In Broadcast - February 2014 - 70


I N T E R N A T I O N A L

WWW.INBROADCAST.COM | ISSUE 28 - FEBRUARY 2014

N E W S

InMEDIA

DAD AX32 Supports 48 Analogue Channels
N

70

TP Technology has announced
a major addition to the
capabilities of its DAD AX32 ultrahigh-quality digital/analogue/
digital converter. The AX32 is now
available with version 1.3 firmware
which accommodates up to a
total of 48 channels of analogue
inputs or analogue outputs or a
combination thereof. The AX32
can thus have 48 microphone
preamplifier and converter inputs
or a combination of 32 input
channels and 16 output channels.
A total of six analogue cards can
be housed in the AX32. Each card
slot accepts an eight-channel linelevel A/D converter, eight-channel
microphone input or eight-channel
D/A converter with analogue line
output. The cards can be combined
in any permutation.
Version 1.3 also adds the ability to
control the sampling rate of the IP
audio interface powered by Dante,
and full support for redundant
IP audio connection plus a word
clock output feature supporting all
the sample rate frequencies (44.1
to 192 kilohertz) or just the base
sample rate of 44.1 or 48 kilohertz.
All the functionality is controlled

NTP Technology's DAD AX32 ultra-high-quality digital/analogue/digital converter

from the DADman 4.0 with new
comprehensive features for
channel strip management of all the
channels, as well as an improved
router matrix configuration.
Existing AX32 units can be
upgraded with the new firmware
and DADman control software. New
firmware for the Dante Brooklyn
II IP Audio card is also available.
System configuration is highly
flexible and includes IP Layer 3
Ethernet-based audio networking
powered by Dante.
Up to 48 full-bandwidth channels
can be forwarded via the AX32
along a single Category 5 cable
using IP. This ensures flexible
and cost-efficient cabling from a
recording studio to a control room.
The connections can be part of a

standard Gigabit Ethernet local area
network. The optional microphone
preamplifier incorporates analogue
gain control in 0.5 decibel steps as
well as digital gain control with 0.1
decibel precision. Dynamic range
of analogue to digital and digital to
analogue conversion is 126 decibels.
The preamplifier's equivalent noise
floor is -132 decibels.
The AX32 is equipped with
AES/EBU and MADI inputs and
outputs plus a Dante interface
for use with compatible thirdparty products as well as audio
workstations running on Apple OS
X or Windows platforms.
A versatile interface structure
allows the analogue-to-digital,
digital-to-digital and digital-toanalogue converters to be assigned

to any digital interface, as well as
patching between the interfaces on
a channel-to-channel basis.
The AX32 can be controlled from
the front panel which interacts
with four adjacent pushbuttons to
allow adjustment of key converter
parameters. Full remote control
can be accomplished using NTP
Technology's DADman software or
via Ethernet.
DAD audio converters are used
by many of the world's music
production centres including Abbey
Road Studios, Collegium Records,
Danish Radio, Moscow Music
Conservatory, NHK, NRK, Royal
Danish Opera House, Royal Opera
House London, the Sydney Opera
House, and Swedish Radio.

Glassworks Accelerates Efficiency With PixIT Media
F

ounded in 1996 and based in
Soho, London, Glassworks is
a leading digital content creation
studio. From award-winning
commercials to film and promos,
Glasswork's expertise and success
in VFX and post-production has
facilitated expansion to Amsterdam
and Barcelona in recent years.
With a wealth of equipment and
international talent across three
facilities, Glassworks is continually
seeking new ways to utilise each
office's resources on a global scale,
especially technology that takes
advantage of their investment in
a high-speed Sohonet data link

connecting each location.
As an existing customer of PixIT
Media, a provider of scale-out NAS
and SAN solutions for content
creators and distributors, Glassworks
were given the opportunity to
become an early adopter and launch
partner of Pix:CACHE, PixIT's Cloud
and WAN Acceleration technology.
Pix:CACHE enables PixIT
Media customers to combine
their worldwide file-based asset
repositories into a single, globally
addressable storage area. With
built-in acceleration technology for
optimising long-distance network
links, Pix:CACHE provides users at

