Stagetec Stages Magazine 2010 – PDF
STAGES
Broadcast, Theatre, Film and more
Deflected: Big Light Switch for Control Rooms and Studios
How does it all fit together: SDI and Dolby E® revolutionise audio technology
North of the Silk Road: Superlative Convention and Event Centre in Tashkent
No. 13/2010
ENGLISH
The Cover Photo:
Excellent sound is always at the forefront when RTS’s new HD OB truck
takes to the road. As you can see in our cover photo, the vehicle’s
audio-control room looks impressive, but it is also worthy of closer
scrutiny by technical aficionados. Thanks to telescopic extensions on
both sides, the capacious AURUS workspace offered enough room
to build a high-quality 5.1 monitoring environment, enhanced with
additional acoustic elements. There was even enough space remaining
to squeeze in a secondary audio workspace featuring a small console.
With 48 faders and a fully populated
DSP farm, the AURUS can play with the
big boys. It is supported by a NEXUS
network consisting of eight fixed and
four mobile Base Devices and one STAR
router. In addition, the truck is one of the
first to be equipped with the new DELEC
oratis commentary system; one of seven
installations to date in Switzerland.
Radio Télévision Suisse, RTS, is the new
federation of public broadcasters, tsr television and RSR radio for
the French speaking audience in Switzerland. The new truck, built by
Sony Professional Solutions Europe, is a representative example of the
STAGETEC installations supporting the broadcaster’s conversion to HD
technology. Another AURUS, put into operation by RTS just recently, is
used as a production console in one of the Geneva studio complexes.
Continuing the theme, RTS acquired a CRESCENDO which has been
in use since January 2010 as a production desk in the sport control
room. RTS also rely on high-precision
systems from Berlin for their main control
room. Not only the classic audio router,
but also the so-called audio shufflers —
tools for converting and routing various
audio formats from 5.1 to stereo and even
good old mono — are based on NEXUS
components. Our tiny glimpse on the
cover page can only give a tantalizing hint
of what is possible!
Information Up to the Minute
Continuous upgrades of products, services and technologies ensure the future of businesses, even in turbulent times. This is why the
SALZBRENNER STAGETEC MEDIAGROUP invests consistently in upgrades and new developments in order to offer concrete benefits to our
customers: better quality, more functionality, greater efficiency, and enhanced flexibility.
Our developers’ propensity for innovation is legendary. The following pages show how ideas are developed into products for use in real-world
projects, this time with a focus on European installations. With due regard to their complexity, this time we describe the subjects in greater
detail than before. And for the first time, we are also following a bi-media approach. On our website (www.stagetec.com/web/stages) we offer
yet more background facts, detailed descriptions and further information. Of course, on the website you can also find full information about our
range of products and recent developments.
Information is said to be the currency of the future. STAGES delivers it free of charge.
Dr. Helmut Jahne
Dipl. Ing. Wolfgang Salzbrenner
Dr. Klaus-Peter Scholz
The Executive Directors of the STAGETEC Entwicklungsgesellschaft
Inside STAGES:
Photography:
Publisher: STAGETEC Entwicklungsgesellschaft für professionelle Audiotechnik mbH,
Tabbertstrasse10, D-12459 Berlin, Germany
Cover, p. 2, p. 3: Sony Professional Systems Europe, Basingstoke, UK; p. 4: top left: Carso
Editorial: Medientechnik Presseservice, Cologne, Germany
Videohouse, BE; p. 13: Rodolfo Clix, Fotolia.com; p. 21: top: Andy Mettler, swiss-image.ch;
English: Rob James, Bognor Regis, UK
p. 7 top, p. 20, p. 22: tv productioncenter zürich ag, Zurich, CH; S. 23: TVE Madrid, ES;
Design, Litho: art & craft [design worx], Cologne, Germany
art & craft [design worx], Cologne, DE; Dieter Kahlen, Neukirchen-Vluyn, DE; Medienagentur
Printing: cede Druck, Cologne, Germany
Jahreiss, Hohenberg, DE; picture library of SALZBRENNER STAGETEC MEDIAGROUP, Berlin, DE
SA/NV, Brussels, BE; p. 4: top right: Alexandre Saes, stock.xchng; down to the right:
AURUS surrounded by an excellent acoustic
environment in the new RTS HD vehicle’s
sound control room
News
4
Deflected: Big Light Switch for Control Rooms and Studios
Five AURUS Control Rooms, Six Studios, and Ever-Changing NEXUS Combinations
6
Acoustic Fingerprints of the Virtual World
Fruitful Collaboration between Vivace, Pinguin, and PROSOUND
9
North of the Silk Road
Superlative Convention and Event Centre in Tashkent
10
How does it all fit together?
SDI and Dolby E revolutionise Broadcast audio technology
13
CRESCENDO — Digital On the Up
The Amsterdam Music Theatre Extends its Audio System
16
Smart Switching
Extensive NEXUS Installation in hr’s Main Control Room
18
Speechless? Never again!
New Audio Platform brings Davos to Canada with Gigabit Speed
20
23
All over the World
SALZBRENNER STAGETEC MEDIAGROUP branch locations
Young Talent
Since the beginning of the year, the MEDIAGROUP has been engaging
itself in promoting the new generation of young artists. It is cooperating with the Carso musicians agency based in Brussels. The
two most important newcomers currently represented by Carso are
considered to be secret weapons by the music industry and have
already chalked up their first international successes: Singer Quynh
Anh (left) began her career by winning a singing contest on Belgian
TV when she was just 14 years old. Later, she toured Europe, North
America, and Vietnam, her parents’ homeland.
Andrei Lugovski, who was born in Belarus and moved to Belgium
when he was 10 years old, released his first album in 2009, which
entered the charts immediately. The two young talents were signed
by Universal, and both will produce a new album this year. Quynh
Anh and Andrei Lugovski also represent the international spectrum of
the entire MEDIAGROUP, which has made its way in the wider world
without forgetting its German roots.
The co-operation with Carso goes beyond a financial arrangement.
Since February 2010, Carso and the Belgian office of the
SALZBRENNER STAGETEC MEDIAGROUP live next door to each other
in the same Brussels office and are planning close collaboration with
the artists represented by Carso.
News
4
Custom-Configuring the NEXUS
Two Variants — a Multitude of Possibilities
In April 2010, STAGETEC will offer its NEXUS customers new
configuration software, which will allow them to change the BaseDevice configuration on an existing NEXUS network by themselves.
After installing the software on a PC, the user downloads their NEXUS
Base Devices configuration file into the program. A graphical view of
all the Base Devices involved is then displayed.
The programme enables additional I/O boards to be added to a
Base Device or existing boards to be moved between Base Devices.
The new settings are stored offline. In order to generate a file for
the modified configuration, the settings are sent over the Internet
to a database located at the STAGETEC headquarters in Berlin; the
database will then return the new configuration file. Doing it this way,
the Berlin support team always knows the configuration status of each
system and can offer assistance in case of problems.
Key customers in particular, who own extensive pools of NEXUS I/O
boards and rely on repopulating their Base Devices for every new
production, will benefit most from this new user-configuration feature.
