In Broadcast - October/November 2011 - 66


WWW.INBROADCAST.COM | OCTOBER/NOVEMBER 2011

InAUDIO
New Developments In Audio For Television Cont.
Logitek ROC
Logitek’s ROC audio control console, distributed in Britain by Preco, is a modular system available in six, 12, 18 and 24 fader configurations. The ROC console is housed in a desktop or tabletop enclosure allowing easy integration into permanent or temporary studios. The control surface includes high quality 100 millimetre long-throw Penny & Giles faders, OLED source indicators and meters, and a suite of controls to maximise the power of Logitek’s JetStream audio over IP platform. The ROC is designed for fast and easy operation during live programme production. The console sits directly on an existing worksurface so no carpentry is required during installation. A durable reverse-printed overlay surface ensures that none of the printing will wear off though operational abrasion. ROC fader modules include user-definable 16-character source labels on bright wide-angle displays. The labels support Unicode characters including Chinese and Kanji. Bus buttons assign programme plus three auxiliary sends per fader. Each fader has a change button and cue button plus a softkey button that can be used for talkback or intercom. The console includes a built-in cue speaker and front-rail headphone monitor jacks (standard and miniature). The ROC’s monitor control module has a central selector for accessing sources, compression settings and EQ. Three assignable knobs are available for use with the included vScreen PC application for VGA meter bridges. 12 configurable softkeys can be used to assign quick routes or any other function. Control buttons can be set to any of 256 colours via software. Preset buttons for headphones, control room, or guest/studio monitoring enable operators to switch quickly between four sources. An unlimited number of sources can be monitored using the change button and select knob. Timer control buttons, talkback return and cue level knobs are also incorporated. An optional meter bridge displays programme levels and switched source levels with dual OLED screens for timers, clock, profanity delay indication or user-defined text. A tri-colour stereo LED bargraph meter simultaneously displays peak and average metering. TFT screens on each side of the LED bargraph can display auxiliary buses, studio monitors, inputs, or any other mix. Two tally LEDs are also provided, one to indicate that the studio is on air and the other to show that the microphone is on or that the programme is live in the adjacent studio. using a dedicated Ethernet sound card or its virtual equivalent. The VMC control software is used to select a monitor source which can be made directly available for high quality/low latency motoring. Two RJ45 Cat 6 Gigabit Ethernet connectors are available on the PENTA 725 IP for fully redundant connection. Control and IP audio data are transmitted on the same IP connection, enabling in-band control of additional IP audio nodes as well as control via the NTP Router Control System RCCoreV3 on the same network. The Penta 725 IP is equipped with redundant power supply. A redundant IP Matrix core module is optional.

NTP IP Audio Router
NTP Technology’s PENTA 725 IP audio router enables audio routing over IP based Gigabit Ethernet with linear PCM audio quality and sub-millisecond latency. Internet bandwidth is increasing in many countries, giving broadcasters the option of using far more costefficient IP-based networking in place of traditional leased telco lines. The PENTA 725 IP combines standard time-division multiplex routing with the ability to interface audio via Gigabit Ethernet. It can route the audio in the networks using standard switches. Housed in a 1 RU high 19 inch chassis, the router has a capacity of 1024 x 1024 cross points and can accommodate 64 bi-directional channels via IP. It can also be populated to handle 64 AES3 I/O channels, six optical MADI channels and optional sampling-rate converters interfaces. Additional Penta 725 IP systems can be

Cedar Audio Cambridge V7

SSL C-Play
Solid State Logic’s C-Play Audio Playout System is designed to eliminate a requirement for dedicated hardware while significantly streamlining operator preparation for on air sessions. The C-Play system is embedded into the SSL C100 HDS and C10 HD console control surface where it allows integrated recall of playlists with console projects. C-Play combines ‘Player,’ ‘Cut’ and ‘Playlist’ functions in a simple, streamlined system. The C-Play user interface features all of the playout controls users would expect and is

Sonifex Embedding
Sonifex Redbox RB-VHEDD8 is an SDI audio de-embedder and reembedder with Dolby E encoding capabilities. Dolby E encodes up to eight channels of audio into two channels of an AES digital audio stream which is then embedded onto any of the available groups within each of the two video output paths. The encoded Dolby E bitstream is also available via a dedicated output on the rear panel. The audio inputs to the encoder can be selected to come from the external digital audio inputs via the BNC or D-type connections on the rear panel or from embedded audio contained in the incoming SDI input.

66

Sonifex Redbox RB-VHEDD8

combined to handle a total of 512 channels on a 1 gigabit/s network. Larger systems can be integrated where greater network capacity is available. Each audio channel can be deployed as router input/ output connections or to connect with extra Penta 725 IP units. All switching on the IP network is controlled by NTP Technology’s RCCore router control system. Connections are managed by NTP Technology’s VMC control surface. This allows changes to be made dynamically to match programme schedules. IP audio entering or leaving the PENTA 725 IP router can be interfaced on a PC platform by

operated from the console’s central touch screen. Playback triggers can also be assigned to console faders or buttons or external control systems. Audio files are stored in a shared network location, enabling import from an external craft editor. A comprehensive cut system sets individual file playback properties without altering the audio source file and offers complete control over start, stop, loop and fade. A sequence of cuts can be assembled into fully featured ‘playlists’ for instant recall and manual or automated playback.