Pix:CACHE, PixIT's Cloud and WAN Acceleration technology

geographically disparate sites with
instant, on-demand access to data
anywhere within the organisation.
"After PixIT first brought Pix:CACHE
to my attention, our render farms in
all three locations immediately came
to mind," says Will Issac, Head of
Engineering for Glassworks. "It
sounded like exactly what we
were looking for to improve data
transfer efficiency when sharing
render resources across the group.
Because the technology was already
built into our existing PixIT NAS and
SAN license, the decision to move
forward was a no-brainer."
Pix:CACHE made render farm
resources at three sites available to
any user, irrespective of their location.
Instead of the entire farm loading
scenes from remote storage via the
Sohonet link, only a single render
node need initiate data transfer
for the rest of the farm to take
advantage. Additionally, built-in WAN
acceleration in Pix: CACHE increased
speeds three times over previous
methods at Glassworks, saving huge
amounts of time and bandwidth.
The results made resource sharing
across the sites completely seamless.
"When Glassworks do production
planning, we want to focus on our
artists, not our IT resources," adds
Isaac. "Pix:CACHE ties together

The Glassworks digital content
creation studio

all of our global rendering facilities
into a single pool; we no longer
have to move jobs around to keep
up with resource shortages in a
single location."
The ability to pool render resources
globally not only accelerates the
workflow, it also frees Glassworks
to invest in new infrastructure
without being tied to any particular
facility. "With power and space at a
premium in the Soho area, adding to
our rendering capability in London
has become increasingly difficult,"
explains Isaac. "With the locality
of those resources now largely
irrelevant, we can add capacity to
the most appropriate site from a cost
perspective without any impact on
our workflow."


http://www.linkedin.com/pub/dir/?first=Phillip&last=Izzard&search=Go https://twitter.com/inbroadcast http://www.youtube.com/watch?v=qpzEatLsHdE&feature=youtube_gdata_player https://www.facebook.com/InBroadcast http://itunes.apple.com/gb/app/inbroadcast/id468652679?mt=8 https://play.google.com/store/apps/details?id=com.branded.inbroadcast&feature=search_result#?t=W251bGwsMSwyLDEsImNvbS5icmFuZGVkLmluYnJvYWRjYXN0Il0 http://WWW.INBROADCAST.COM http://www.ntp.dk/page1059.aspx http://www.pixitmedia.com/services/35-solutions/348-pix-cache