The optical multiplexer for audio networks built with STAGETEC
components is now available in two versions. The smaller XMUX
(NeXus MUltipleXer) variant is designed as a 3-U slot-in board for
NEXUS Base Devices. XMUX provides routing to one of four possible
NEXUS network segments. The unit detects, according to a predefined priority list, which of the four ports is currently receiving a
signal, and automatically makes it the active port.
The bigger, external 19” OMUX1-OMUX4 (Optical MUltipleXer) version
targets large-scale NEXUS, AURUS, or CRESCENDO audio networks
such as those often found in broadcasting. It provides up to four
separate optical multiplexers, each of which is capable of routing an
optical line to one of four individual segments. With this version, the
optical multiplexer is not limited to automatic operation but can also
be controlled manually or automatically from an external unit. The
advantage of OMUX is that it enables the creation of redundant audio
networks to be simplified, and subdivision into partial islands even
more so.
Compared with their predecessors, the two new multiplexer versions
offer much greater flexibility. The optical interfaces are designed as
so-called “Cages” that enable a variety of SFP modules to be installed.
Numerous module versions, including CWDM (Coarse Wave Division
Multiplexing) systems, are available. This flexibility allows, for example,
a multimode port to be installed on the input side, with the signal
routed to monomode output ports. Thus, the configuration can be
adapted perfectly to the requirements — the unit can even be used for
converting from one optical cable type to another.
Digital Video for Film
There are a plethora of digital video formats in use currently. These
range from SD (Standard Definition), with an image resolution of
480 or 576 lines, to HD (High Definition), with 720 lines, up to the
latest digital video format with 1,080 lines, which was actually
developed for producing movies for cinemas. Therefore, the formats
differ considerably in data transmission rate requirements and thus
place very different demands on digital interfaces. While the SDSDI protocol, with a data rate of 270 Mbps, presented the limits of
what was technically achievable two decades ago, HD-SDI formats
supporting rates of around 1.5 Gbps are standard today. Components
for the latest 3G-SDI format have been available on the market for the
past six months. The standard is called 3G because it requires a data
rate of approximately 3 Gbps. Ultramodern digital cameras used for
premium productions require this standard since they record digital
video in the 1080p format at 50 or 60 frames per second and must
be equipped with an interface capable of transferring data at this high
rate to the subsequent processing chain.
This is exactly where NEXUS comes into the picture. NEXUS is the
basis of the audio installations in many high quality production
houses. For this clientele, a fully 3G-compliant NEXUS plug-in board
is already available, the XHDI 02! Like other NEXUS SD-SDI and HD-
SDI boards, the XHDI 02 de-embeds, processes, and re-embeds all
accompanying audio into the SDI stream and also offers a multitude of
useful functions (see page 13). The 1080p image formats not only play
a role in producing Hollywood blockbusters but a number of major
broadcasters — for example, German ARD, Swiss tpc and RTS, and the
American sports broadcaster ESPN — have announced their intention
to use it as the format of choice for their most important productions
as soon as HD becomes a regular broadcasting format.
MADI for Asynchronous Networks
A Compact Solution
Later in 2010, probably in the third quarter, STAGETEC will introduce
the XMF 04 board — a new generation of MADI extension boards for
NEXUS Base Devices. It follows in the footsteps of the NEXUS STAR
RMF 02 MADI board in that it provides a BNC port plus a so-called
“cage” as standard features. The cage can be populated with any
type of LC optical-port module. In addition, the RMF 02 offers gain
parameters for each I/O, a test function for checking end-to-end
connectivity and a loop feature for special mixing-console applications.
Moreover, it supports the extended MADI format with 64 channels in
each direction and can even be equipped with sample-rate converters.
The converter is an auxiliary assembly attached to the MADI board and
offers two units with 32 SRC’s each. These can be assigned either to
all input channels or all output channels or be configured as 32 SRCs
in each direction. In order to achieve sample-rate conversion for every
input and output channel, two MADI boards can be populated with
SRCs and then linked.
The new NEXUS MADI board is especially useful for large installations.
In such environments, it enables the overall network to be subdivided
into several partial networks that use different sample rates but
still access a centralized pool of playout machines. The new board
scores even in smaller setups — for example, when integrating a small
standalone mixing console into a NEXUS network.
Based in Brussels and addressing the Dutch-speaking Belgian
audience, the Flemish broadcaster VRT has put its new HD01 OB
truck into service. The HD01 is the first of two HD vehicles, both of
which are equipped with AURUS-based audio-control suites. The
AURUS was constructed as a large console within a small frame in
order to save space, whilst still being able to undertake complex
productions with a large number of audio signals. A total of 64 faders
were accommodated on a 48-Fader frame. For this purpose, two fader
panels were installed on the second console level in addition to the
standard 48 faders. The increased number of channels accessible
directly is mainly used for playing back pre-recorded sound.
A Yahama digital desk is used as a secondary console for the
assistant. Thanks to a special control solution by STAGETEC, this mixer
is able to control the NEXUS digital microphone inputs gain settings
directly. All NEXUS/AURUS network digital microphone inputs feature
a four-fold split function. This enables up to four users per signal to
adjust the microphone gains independently in the digital domain.
The new HD01 was inaugurated officially on 11 February 2010 and
has since been used mostly for sports broadcasts and large music TV
shows.
5
Deflected: Big Light Switch for Control Rooms and Studios
Five AURUS Control Rooms, Six Studios, and Ever-Changing NEXUS Combinations
Large all-encompassing single networks are history. Today’s approach blazes new trails, for example, the way in which campuswide NEXUS and AURUS installations can be divided and subdivided into different sub-networks or islands. It is preferable that
this should happen automatically, with full delegation of all parameters involved and, if possible, using a single fibre-optic switch.
No, in an ideal world, not even by conventional switching, but purely optically by deflecting light through prisms. Exactly like the
impressive Big Switch project in Zürich
In today’s broadcast world, the vision of a standard production
landscape with HD video and 5.1 audio is not a revolutionary idea.
However, the technical implementation at tv productioncenter zürich
ag (or tpc for short) experiments with new concepts and state-ofthe-art technologies. No surprise — since tpc is well renowned for
embracing the latest developments enthusiastically. With this change,
tpc is also pursuing an entirely new goal, the technical harmonization
of internal systems down to the smallest detail. The idea behind this
has emerged slowly during the recent decades of handling digital
technology. It is this: To make every TV production studio and every
TV control room identical technologically so that any combination of
studio and control room can be selected at the press of a button.
This project is not only challenging in engineering terms but will be
drawn out over quite a long period since it requires considerable
alterations to the existing infrastructure. The upgrade process is
divided into three stages and is scheduled to end in 2012; the first
stage has just been completed.
