The editors of FOH recently received an interesting e-mail from a gentleman who informed us that he was a university student studying computer programming and networking, and that he also did live sound on a part-time basis. He wanted to know if we had any ideas about how he might be able to apply his knowledge in the computer field to audio, enabling him to combine his two interests as a career. If this question was raised barely 10 or 12 years ago, the answer to that question would be an emphatic “no.” However, we’ve seen a long-term trend that goes something like this: Computer hardware and software developers create technology for moving data from place to place, and then the audio industry adapts that technology for use in moving audio from place to place.
The prime example of this trend is Ethernet. The computer industry developed Ethernet as an efficient means of data sharing, whereby users can visit a common area (server) for uploading and downloading files, or simply dropping a file onto a coworker’s desktop. The grunt work of Ethernet — the development of cabling, connectors, routers, etc. — had already been done, and the computer industry absorbed the expense. In fact, Ethernet really doesn’t discriminate against any type of data, though as you’d expect, moving large files (video for example) via Ethernet can be a time-consuming process.
A Plethora of Pipelines
Needless to say, Ethernet has been a smash hit. The audio industry realized that we could use Ethernet infrastructure (i.e. the connection devices and cabling) to route audio. One of the first audio companies to employ this concept was QSC with their RAVE (Route Audio Via Ethernet) products, and CobraNet from Peak Audio. The CobraNet protocol is open to any manufacturer who wishes to license the technology for use in their gear and can carry 64 channels of 48 kHz/20-bit audio plus control data over a single CAT-5 cable. Though most audio networking protocols are mutually exclusive, similar connectivity technology is used for a variety of audio networks from various manufacturers including Aviom A-Net, BSS Soundweb, EtherSound, Harman’s HiQnet, Crown’s IQ Network, Hear Technology’s HearNet, Peavey MediaMatrix, REAC (Roland Ethernet Audio Communication) and Yamaha mLAN. Each of these networks is a world unto its own, but (with the exception of mLAN, which is based on IEEE 1394) they share Ethernet infrastructure: cables, connectors, hubs, routers, etc. In spite of the fact that they are transporting audio, connection and setup of these networks is much more akin to creating a computer network, and more than ever computer-savvy operators, or rather network-savvy operators, are needed to configure them.
The networks mentioned above are used to send and receive digital audio, but other audio-related networks are designed to provide network control and monitoring over a variety of audio devices such as power amplifiers, PA system processors or even reverb units. As an example, Crown's original IQ network is a digitally controlled network for remote control and monitoring of power amplifiers. HiQnet from Harman is a communications protocol shared by Harman Pro brands including AKG, BSS Crown, dbx, JBL, Lexicon, Soundcraft and Studer. Entire HiQnet audio systems may be configured and controlled using Harman Pro’s System Architect software.
There are probably as many power amplifier network protocols as there are power amplifier manufacturers including Lab.gruppen’s NomadLink, CAMCO Adaptive Intelligence (CAI), Crest NexSys, Crown TCP/IQ, Powersoft PowerControl, QSC’s QSControl.net, Peavey’s MediaMatrix and Yamaha’s NetworkAmp Manager. Most of these networks are designed to control and monitor the amps remotely. A computer that is connected to the network can “look” at each amp, running an application that shows a variety of information about each amp on the network including such parameters as input attenuation, mute, channel polarity, output voltage, clipping, temperature and power status. It won’t be long before just about every piece of audio gear will have a network port, much like we saw with the evolution of MIDI.
New Age, New Skills
So what does this mean for a person who has skills in computer networking and pro audio? It opens the door to a multitude of possibilities. While it’s doubtful that a corporate “PA-on-a-stick” gig will employ networking, a large-scale tour with high-powered PA using multi-amplification and digital system processing will require a network-literate engineer for configuration and implementation.
Installed systems are another area where network control and monitoring is becoming the norm and not the exception. PA systems that are used in amusement parks and sports arenas routinely employ audio networking, especially since it’s easy to have “extra” CAT-5 cable pulled through walls and ceilings along with the requisite cable that’s going into place for the facility’s computer network anyway. Keep in mind that existing facilities are more open to the concept of a new audio system installed via network as opposed to conventional copper multipair, which is expensive, bulky and hard to pull through walls and ceilings. Audio by network may also be preferred in casino showrooms where the house does not want visitors getting into the system parameters. It’s easy to lock snoopers out of a system when the rack gear doesn’t have any front-panel controls and requires a computer to access parameters.
The future of the audio industry is going to require a network protocol standard so that devices from different manufacturers can talk to each other, much in the manner that MIDI became a communication protocol for synths. There is a huge variety of network formats from competing manufacturers, none of which can talk to each other, and none of them are free and open as are most successful standards in the audio industry. A networking standard would benefit our entire industry and needs to be developed by someone who is literate in both the audio and computer worlds. How ‘bout that?
Steve”Woody” La Cerra is still out on tour mixing front-of-house for Blue Öyster Cult. He can be reached via email at Woody@fohonline.com.
