction. A typical setup is two channels, A and B, set to receive wireless microphones, and the other two to support remote IFB or partyline transmission.

"The MFL RF-over-fiber platform has all the necessary features for successful control of wireless production environments," explains Andy Clements, Business Development Manager, of Raycom, Wisycom's UK Distributor. "Since it is running over fiber, the unit offers users the opportunity to set up antenna extenders farther than possible with traditional setups. When combined with the new heavy-duty casing, the MFL can withstand the use and abuse of typical on-location or touring rigors."

Speaking of "on location", CP Communications also recently adopted Barnfind America's BarnOne multifunctional signal transportation platform to streamline fiber transport for mobile broadcasting clients.

"In the mobile broadcast world, replacing copper with fiber transmission connections has become a top priority, but we needed a way to avoid the cost and complexity of one-to-one fiber drops, especially in very large productions with many channels of audio, video, and data signals for transport," says Kurt Heitmann, Senior Vice President, CP Communications. "With BarnOne, our clients are able to transport and switch up to 32 signals within a single frame and a single fiber, greatly simplifying setup, operation, and troubleshooting for on-location productions."

The company installed BarnOne systems in its RF production trucks, commissioned for live golf coverage by major US broadcasting networks. The 53-foot expand RF fiber transmission trucks were optimised for HD golf coverage. The platform accommodated signal transmission for a baseline of six RF camera and 14 RF microphones, with the ability to expand to 30 cameras for large productions such as the U.S. Open. All RF mikes, RF effects and RF cameras are laid out over a fiber infrastructure. Using a single fiber, the unit then distributes the signals out of the RF truck to the mobile production unit.

Image: IQOYA *SERV/LINK Audio-Over-IP Codec

This article is also available to read at BFV online.

(JP)