Prism Automation
Despite the increase in flexibility, which allows almost any control
room to interconnect with almost any studio, audio set-up and
configuration effort must be minimized. This means that all signal
routers, controls, and logic switches involved should be re-assigned
automatically when a making a change. This can only work if the
interfaces between studio and control room have been standardised
and specified down to the smallest detail. Identical console
configurations must also be available in each control room, created
specifically for each type of broadcast. If it is known which fibre — tpc
consistently uses optical fibres, often in combination with CWDM
(Coarse Wave Division Multiplexing), for interconnecting various rooms
— transfers which signal, for example, from a studio to a control room,
6
that fibre can in theory be patched to a different control room with
exactly the same set-up. The systems involved will not be affected by
the changeover, and the user can start working immediately without
having to worry about basic infrastructure settings first.
At this point, tpc goes one step further. Instead of patching a control
room to a studio manually, changeover is now accomplished by a
passive optical switch. The decision was made in favour of a Polatis
optical change-over switch which uses switchable prisms and is able
to route 16 incoming dark-fibre lines to 16 outgoing lines. This device
operates with impressive mechanical precision because the internal
routing of incoming line to outgoing utilizes prisms, which must be
tilted appropriately to deflect the optical signals as desired. Since
this optical router simply deflects the light instead of interpreting
the received signal, it is completely transparent to the connected
systems. Therefore it is irrelevant whether the routed optical signal
is a NEXUS network link, a MADI line, or even a video connection.
Compared with the STAGETEC OMUX, which converts optical signals
to an electrical format, routes them, and reconverts them back to
optical signals, the optical router offers increased flexibility to tpc, in
particular, with regard to future developments. As a reference to the
fact that the system is indeed capable of switching all the relevant
audio and control signals, the optical switch acquired the in-house
nickname “Big Switch”.
The Devil is in the Detail
The principle difficulty with the project is, however, not in switching
the optical lines, but in specifying and fine-tuning the configuration.
Since all signals involved in audio in the broadest sense are carried
over optical fibres and the Big Switch, they need to be harmonized
for all participating control rooms, studio patchbays, OB vehicles,
and mobile NEXUS units. For this reason it is necessary to define
for example, which intercom wireless signal enters the system on
which Base Device and port and where and on which port it is output
again and sent to the wireless link. The same is true for the XRI
boards’ configuration, the logic programming, the red-light signalling,
the standard intercom, and so on. All these elements need to be
configured identically in the studios involved so that change-overs and
delegation will work.
Yet another extension has been planned. In addition to the fixed
control rooms within the building, at peak times, an OB truck will
serve as an additional external control room for studio productions.
This is because, when the extensive upgrade is complete, tpc will have
six studios but only four control rooms, so the option of using an OB
vehicle as a fifth control facility is a welcome addition.
Obviously, this also means that all OB trucks need to be adapted to
the Big Switch concept with its consistent Base-Device enumeration
and configuration — again, down to the smallest detail of red-light
signalling, logic programming, etc. The two existing HD-enabled
Alfio Di Fazio, audio-systems project manager at tpc Zurich, is one of the instigators
of the Big Switch project. He not only designed the basic concept of optical audio
switching between control rooms and studios but also advanced the implementation
of his vision in close co-operation with the development engineers in Berlin.
OB vans have already been modified accordingly. And for the new
additions to the fleet, a configuration matching the Big Switch concept
will be implemented right from the start.
Base Device 11 again and again
In detail, the in-house harmonization looks like this: Each studio has a
large 3-level Base Device which is always run as Base Device Number
11 and with exactly the same logical configuration in each studio. It
serves as the switching centre since its NEXUS boards receive and
forward all audio-related signals between control room and studio.
Now, when a control room is connected to any studio, the NEXUS
network in that control room expects Base Device no. 11, which is
used as a quasi extension to the studio, to be present. In this way, the
NEXUS in the control room does not even “notice” that a changeover
has occurred — the studios are, after all, identical in terms of logical
configuration.
Since it would be overkill to actually equip each studio with a fully
populated Base Device, only the Base Device in Studio 1 is equipped
with the full complement of boards. The other studios Base Devices
house only the essential boards although they are ready to be
populated fully. In practice, this means that additional boards can be
installed into the Base Device as required without having to reinstall a
new configuration afterwards. As a long-term NEXUS user, tpc has a
large pool of boards and can utilise this resource even more efficiently
thanks to this trick.
In addition to Base Device 11, up to four mobile Base Devices can be
connected to a control room. These are used, for example, as stage
boxes receiving the microphone signals from a band in the studio or
for extending the number of possible input channels. For years, tpc
has relied on a pool of portable Base Devices for OB vans. All of these
are also configured identically and have a notable feature; a small
rotary switch. This is used to set the Base Unit’s logical number
manually to a value between 15 and 18. This philosophy has been
transferred to the studios and control rooms so that any of tpc’s mobile
Base Devices can be connected to any control room or OB truck.
Yet More Flexibility
However, total harmonization requires more than just creating uniform
NEXUS networks. The mixing consoles must also be compatible. In
short, the entire control-room configuration must be standardised.
Only in this way is it possible to allow for changing control rooms,
right in the middle of a production, without manual intervention. This
7
HD OB Vehicles
BD 21 – 2x
NEXUS, local
OB Van XL1
BD 21 – 2x
NEXUS, local
OB Van XL2
BD 21 – 2x
NEXUS, local
OB Van M1
BD 21 – 2x
BD 11
BD 11
NEXUS
Studio 1
NEXUS
Studio 2
NEXUS
Studio 4
BD 3
NEXUS STAR
OB Van XL1
BD 11
BD 11
BD 11
NEXUS
Studio 5
NEXUS
Studio 6
NEXUS
Studio 8
HD Control Rooms
BD 1
NEXUS STAR
CR 1
BD 4
BD 1
NEXUS STAR
CR 2
BD 5
NEXUS STAR
OB Van M1
BD 1
BD 5
NEXUS STAR
OB Van M2
BD 21 – 2x
BD 5
NEXUS STAR
OB Van M3
BIG SWITCH
BD 15
BD 16
BD 17
BD 18
NEXUS
mobile
NEXUS
mobile
NEXUS
mobile
NEXUS
mobile
was one of the essential requirements: To create an ideal scenario for
optimal room allocation and to deal with possible failure situations.
In order to achieve this, all AURUS projects are not only stored
locally on the respective consoles, but also on a central server.
When a production is moved to a different control room, the relevant
project can be downloaded from the server to the AURUS in the
new control room, thus moving all project settings as well. Using
the “Save NEXUS” function, implemented in the AURUS software,
it is also possible to store a snapshot of the current NEXUS routing
configuration.
Smart Control
Once the technical changes and harmonization have been completed,
daily operation will become much easier for the audio crew. The
optical switch does not even require manual operation — the unit has
been integrated into the global control system of the entire production
complex, the BFE KSC-Manager.
At the start of a shift, the operator in the audio control room first
The Project Stages
The overall concept of this project involves all audio and video
production suites at both the main complex in Zürich and all
the tpc OB vehicles. This is a substantial challenge because not
only does it involve replacing all SD-video components with HD
systems, but also because an extensive upgrade of the entire
digital audio-production infrastructure is required. tpc were among
the early adopters of digital audio and optical networking, and a
large proportion of the components (some of which are almost
15 years old) had to be adapted to the increased requirements,
modernized, or replaced during the course of the project. A key
element is the transition of the audio system from NEXUS routers
of the outdated Matrix 4 generation to the current Matrix 5 version
and together with this, replacement of the old CANTUS consoles
with modern, large, AURUS consoles.