The outputs from the de-embedder can also be re-embedded into the video outputs, along with the encoder inputs. The digital audio I/O connections are transformercoupled balanced line interfaces and can be configured to be either 75 ohm (AES 3ID) or 110 ohm (AES 3) impedance through either a BNC or via the D-type connector. These connections are paralleled, allowing one type to be used per input or output. An integral triple rate SDI receiver performs automatic input rate detection and equalisation.
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Table of Contents for the Digital Edition of In Broadcast - October/November 2011

In Broadcast - October/November 2011
Contents
3Ality Digital Acquire Element Technica
RTL Choses Quantel
Studios In Production
MAM Questions Answered
Changing Faces of Post Production
Microphones In Action
New Developments in Audio for Television
Routers and Switchers
Loudness Measuring in Workflows
In Broadcast - October/November 2011 - In Broadcast - October/November 2011
In Broadcast - October/November 2011 - 2
In Broadcast - October/November 2011 - Contents
In Broadcast - October/November 2011 - 3Ality Digital Acquire Element Technica
In Broadcast - October/November 2011 - 5
In Broadcast - October/November 2011 - 6
In Broadcast - October/November 2011 - 7
In Broadcast - October/November 2011 - 8
In Broadcast - October/November 2011 - 9
In Broadcast - October/November 2011 - 10
In Broadcast - October/November 2011 - 11
In Broadcast - October/November 2011 - 12
In Broadcast - October/November 2011 - 13
In Broadcast - October/November 2011 - 14
In Broadcast - October/November 2011 - 15
In Broadcast - October/November 2011 - 16
In Broadcast - October/November 2011 - 17
In Broadcast - October/November 2011 - 18
In Broadcast - October/November 2011 - 19
In Broadcast - October/November 2011 - RTL Choses Quantel
In Broadcast - October/November 2011 - 21
In Broadcast - October/November 2011 - 22
In Broadcast - October/November 2011 - 23
In Broadcast - October/November 2011 - Studios In Production
In Broadcast - October/November 2011 - 25
In Broadcast - October/November 2011 - 26
In Broadcast - October/November 2011 - 27
In Broadcast - October/November 2011 - 28
In Broadcast - October/November 2011 - 29
In Broadcast - October/November 2011 - 30
In Broadcast - October/November 2011 - 31
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In Broadcast - October/November 2011 - 41
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In Broadcast - October/November 2011 - 43
In Broadcast - October/November 2011 - 44
In Broadcast - October/November 2011 - 45
In Broadcast - October/November 2011 - 46
In Broadcast - October/November 2011 - 47
In Broadcast - October/November 2011 - MAM Questions Answered
In Broadcast - October/November 2011 - 49
In Broadcast - October/November 2011 - Changing Faces of Post Production
In Broadcast - October/November 2011 - 51
In Broadcast - October/November 2011 - Microphones In Action
In Broadcast - October/November 2011 - 53
In Broadcast - October/November 2011 - 54
In Broadcast - October/November 2011 - 55
In Broadcast - October/November 2011 - 56
In Broadcast - October/November 2011 - 57
In Broadcast - October/November 2011 - 58
In Broadcast - October/November 2011 - 59
In Broadcast - October/November 2011 - 60
In Broadcast - October/November 2011 - 61
In Broadcast - October/November 2011 - 62
In Broadcast - October/November 2011 - 63
In Broadcast - October/November 2011 - New Developments in Audio for Television
In Broadcast - October/November 2011 - 65
In Broadcast - October/November 2011 - 66
In Broadcast - October/November 2011 - 67
In Broadcast - October/November 2011 - 68
In Broadcast - October/November 2011 - 69
In Broadcast - October/November 2011 - 70
In Broadcast - October/November 2011 - 71
In Broadcast - October/November 2011 - Routers and Switchers
In Broadcast - October/November 2011 - 73
In Broadcast - October/November 2011 - 74
In Broadcast - October/November 2011 - 75
In Broadcast - October/November 2011 - 76
In Broadcast - October/November 2011 - 77
In Broadcast - October/November 2011 - 78
In Broadcast - October/November 2011 - 79
In Broadcast - October/November 2011 - 80
In Broadcast - October/November 2011 - Loudness Measuring in Workflows
In Broadcast - October/November 2011 - 82
In Broadcast - October/November 2011 - 83
In Broadcast - October/November 2011 - 84
In Broadcast - October/November 2011 - 85
In Broadcast - October/November 2011 - 86
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