Well ahead of video, audio moved to uncompressed over IP and has been reaping the benefits ever since. With more mature workflows and, as has always been the case, a much higher quantity of feeds than video traditionally has, the solutions have a higher maturity.
Anthony from Ward-Beck Systems talks about the advantages of audio IP and the things which weren’t possible before. In a very accessible talk, you’ll hear as much about soup cans as you will about the more technical aspects, like SDP.
Whilst uncompressed audio over IP started a while ago, it doesn’t mean that it’s not still being developed – in fact it’s the interface with the video world where a lot of the focus is now with SMPTE 2110-30 and -31 determining how audio can flow alongside video and other essences. As has been seen in other talks here on The Broadcast Knowledge there’s a fair bit to know.(Here’s a full list.
To simplify this, Anthony, who is also the Vice Chair of AES Toronto, describes the work the AES is doing to certify equipment as AES 67 ‘compatible’ – and what that would actually mean.
This talk finishes with a walk-through of a real world OB deployment of AES 67 which included the simple touches as using google docs for sharing links as well as more technical techniques such as virtual sound card.
Packed full of easy-to-understand insights which are useful even to those who live for video, this IP Showcase talk is worth a look.
AES67 is a method of sending audio over IP which was standardised by the Audio Engineering Society as a way of sending uncompressed video over networks between equipment. It’s become widespread and is part of SMPTE’s professional essences-over-IP standards suite, ST 2110.
Here, Conrad Bebbington gives us an introduction to AES67 explaining why AES67 exists and what it tries to achieve. Conrad then goes on to look at interoperability with other competing standards like Dante. After going into some implementation details, importantly, the video then looks the ‘Session Description Protocol’, SDP, and ‘Session Initialisation Protocol’, SIP which are important parts of how AES67 works.
Other topics covered are:
Packetisation – how much audio is in a packet, number of channels etc.
Synchronisation – using PTP
What are SDP and SIP and how are they used
Use of IGMP multicast
Implementation availability in open source software
This is a very accessible overview of AES67 and 2110 from Andreas Hildebrand, evangelist for RAVENNA audio over IP technology at ALC Networx.
Andreas explains what SMPTE 2110 and AES67 are and how they relate to other standards in the industry. He then looks at the timing requirements of 2110 and how they differ to those of AES67 with examples. Another important area examined is when 2110’s audio is/isn’t compatible with AES67.
Finally AES3 is discussed as this is part of the ST 2110-31 standard and Andreas shows how this relates to RAVENNA standards.
Senior Product Manager and Evangelist for the RAVENNA technology developed by ALC NetworX, Germany, Andreas has more than 25 years experience within the Professional Audio & Broadcasting industry.
He is a full-time participant in the AES Task Group defining and maintaining the AES67 AoIP standard. He is also acting as Co-chair of the Technical Work Group of the Media Networking Alliance and is participating in the AIMS Technical WG and the SMPTE ST2110 SVIP standardisation.
Despite the title, a relatively light and short video for the weekend from NAB on using audio in 2110.
Why is there a separate SMPTE ST 2110-30 standard from AES67? Are AES67 devices compatible with SMPTE ST 2110-30? Why is there a SMPTE ST 2110-31 standard? This presentation from Leigh Whitcomb (Architect, Imagine Communications) is a deep dive into the SMPTE ST 2110-30, 31 and AES67 audio and will answer all these questions.
Talk + Social: Wed 18 April 2018, 19:00 – 21:00 BSTAdd to Calendar The event will be followed by a social at The Yorkshire Grey on Langham Street. Location: Fyvie Hall, University of Westminster, 309 Regent Street, W1B 2HW.View Map
A panel discussion exploring issues surrounding launching an audio related startup company in a dynamic forum that features free flowing discussion and debate with both contributions from panel and audience members alike.
• What processes are essential in bringing an existing idea to launch?
• What could be considered to be the most challenging aspects of launching an audio related startup?
• What are the most common pitfalls experienced by fledging audio related startups?
• What role does investment play in launching an audio related startup and at what point may it be necessary?
• At what point should the employment of staff be considered?
• How can growth be managed to maximize longevity?
• Charlie Slee – Managing Director, Big Bear Audio
• Selina Parmar – Talent and People Manager, Founders Factory
• Jon Eades – Director and Co-Founder, The Rattle
• Sarah Yule – Director of Channel Sales, ROLI
Meeting: 9am-9.45am • 8 Golden Square, Soho W1F 9HY • 31st January 2018
The first in a series of Tech Breakfasts, kicking off at 9am, this session will focus on AES67 and audio networking standards. There will be some breakfast bites to get you ready for the day ahead, and the experts will be hanging around afterwards so you’ll have the chance to put your tough technical questions to them.
Experts on hand:
Phil Crawley, Head of Systems Integration, root6
Phil has over 30 years’ experience as a broadcast engineer. He was previously the Technical Director of The Resolution Post Group, Chief Eingineer at Oasis Television, and worked on the first three series of Big Brother before joining root6 to oversee the design commission and certification of systems integration projects. In his spare time, he makes handheld games consoles and is a member of the Society of Motion Pictures and Television Engineers (SMPTE).
Matt Ward, Senior Engineer, root6
Matt worked with some of London’s leading music recording studios before making the jump to video post and handling delivery to national broadcasters. He’s worked in post-production and broadcase ever since. He’s a member of the SMPTE, and was previously a Technical Manager at Strongroom Post-Production, Breathe Post-Production and Air Post-Production.
On-demand Talk: 69 Minutes
Mark Yonge, AES Standards Manager, takes us on the journey of how AES67 came into being. This talk from 2015, builds on the clear indications that IP was the way forward up the technologies underpinning the standard and the implications for us on the new ways of working.
In a recorded talk at an AES UK Section meeting, Mark talks about delays, PTP, multichannel audio and much more.
Great explanation of how AES67 and @SMPTE 2110 overlap but also where they differ. Including an overview of PTP timing: a perfect follow on from the recent @SMPTEUK meeting on the same topic at Surrey University.
Andreas Hildebrande from ALC NetworkX shows the completeness of the AES67 ecosystem and how different companies interoperate on IABM TV during NAB 2017.
Date:Thursday, November 16, 2017 – 18:00 to 20:30 Location: Universisty of Surrey, Wates House, GU2 7XH,Guildford Map
Peter Stevens (BBC R&D) will cover AES67 and its background development within AES and how it is connected as a audio elements within SMPTE 2110. The basic operational principles of AES67 will be described in relation to its various technology components and history of audio over IP. It will conclude with a brief look at the plugfests that have taken place, along with some examples of use within broadcasting.
There is be an introduction by Tony Orme (Uni of Surrey) covering the structure of ST 2110 and its relationship with ST 2057 PTP and discovery etc. like NMOS and how it differs fundamentally from ST 2022-6 and SDI with embeded audio.
A 3 part tutorial on what AES67 and how to configure AES67 devices.
Andreas Hildebrand, product manager for the award winning RAVENNA Technology starts from the basics, and highlights things to watch for whilst working up to real life configuration over these three articles.