Due to its extensive scope, the Big Switch project had to be carried
out in several stages. In the beginning, before the modernization
was started, tpc had six control rooms and seven studios. Some
were then re-purposed and will finally be rationalized into four
modernized control rooms, six studios and a facility for interfacing
an HD-enabled OB truck to be used as an additional production
control room.
8
HD Studios
NEXUS STAR
OB Van XL2
NEXUS, local
OB Van M2
NEXUS, local
OB Van M3
BD 11
NEXUS STAR
CR 3
BD 2
NEXUS STAR
CR 6
BD 21 – 26
NEXUS, local
CR 1
BD 21 – 26
NEXUS, local
CR 2
BD 21 – 26
NEXUS, local
CR 3
BD 21 – 26
NEXUS, local
CR 6
BD: Base Device
Mobile Base Devices
The Final Stage
When the final stage of the project is completed — probably in 2012 —, each control room and
OB vehicle will be routable to each studio using the Big Switch. The only exception will be
Studio 6, which is only used for sports programmes. It can only be used properly from the Sport
Control Room 6 with its additional playout devices and equipment for live slomo and effects.
selects a studio he or she would like to link to. To do this, the operator
only has to press two keys on the KSC-Manager control unit — for
example, the Studio 1 key and the Trigger key to initiate establishment
of the interconnection. Then the KSC-Manager controls the Polatis
router in such a way that all the optical lines involved — audio, Tally,
intercom, and any other signals required in an audio control room
— are connected. The control unit also ensures that a connection
between the control room and the studio remains locked once it is
established. The connection cannot be broken by another control
room until it is released from the original via the KSC-Manager.
Big Switch in Use
Control Room 2, an old control room equipped with a NEXUS system
from the Matrix 4 generation, a CANTUS mixing console, and SD video
systems, is due to be upgraded to an AURUS and HD late in 2010.
When this upgrade is complete regular operation of the Big Switch will
start on a small scale with two studios and two control rooms. The Big
Switch has already been installed and all the details will be checked
thoroughly until the end of the year.
Before the Big Switch enters general service tpc will celebrate another
premiere: On the 20th of March 2010, the first production from the
newly completed Control Room 3 will occur. This will be an edition
of one of the biggest live shows on Swiss TV. A line-up featuring
international singers, comedians, musicians and vaudeville acts,
presented by Beni Thurnheer, one of Switzerland’s most popular TV
presenters, and combined with a million-franc lottery. How could the
Big Switch possibly make its debut at a smaller event? And even the
name of the show is apt: It is called simply Benissimo (Fine).
Please read more at www.stagetec.com/web/stages
Acoustic Fingerprints of the Virtual World
Fruitful Collaboration between Vivace, Pinguin, and PROSOUND
In a great surround-sound reinforcement system one characteristic
is prized above all others. It must create an impression of space so
natural that no-one is even aware of its existence. Vivace is able to do
exactly this and this explains the high level of interest in the system
since its introduction a year ago. Once installed, as in the most recent
installation at the Staatstheater Darmstadt, Germany, Vivace creates
a room acoustic in a virtual and therefore highly flexible manner,
producing results unattainable using conventional room acoustic
modification. However, one question remains — how can a potential
customer assess Vivace’s suitability for his or her own acoustic
environment? In order to obtain optimum results, the system must be
tuned precisely to the actual conditions in the hall and be supported
by accurately positioned speakers. This means that a realistic
demonstration of the system’s benefits in a location other than the
target room without the laborious fine-tuning is difficult or impossible.
This is even more valid when the system is shown at trade fairs in a
noisy environment with a complete absence of acoustic treatment.
If only a way could be found to “freeze” the acoustic features of
an environment, once without Vivace in use and once with Vivace
optimizing the room acoustics.
Acoustics Projector for Virtual Aural Worlds
Alongside HDIR Creator, Pinguin has also developed the 3D Acoustics
Projector, a kind of round tent housing a surround sound system
expanded to nine channels. The tent attenuates external noise
penetration thus creating a decent listening environment inside. The
3D Acoustics Projector is used typically to demonstrate the benefits
of HDIR Creator at exhibitions. It is also recommended as the perfect
tool for comparing surround sound with and without the Vivace’s
virtual processing.
The idea behind this co-operation came from a third party — the
German magazine PROSOUND. Editor in chief, Dieter Michel, has
demonstrated his expertise in surround sound and electro-acoustics
in his features and reviews. At this year’s prolight+sound exhibition in
Frankfurt the results of this teamwork will be presented for the first
time on the shared Pinguin, PROSOUND and Vivace stand. Visitors will
be able to compare the acoustics of the Staatstheater Darmstadt —
both with and without Vivace support. Thus, the virtual world becomes
audible!
Recording Room Impulse Responses
In fact there is indeed a specialised tool for capturing the acoustic
features of real environments: the HDIR Creator made by Pinguin, a
small engineering company with a big reputation, based in Hamburg,
Germany. HDIR Creator was designed specifically to record the spatial
impulse responses of halls in the highest possible quality and to prepare
the information captured for use by a convolution reverb engine. For
example, it would be possible to capture the acoustic response of
Carnegie Hall for use with your own convolution reverb unit.
Now, if one measures the impulse responses of a hall once with
Vivace active and once with Vivace switched off this will produce two
sets of parameters for a surround-enabled convolution-reverb unit. If
these parameter sets are used to process an anechoic recording then
it is possible to compare how a venue would sound with and without
Vivace in reality. This approach has made real-life acoustics and their
virtual Vivace versions portable.
Vivace is a powerful system for optimizing room acoustics electroacoustically. It is available as a stand-alone unit but notably in
an integrated version for AURUS and NEXUS systems — enabling
the audio engineer to use Vivace to adapt the acoustics to the
programme directly from the live console.
A Vivace system consists of a number of microphones picking
up the performance on the stage, the actual surround-sound
system and the interface to the audio matrix. Vivace analyses
and processes microphone signals in real-time and subsequently
outputs them from precisely positioned loudspeakers. A smart
convolution algorithm which enables almost any environment to be
imaged acoustically is used to compute the signal processing. This
enables virtual acoustic features to be added seamlessly in a small
room or where too much sound is absorbed, to create the aural
impression of a real concert hall.