Table of Contents for the Digital Edition of In Broadcast - February 2014

In Broadcast - February 2014
Contents
InNews: Russia's Channel One Looks to Elemental
InNews: Eurosport Teams With SNTV for News Content
InStudio: Integration Is the Aim, but Is Our Aim True?
InGear: Chopperguy Relies on Aja Ki Pro Mini
InGear: NBC Olympics to Utilise Five Artemis Consoles
InGear: Sony Reduces 4K Camcorder Size
InMedia: The Connected Room 1990 – 2020 & Beyond
In Broadcast - February 2014 - Intro
In Broadcast - February 2014 - In Broadcast - February 2014
In Broadcast - February 2014 - Cover2
In Broadcast - February 2014 - Contents
In Broadcast - February 2014 - InNews: Russia's Channel One Looks to Elemental
In Broadcast - February 2014 - 5
In Broadcast - February 2014 - InNews: Eurosport Teams With SNTV for News Content
In Broadcast - February 2014 - 7
In Broadcast - February 2014 - 8
In Broadcast - February 2014 - 9
In Broadcast - February 2014 - 10
In Broadcast - February 2014 - 11
In Broadcast - February 2014 - 12
In Broadcast - February 2014 - 13
In Broadcast - February 2014 - 14
In Broadcast - February 2014 - 15
In Broadcast - February 2014 - 16
In Broadcast - February 2014 - 17
In Broadcast - February 2014 - 18
In Broadcast - February 2014 - 19
In Broadcast - February 2014 - 20
In Broadcast - February 2014 - 21
In Broadcast - February 2014 - 22
In Broadcast - February 2014 - 23
In Broadcast - February 2014 - 24
In Broadcast - February 2014 - 25
In Broadcast - February 2014 - 26
In Broadcast - February 2014 - 27
In Broadcast - February 2014 - 28
In Broadcast - February 2014 - 29
In Broadcast - February 2014 - 30
In Broadcast - February 2014 - 31
In Broadcast - February 2014 - 32
In Broadcast - February 2014 - 33
In Broadcast - February 2014 - 34
In Broadcast - February 2014 - 35
In Broadcast - February 2014 - 36
In Broadcast - February 2014 - 37
In Broadcast - February 2014 - 38
In Broadcast - February 2014 - 39
In Broadcast - February 2014 - 40
In Broadcast - February 2014 - 41
In Broadcast - February 2014 - 42
In Broadcast - February 2014 - InStudio: Integration Is the Aim, but Is Our Aim True?
In Broadcast - February 2014 - 44
In Broadcast - February 2014 - 45
In Broadcast - February 2014 - 46
In Broadcast - February 2014 - 47
In Broadcast - February 2014 - 48
In Broadcast - February 2014 - 49
In Broadcast - February 2014 - InGear: Chopperguy Relies on Aja Ki Pro Mini
In Broadcast - February 2014 - 51
In Broadcast - February 2014 - InGear: NBC Olympics to Utilise Five Artemis Consoles
In Broadcast - February 2014 - 53
In Broadcast - February 2014 - 54
In Broadcast - February 2014 - 55
In Broadcast - February 2014 - 56
In Broadcast - February 2014 - 57
In Broadcast - February 2014 - InGear: Sony Reduces 4K Camcorder Size
In Broadcast - February 2014 - 59
In Broadcast - February 2014 - 60
In Broadcast - February 2014 - 61
In Broadcast - February 2014 - 62
In Broadcast - February 2014 - 63
In Broadcast - February 2014 - 64
In Broadcast - February 2014 - 65
In Broadcast - February 2014 - 66
In Broadcast - February 2014 - 67
In Broadcast - February 2014 - 68
In Broadcast - February 2014 - 69
In Broadcast - February 2014 - 70
In Broadcast - February 2014 - 71
In Broadcast - February 2014 - InMedia: The Connected Room 1990 – 2020 & Beyond
In Broadcast - February 2014 - 73
In Broadcast - February 2014 - 74
In Broadcast - February 2014 - 75
In Broadcast - February 2014 - 76
In Broadcast - February 2014 - 77
In Broadcast - February 2014 - 78
In Broadcast - February 2014 - 79
In Broadcast - February 2014 - 80
In Broadcast - February 2014 - 81
In Broadcast - February 2014 - 82
In Broadcast - February 2014 - 83
In Broadcast - February 2014 - 84
In Broadcast - February 2014 - 85
In Broadcast - February 2014 - S1
In Broadcast - February 2014 - S2
In Broadcast - February 2014 - S3
In Broadcast - February 2014 - S4
In Broadcast - February 2014 - S5
In Broadcast - February 2014 - S6
In Broadcast - February 2014 - S7
In Broadcast - February 2014 - S8
In Broadcast - February 2014 - S9
In Broadcast - February 2014 - S10
In Broadcast - February 2014 - S11
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201909
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_inshowguide2019
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201908
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http://europe.nxtbook.com/nxteu/lesommet/CTA-DAY1
http://europe.nxtbook.com/nxteu/lesommet/CTA-VISITOR
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201906
http://europe.nxtbook.com/nxteu/lesommet/CTA-PREVIEW
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201905
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2019
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_INREVIEW2018
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201812
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201811
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NewYork2018
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201810
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201809
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2018
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201803
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201802
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2018
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201801
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201712
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201711
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201710
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201709
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_inshowguide2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201708
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201707
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201705
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201704
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2017
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201703
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201702
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201701
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_INREVIEW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201612
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201611
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOWNYexpo
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_20110708_DEMO
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201610
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_inshowguide2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201609
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201608
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201607
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201606
http://europe.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC03
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201605
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2016
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201604
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201603
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2016
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201602
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_201601
http://www.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC02
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201512
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201511
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_CCW15expo
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201510
http://www.nxtbook.com/nxtbooks/lesommet/inbroadcast_APAC01
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201509
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_IBC2015
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http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_BROADCASTASIA2015
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201505
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201504
http://europe.nxtbook.com/nxteu/lesommet/inbroadcast_NABSHOW2015
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201503
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_cabsat2015
http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201502
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http://www.nxtbook.com/nxteu/lesommet/inbroadcast_201412
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