The audio system can be mechanical - e.g., two empty cans with a tensioned string in-between, or a mechanical gramophone player. But since the invention of the carbon microphone in 1887-1888 by Edison and Berliner, most audio systems use electrical circuits. Since the early 1980s, many parts of audio systems gradually became digital, leaving only head amps, A/D and D/A conversion and power amplification as electronic circuits, while microphones and loudspeakers remain electroacoustic components. Nowadays, digital point-to-point audio protocols like AES10 (MADI) are being replaced by network protocols such as Dante and EtherSound.

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In this white paper, the terms 'networked audio system' and 'digital audio system' are used loosely, as many of the concepts presented apply to both. When an issue is specific to networked audio systems, it does not apply to digital audio systems, and vice versa. Hence, issues presented for digital audio systems also apply to networked audio systems.

Audio networking allows large amounts of data to be transported over a single cable. Modern networking transport protocols have enough bandwidth to carry hundreds of audio channels without the need for compression, allowing audio to be moved quickly over long distances without signal degradation or the expense of conventional analog cabling.

The capabilities offered by data network protocols also enable audio system configurations that were previously impossible. Numerous I/O nodes can be positioned throughout a facility or venue without the constraints of analog cabling. Since networked audio is digital, problems like electromagnetic interference and cable capacitance that can degrade audio signal quality in the analog domain are no longer an issue.

Modern digital audio devices often support remote control over LAN networks, reducing the need for extensive cabling. In an audio network, control data and audio can share the same connection, offering flexible routing, preamp control, and more through a single cable.

Distributed Audio

In traditional analog systems, remote analog I/O must be positioned relatively close to both the source and the destination. For example, in live settings, a multichannel snake typically has the stage box on stage with the musicians to shorten cable runs from multiple sources (e.g., the lead singer's mic, the guitarist's amp). These cables connect to a stage box attached to a multichannel snake that runs to the mixer at Front-of-House.

In a distributed audio network, each musician can have their own node on the network. Multiple networked stage boxes can be spread around the stage, keeping analog cable runs short to minimize signal degradation. This concept can be extended so that multiple sources can be placed throughout a large facility, each sitting on the network and able to be sent to many mixers, not just one at Front-of-House.

This flexibility makes distributed audio networking highly appealing for both mobile and installed applications. The affordability of Ethernet cabling combined with the ability to customize each system to the specific needs of its users enhances its attractiveness.

At first glance, this flexibility might seem to introduce more complexity compared to a standard analog system. However, when considering the function of an analog patch bay in a studio setting, the complexity of audio networking becomes more approachable.

Like an analog patch bay, which facilitates the routing of audio across different equipment without rewiring, a distributed audio network provides similar functionality digitally, often through a control panel interface. This allows for seamless routing and management from a single screen.

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The only major difference between an analog patchbay and the distributed audio network's digital patching is the requirement to physically trace a cable in the analog system for particularly complex routings. In a distributed audio network, the digital routing panel provides an intuitive, centralized interface for all routing needs.

Network Foundations

Regardless of the protocol used, an Ethernet-based audio network comprises the following components:

• Network Interface Controller (NIC). Built into devices like computers, digital mixers, and networked stage boxes, NICs enable communication between devices on a digital network.
• Ethernet Cables. Both data and audio networks rely on standard cabling to ensure reliable and consistent network performance. These standards cover cable construction, termination, and connection to devices.
• Switches. These devices act as central hubs, connecting all cables and ensuring proper data routing within the network.

Addressing

Every NIC on the network must have an address so that the switches can appropriately direct the data packets. NICs have a unique Media Access Control (MAC) address programmed by the manufacturer, and these addresses are managed by the IEEE standards organization.

In addition to the MAC address, NICs have a user-definable Internet Protocol (IP) address that simplifies network configuration for administrators. An IP address is generally 4 bytes long (IPv4) and includes a network number and a host address, separated by a subnet mask.

In an IP address, the bits corresponding to 1 in the subnet mask belong to the network number, while those corresponding to 0 belong to the host address. Only NICs with the same network number can exchange data. IP addresses and subnet masks are displayed as four decimal numbers (0-255) in the operating system's network settings. For small office networks, the subnet mask often defaults to 255.255.255.0, giving administrators 255 host addresses to assign (e.g., 255.255.255.1, 255.255.255.13).

For larger networks requiring more than 255 host addresses, the subnet mask can be adjusted accordingly. IP addresses can be manually programmed or automatically assigned by a central device like a router using the Dynamic Host Configuration Protocol (DHCP).

StudioLive mixers support DHCP, self-assigned IP addressing, and manual addressing, offering network administrators maximum flexibility in system design.

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