Please read more at www.stagetec.com/web/stages
9
North of the Silk Road
Superlative Convention and Event Centre in Tashkent
With a floor space of about 40,000 sqm and the overall budget of a medium-sized airport, the International Forums Palace
Uzbekistan was probably one of the most remarkable building projects of 2009. Planning and construction of the complex was
completed in just six months. The SALZBRENNER STAGETEC AVM systems house was responsible for all the AV and media systems
— a unique challenge in this most modern events complex in Central Asia
In Greco-Roman classical antiquity, the historian Herodotus first
described the course of the Great Silk Road. The Road’s main route
interconnected the Mediterranean region with eastern Asia and
significantly influenced trade between the Eastern and Western
hemispheres for many centuries and also encouraged cultural
exchange. Not too far from this economic and cultural artery lies
Tashkent, the capital of Uzbekistan. This is the location where
the International Forums Palace Uzbekistan, was built last year. A
mixture of buildings resembling a palace for state occasions and
conferences, a high-tech convention centre and an 1,850-seat
theatre, such a combination is probably unique in the world. For the
extraordinary architecture, the lavish interior and the top quality
technical installations, the Uzbek government relied mostly on
German businesses. In order to ensure punctual completion in a very
tight time frame, a modern version of the former Silk Road arose
again. All required materials from plasterboard to a Christie projector
were shipped via an “air bridge” between Germany to Uzbekistan —
sometimes several hundred tons a day during the critical construction
phase. But this logistical tour de force was by no means the only
unusual characteristic of this extraordinary construction project.
Marble and Crystals
Since the autumn of 2009, the Central-Asian metropolis has had a
new landmark: The Forum Palace located at the Amir Timur Square.
Constructed of snow-white Thassos marble covering an area of
80×100 metres and with a dome that is almost 50 metres high, it
can hardly be overlooked. When furnishing the interior, the architects
were able to draw on abundant resources. Only the most exquisite
materials were used. The property developers extended this ambitious
approach to the technical equipment. The results are spectacular and
unique in every way. There is luxury and exclusivity as far as the eye
can see; huge faces of highly polished marble, lavishly plastered relief
10
walls, a palladium-leaf finish in the central hall, and around 1.8 million
Swarovski crystals, many of which are used in the construction of
the huge spherical and elliptical chandeliers. The largest chandelier
is a unique example with an overall length of 23 metres adorning the
entrance hall. The large hall with the dome has an overall height of
48 metres. It houses a stage measuring 25 metres in width and up to
20 metres in depth, a complex lighting system comprising, amongst
other things, multicoloured LED ribbons and portals made of highly
polished ebony. In addition to the large hall, the complex houses
a conference room, a banqueting hall, a restaurant and extensive
accommodation for Islom Karimov, Uzbekistan’s president since1990.
Cabling in Record Time
In June 2009, theapro, a Munich-based design company specializing
in theatre technologies, made an initial enquiry to the SALZBRENNER
STAGETEC Audio Video Mediensysteme GmbH systems house as well
as STAGETEC Entwicklungsgesellschaft and the intercom experts from
DELEC. It dealt with the planning and realization of the entire audio
and video system for the Forum Palace in Tashkent. At this time, the
construction work was already in full swing. It soon became apparent
that this would be a large-scale project like no other, mainly because
of the fixed completion date. A spectacular opening ceremony had
already been arranged for the 1st of September. By March 2009,
only a giant steel structure with just a few intermediate floors but no
facades or walls had been erected at Amir Timur Square. Anyone with
any knowledge of normal planning and construction times for projects
of this magnitude will be able to judge just how implausible such a
time frame was.
Just two weeks after the initial enquiry, SALZBRENNER STAGETEC
AVM was contracted and the first staff members arrived on site
a few days later. Markus Schirmer became the project manager
responsible for the Tashkent project. He remembers: “Our greatest
challenge was getting qualified personnel to the construction site in
the shortest possible time and providing them with the necessary
material immediately. In particular, only a very short time was
available to complete the cabling works of this extensive project.
Later, the progress of the construction works would make cabling
very difficult, if not impossible. Therefore, we had run the first cables
in the building only three weeks after the project had started.” Many
other components were subject to substantial procurement problems
due to the normal delivery lead times from the respective suppliers.
For example, acquiring 300 ceiling speakers of a specific type within
a very short time in order to install them at Tashkent only a few days
later is definitely not a simple task.
A big advantage to the contractors was the fact that the entire
materials transport from Germany to the construction site was
organised superbly by the property developers. Thus the companies
did not have to worry about all that logistic hassle.
Trailblazing Technology
When planning and selecting the devices to be installed at Tashkent,
some very specific requirements had to be met. In essence,
the client wanted to specify future-proof systems at the highest
technological level. At the same time, operational simplicity had to
be ensured because the qualification level of the future operators
was as yet unknown at the planning stage. Then there was the
additional requirement that the individual system components must
remain operable and in good working order for many years, since
maintenance and repair personnel would not be available on site.
Moreover, since the precise future uses of the system had not been
specified, highly flexible solutions had to be implemented in every subsystem — a difficult contradiction to solve.
Likewise, logistics and scheduling for delivery and installation of highly
sensitive technical components were far from uncomplicated and
required constant communication with the other trades. For example,
putting a high-performance video projector into operation a day early
can have fatal consequences due to the vast amount of dust it can
be exposed to on this kind of construction site. Additionally, the heat
load generated by these devices had to be precisely calculated and
dissipated using appropriate air-conditioning — temperatures of up to
47°C in the shade were measured at Tashkent last summer.
The materials needed inside the building were not moved by machine
but carried principally by people. When necessary, human chains
were formed to erect or take down scaffolding in the shortest possible
time. On occasion more than a thousand Germans were working on
site alongside anything up to 4,000 Uzbek workers. Work proceeded
in shifts, 24 hours a day, seven days a week, in order to meet the
extremely tight deadline.
Dual Celebrations
The dates of the first two major events, both taking place at the large
hall in the presence of the Uzbek president, had been set irrevocably
before the order was even placed. Not only independence day but
also the city of Tashkent’s 2,200th anniversary were to be celebrated
on the 1st of September. And the ceremonies for the Republic of
Uzbekistan Constitution Day were scheduled for the 5th of December.
11
Huge faces of highly polished marble, lavishly plastered relief walls, a palladium-leaf
finish in the central hall and about 1.8
million Swarovski crystals, many of which
are used in the construction of the huge
spherical chandeliers and the banisters,
dominate the interior design.
Since it soon became obvious that installation of the extensive media
system would not be completed by the first date, SALZBRENNER
opted for a two pronged strategy. While the on-site team continued
the installation work for as long as possible, a second team of six
employees led by Rainer Hettwer (SALZBRENNER AVM) and all the
rental equipment required were flown in to ensure that the rehearsals
and the actual event would run smoothly. Since the majority of
hardwired cables were not yet available, a large part of the system
was cabled on the fly for this first event. Of course, the provision and
temporary installation of rental equipment increased the logistical
requirement. For example, some components had to be rented from
third-party vendors specifically for these events. In the course of the
preparations and rehearsals for September 1st, a number of technical
additions and upgrades that had not been considered during the initial
planning stage turned out to be essential for the final installation.
On the 1st of September, the building gave at least the visual
impression of being finished; however, as soon as the first event was
over, it immediately transformed back into a huge construction site. In
order to continue the work still outstanding, a manpower deployment,
almost inconceivable by our standards, worked on in literally every
room in parallel.
Thus, the event which took place on the 5th of December 2009
could rely to a large extent on installed systems. For example, the
STAGETEC CRESCENDO digital audio-mixing console, as well as the
NEXUS audio network, was available. However, for organizational
reasons, an additional crew was flown in from Germany arriving two
The STAGETEC Systems at the Forums Palace
The Palace is now running a vast NEXUS audio network. At its heart
lies the CRESCENDO digital console, which was installed in the large
hall control room. However, thanks to its compact design, it can also
be used in other locations on the premises. The extensive optical
network provides connectivity to both the CRESCENDO processing
hardware on the NEXUS STAR and the NEXUS Base Devices used
as I/O components. In this manner it can also be used as an in-hall
console.
The CRESCENDO was chosen deliberately because it provides not
only the typical flexibility of digital desks, but also user-friendly setup
options. With its 56 faders, the console offers a dedicated channel
strip for each input source in all imaginable scenarios in Tashkent,
12
weeks earlier. The most important tasks for this event crew included
assigning and checking the cable runs required for the event. Although
the cables had already been run, they had not yet been tested. Again,
the schedule was extremely tight with rehearsals of the frequently
changing programme intended to take around 10 days. Nevertheless,
the audio and video systems required to support the rehearsals
technically were up and running in good time.
A Local Solution
Regardless of the numerous obstructions on the way to the timely
completion of this giant project, Markus Schirmer looks back on a very
successful task: “In my opinion, Tashkent is a good example of the fact
that at the end of the day, appropriate solutions for the little issues
can always be found if all trades on site are working hand in hand — as
they did in this case. Communication between the various companies
was smooth, and problems were solved faster on the construction site
than they could have been decided over here.”
Please read more at www.stagetec.com/web/stages
so multiple layers will be used only rarely — a further advantage for
intuitive operation.
In addition to the NEXUS STAR, which acts as host to the CRESCENDO
processing hardware and as a node on the overall audio network, the
audio system comprises ten Base Devices. Three of them are intended
for use as mobile units connected by rugged optical fibres. These
units can be hooked up to any of the six access points in the large hall
stage area and there are 120 more access points located all over the
complex. Some of them provide optical connectivity while others offer
analogue microphone ports, enabling the NEXUS to be used in the
auditorium and in the other halls.
How does it all fit together?
SDI and Dolby E revolutionise Broadcast audio technology
In the beginning, in the analogue age, things were much simpler. There were video signals accompanied by from one to three audio
signals. Due to their very different frequency bandwidths, the two signal types were generated separately, transmitted seperately—
for example, the image over satellite links and the audio over phone lines — and distributed separately in the TV production centres.
However, the advent of digital video technology made that idea a thing of the past — with far-reaching consequences in the main
control room
A classical main control room used to require large-scale video and
audio routers since the two signal types were handled separately and
were tied together only for editing, storage, or broadcast transmission
purposes. Typical sizes were 512 × 512 I/Os for video and 3,000 ×
3,000 I/Os for audio, trending upwards, depending on the complexity
of the requirements. With the introduction of SDI, the Serial Digital
Interface, digitization brought a fundamental change. For the first time
it was possible to transmit up to 16 audio signals packed or embedded
within the video stream, rendering a considerable number of audiotransmission lines redundant. Audio could now be routed together
with the video, resulting in significant decreases in the size of audio
routers.
At the same time, SDI solved one of the major problems of digital
technology at a stroke since with SDI, video and audio are, in
principal, always in sync. The benefit is obvious. Just imagine a sports
broadcast with 5.1 audio program, an international feed in 5.1 format,
and a number of foreign-language commentaries, for example, as
may happen in multilingual countries such as Belgium, Canada, or
Switzerland with its four official languages.
In the age of SDI, the numerous audio feeds are just de-embedded,
fed to the audio router and afterwards mixed at will with other audio
to make the final programme sound. This new audio is re-embedded
subsequently by an SDI embedder and the resultant stream is used
in the recording or broadcasting process. To this extent, it’s an
elegant solution, especially when using the well thought out NEXUS
components: The NEXUS XHDI-02 board receives the video stream,
picks out the audio using its integrated de-embedder, and forwards
it for further routing on the internal NEXUS bus. During this process,
the user can apply initial signal processing, for example, by inserting
a delay or making separate level adjustments. And, by the way,
while doing this, the digital audio remains embedded into the video
signal and is thus available for further use whilst it is also available
everywhere on the NEXUS network simultaneously, with the audio still
in sync with the video. The final mix signal is inserted into the source
video or into any other applied SDI video signal by the XHDI-02 board
embedder section.
There are several modes available for handling pre-existing audio.
In the simplest case, no audio signals are present in the original
SDI stream — only the audio from the NEXUS is embedded into
the desired data blocks in the SDI data stream. If audio signals are
already present in the SDI stream, they can be overwritten in
Replace mode or be deleted.
House Clock and Slave
In practice however, there are a number of obstacles standing in
the way of this straightforward approach. For example, there may
be asynchronous video signals, that are not in sync with the house
clock. Typical video installations include an auxiliary device, a frame
store, which synchronizes the asynchronous video to the house clock.
Unfortunately, some frame stores delete the ancillary data — and
thus the embedded audio — during the re-synchronization process.
In order to prevent this, the NEXUS XHDI-02 board can be equipped
with sample-rate converters (SRCs). In this case, the incoming
asynchronous video signal is first routed to the XHDI-02 board, which
de-embeds the likewise asynchronous audio stream before forwarding
the video signal to the frame store. The XHDI-02 de-embedder
synchronizes the extracted audio, using the SRC, to the house video
clock. This in-sync-signal is subsequently available everywhere on
the audio network. Naturally, this process can be reversed in order to
embed audio into an asynchronous video stream.
13
in
use
Sync
XHDI 02
SRC
SRC
embed
SRC
DiscreteXHDI
Signal02
XDEE
Embed/De-embed synchronous SDI
Video
Delay
Video
SDI out Delay
de-embed
SRC
SRC
embed
XHDI 02
NEXUS Bus
Sync
XDED
Sync
SDI in
Discrete Signal SRC
Sync
SDI in
Dolby E®
Video Sync
SDI out
SDI in
Discrete Signal SRC
Embed/De-embed asynchronous SDI
Video Sync
de-embed
SDI in
SRC Sync
Dolby E®
de-embed
SRC Video
embed
Delay
XHDI 02
Video
SDI
out Delay
XDED
SRC
de-embed
SRC
embed
XHDI 02
SDI in
SRC
SDI out
SDI out
embed
XHDI 02
Dolby E®
Dolby E®
SRC
Discrete Signal
XDEE
Discrete Signal SRC
Dolby E®
XDED
Sync
Video
Delay
SRC Sync
SDI in
de-embed
embedSDI out SRC Video
Delay
XHDI 02
Discrete Signa
SRC
Discrete Signal
XDEE
SRC
Discrete Signal
XDEE
Dolby E®
X
de-embed
embed
XHD
Dolby E®
Embed/De-embed synchronous SDI with Dolby E®
Video Sync
SRC
NEXUS Bus
de-embed
Dolby E®
NEXUS Bus
Video
SDI out Delay
SRC
NEXUS Bus
SDI in Sync
de-embed
embed
signal path
NEXUS Bus
Video
SDI out
Delay
Video Sync
SRCnot in use for this task
NEXUS Bus
SDI in
Discrete Signal
XDEE
NEXUS B
Discrete SignalXDED
XDEE
Dolby E®
Discrete Signa
X
Embed/De-embed asynchronous SDI with Dolby E®
Video Sync
DOLBY E®: Multi-channel Audio over Stereo Lines
Dolby E® is a technology which provides almost lossless encoding
of digitized audio and is used predominantly by broadcasters. Up to
eight digital input signals with 20-bit resolution are packaged in such
a way that they can be accommodated in a so-called AES-3 frame —
matching the normal transport and recording structure used in TV
broadcasting centres, for satellite transmission, and by recording
devices. The eight audio channels can be configured in different ways:
for example, eight mono channels or four stereo channels or a 5.1
surround signal plus a stereo channel. Dolby E® is in competition with
DTS but is in much wider use. It is a proprietary method, and requires
a license granted by Dolby Labs before it can be used.
The data words created during the encoding process are no longer
conventional digital audio signals. Therefore, a Dolby E® signal must
not be subjected to non-transparent changes such as gain adjustment,
sample-rate conversion, filtering, or summing. In contrast, linear
delays and SDI embedding and de-embedding are permissible. Thus
Dolby E® is a signal-transmission and signal-routing technology. For
distribution into consumer environments, Dolby E® is, in most cases,
transcoded to Dolby Digital®.
Dolby E® signals must be decoded for further processing. In theory,
13 successive decoding and encoding cycles are possible before the
compression process becomes audible. Encoding or decoding Dolby
E® signals takes about 40 ms (50 Hz standards) or 33 ms (60 Hz
standards), which also defines the length of the respective Dolby E®
14
NEXUS Bus
NEXUS Bus
NEXUS Bus
The signal is then transparently routed to an XDED (neXus Dolby E®
Multi-channel Audio over an AES Line
SDI in Sync
in Sync
Sync
de-embed SDISRC
de-embed
de-embed
de-embed
SRC
SRC Sync
5.1 surround sound is intimately bound up with HDTV. In order to
Decoder) board where it is decoded
individual audioSDI
signals.
SDIinto
in
in
SRC
SRC Video
transport the six audio channels requiredVideo
by HDTV the Dolby
E®Video
Whilst SRC
in this case no signal processingVideo
is allowed in the XHDI
board,
embed SDI out Delay
embed
embed SDI out Delay
embed
SDI out Delay
SDI out Delay
processing
the “once again audio” signals after decoding
is possible
format is usually used. The six surround channels and XHDI
two further
XHDI 02
XHDI 02
XHDI
02
and is available on the XDED. Again, NEXUS also offers the reverse
digital audio channels are merged into one common data stream using
process of encoding discrete 5.1 audio into a Dolby E® stream and
a near loss-free encoding procedure. This stream only requires the
transmission bandwidth of an AES-3 signal, a standard format used
embedding it. The encoding is performed by the XDEE (neXus Dolby E®
for transmitting stereo signals in TV studios. Thus, the studios can
Encoder) board.
continue to use the existing stereo infrastructure for multi-channel
audio so long as it is bit-for-bit transparent. This is the prerequisite
Complex Applications
®
condition: Since Dolby E signals are not conventional AES-3 audio
However, what if an asynchronous video signal, with an embedded
Dolby E® data stream arrives? Employing a conventional sample-rate
signals, no signal processes such as gain changing, filtering, and so on
are permitted. Only the application of a linear delay is allowed.
converter would destroy the Dolby E® stream. Again, NEXUS solves
®
In practice, the NEXUS XHDI-02 board de-embeds the Dolby E
the problem. With the help of a short ribbon cable the XHDI-02 and
XDED (or XDEE) boards are interconnected directly. The XHDI 02
signal and feeds it to the internal bus just like any other audio signal.
frame. Since this is exactly the same as the length of a video frame,
routing and editing Dolby E data streams embedded within a video
signal is not problematic. Another special feature is the so-called
metadata. This is parameter and control data transmitted in parallel
with the compressed audio. Metadata is specified in the SMPTE RDD6
standard and may be used to adjust specific parameters for different
listening environments, for example in-car or home cinema. Also,
downmixing from a surround format such as 5.1 to stereo can be
controlled to some extent using metadata. Unfortunately, metadata
also allows the volume ratio between programme and TV commercials
to be altered. A well-known example of metadata is the “dialogue
level” parameter which is used to change the loudness balance
between the centre-channel dialogue and the other programme
channels.
SALZBRENNER STAGETEC MEDIAGROUP offers various components
for handling Dolby E® data including the XDED (decodes Dolby D® and
Dolby E data streams), the XDEE (encodes Dolby E® streams), and the
XDEM (applies and extracts metadata). Since STAGETEC is a Dolby E®
partner, all NEXUS boards capable of decoding, transmitting, routing,
and encoding Dolby E® signals are Dolby certified.
Dolby® and the double D symbol are registered trademarks of Dolby Laboratories.
de-embeds the Dolby E® data stream from the asynchronous video
signal and routes it directly to the Dolby E® decoder on the XDED.
The decoder is synchronized remotely by the XHDI-02 and can thus
decode the signal. Using the built-in SRCs, the XDED board then
synchronizes the decoded, discrete audio signals to the video house
clock.
The process of encoding and decoding a Dolby E® frame takes 40
ms which is the exact duration of one video frame (at 25 fps). So
the transmitted audio would always arrive one frame late. In order to
remedy this defect and ensure that video and audio are in lip sync
again, the XHDI 02 retards the video stream by one frame. For this
purpose, the XHDI 02 is equipped with an additional video-delay.
Afterwards, when the video and Dolby E frames are once again in
sync, the embedded video stream can simply be routed as normal or
even edited without destroying the Dolby E® data stream.
The New World of Metadata
Metadata deserves an entire chapter of its own. It is the control
data accompanying the programme data. Metadata is important at
the receiving end where intelligent devices can interpret the data.
For example, metadata is used, to determine the dynamic range or
loudness adjustments. Another application of metadata is to steer
playback parameters for various environments.
The NEXUS XHDI 02, XDED, and XDEE boards are capable of
transmitting, introducing and extracting such metadata. The reading
and writing is done by the XDEM (neXus Dolby E® Metadata) board,
which also gives access to all metadata created locally.
On the other hand, metadata is often generated in other places than
the actual programme. In this case, NEXUS permits this metadata to
be transported transparently all over the network, and without the
need to consider maximum cable lengths. Of course, the XHDI 02 can
also forward pure metadata without embedded audio.
All these scenarios can be controlled, stored, and recalled at any time
from the NEXUS graphical user interface. There is no need for auxiliary
devices and extra cabling — it could not be easier!
Onwards and Upwards
So, everything is fine now? Well, not really. The latest development,
3G TV, raises new issues. This standard specifies the 1080p50 and
1080p60 formats, a video image consisting of 1,080 lines with 1,920
colour pixels in each. Unlike traditional TV formats, a single frame is
not composed from two interlaced fields at a frame rate of 25 frames
per second but with 50 full frames per second. This ensures flickerfree image reproduction. While the XHDI 02 can handle this format
easily, one frame now takes 20 ms instead of 40 ms (16 ms instead
of 33 ms at 60 fps) while the Dolby E® frames still require 40 ms (33
ms respectively). This is why 3G video signals can only be cut on
every second frame boundary in order to avoid destroying the Dolby E®
data. Furthermore, the current standards do not offer an option for
detecting, which of any two frames is the second one. So this standard
still needs some fine-tuning and revision. But no matter which way
standardization goes, NEXUS will deal with it.
SDI and Embedded Audio
The Serial Digital Interface, or SDI for short, is a digital device
interface standardised by the SMPTE. In terms of structure, a
video signal encoded digitally is comparable to an analogue
signal in that it consists of lines forming two-dimensional images
or frames. The lines are separated by the so-called horizontal
blanking interval — the time the electron beam of a cathoderay tube needs to move from the end of the line just written to
the beginning of the next line. During this horizontal blanking
interval — the counterpart of which is the vertical blanking interval
between two fields or frames — the screen is automatically
switched to black, so no video signals must exist there.
The sawtooth pulses used to control lines and frames in the
analogue world have been replaced by special unique code words
in the digital domain. The time allocated for line changes can thus
be used for embedding other data, the so-called ancillary data into
the video signal. In addition to test and timecode data as well as
control information, embedded audio plays a significant role here.
The SMPTE standards specify that up to 16 digitised audio signals
with 24 bit resolution can be accommodated in the horizontal
blanking interval. They are distributed to four groups each with
four signals. Each audio data word is marked as audio by a
special digital identifier. The device that merges the audio into
the appropriate spaces of a video stream is the embedder. After
transmission, the de-embedder extracts the audio from the video
stream.
Some Standards
Many digital TV standards exist across the world. In addition to the
two major groups — the American 60-Hz and the European 50-Hz
formats, which are often and inappropriately referred to as NTSC
and PAL — there is another classification into standard image
with an aspect ratio of 4:3 and a wide image with a 16:9 ratio.
Depending on how the image is constructed, there is a distinction
between interlaced scanning, where each frame is composed
of two fields each with half the overall vertical resolution, and
progressive scanning, which uses complete frames. However, the
major difference is the desired resolution of the image.
SDI Definitions:
SD-SDI (Standard Definition):
HD-SDI (High Definition):
3G-SDI (a special flavour of HD-SDI):
Bit rate 270 Mbit/s
Bit rate about 1
,5 Gbit/s
Bit rate about 3 Gbit/s
The new 3G-SDI format is applicable principally to shooting
footage and digital cinema movies. It meets the requirements
of the1080p50 video format which means that it consists of 50
frames with 1,920 × 1,080 colour pixels each. The format also
specifies 16 embedded audio signals with 24-bit resolution at a
sample rate of 48 kHz. 3G-SDI has only been around for a few
months and was standardized in SMPTE 424M and 425M. With
the new XHDI 02, SALZBRENNER STAGETEC MEDIAGROUP
already offers a combined embedder/de-embedder for the 3G HD
format.
Please read more at www.stagetec.com/web/stages
15
CRESCENDO — Digital On the Up
The Amsterdam Music Theatre Extends its Audio System
Back in 2004 The Amsterdam Music Theatre in the Netherlands prompted a feature in STAGES. At that time, the house had made a
first step from analogue towards the digital age — with a NEXUS network, a stage-management system, and two smaller CAS digital
mixing-consoles. In the meantime, experience with digital technology as well as the physical equipment has grown. An AURUS
mixing system and the latest addition to the family, two CRESCENDO consoles — an innovation in the classical music venue world
The Amsterdam Music Theatre requirements are comparable with
those in any other classical music house. Top priority is that the mixing
console in the hall must occupy the smallest possible space. Space is
a precious thing in live venues, in the auditorium itself as well as the
in-hall control room because every seat removed means the loss of
box-office hard cash.
At the same time, productions and performances are becoming
ever more complex, so the demands placed on the console have
grown continuously. The CRESCENDO console rises to meet these
challenges as is immediately apparent from its name: crescendo is
Italian for “growing”. In comparison with the smaller AURATUS or
CRESCENDO’s immediate predecessor the AURATUS XL, the new
console supports significantly more extensive configurations with up
to 300 audio channels and 128 sum buses. A maximum of 96 aux or
n-1 buses enables an enormous number of individual monitor mixes
and foldback signals to be set up for live use. The combination of
mono, stereo, and 5.1 sums as well as stereo or 5.1 linking of input
channels is configurable freely, making the console considerably more
flexible in modern multichannel-classical music environments than its
two smaller siblings. With a comprehensive feature set and numerous
options, the CRESCENDO provides almost the functionality of the large
AURUS mixing-console system. However, it is operated using a small
AURATUS-like control surface.
The Amsterdam Music Theatre owns two CRESCENDO consoles
configured identically, one lives in the hall and the other in the control
room. The two, 24-fader control surfaces are compact — less than
1.5m in width and just 0.76m in depth. It is intended that only one
console will in operation at a time. For each production, the operator
uses a change-over switch to select whether the console in the hall
is to be used, for example when balancing an extensive microphone
set-up, or if the control-room unit is better suited to the task. This
mutually exclusive approach is based fundamentally on practical
16
considerations since it prevents two audio engineers working in
parallel on the two desks and inadvertently interfering with each
others work. Besides which, the two consoles offer an immediate
disaster recovery solution since each can replace the other if
necessary.
A Bunch of New Functions
CRESCENDO is not simply a new mixing console but a logical
progression based on more than 15 years of experience in developing
digital-audio mixing consoles. It provides a bunch of new functions.
For example, the new SPILL function enables the user to keep track
of the sources particularly with complex live productions. At the press
of a button all a group’s members can be brought onto the console
surface. The SPILL function can be applied to traditional master-slave
groups and also to link groups, stereo links and surround bundles.
Another feature that improves clarity is the new views on the TFT
screens. With 128 summing buses CRESCENDO requires a well
thought-out status view to provide the user with an appropriate
We spoke with Hans-Willem de Haan, chief of the audio and video department at
The Amsterdam Music Theatre, about the new audio equipment and about his
experiences with the new CRESCENDO and AURUS mixing consoles
bus-routing overview. Hence, CRESCENDO’s individual channel strip
meters were scaled down to provide additional space for a bus view
on the TFT screen.
The aux-to-fader function is very helpful especially in live use. It
enables an aux bus mix to be checked at a glance using a graphical
view.
However, the most important function of all is the comprehensive
theatre-snapshot automation. This enables mixes to be defined
for every scene and for the transitions between the scenes. In the
context of the changes at The Amsterdam Music Theatre a number
of new NEXUS XCI boards were acquired. These are used mainly
in combination with the extensive Logic Control feature to control
external devices and for controlling the NEXUS and CRESCENDO from
external events. These events — for example a switch triggered by the
musical director — can be integrated into the snapshot automation and
thus make finely-tuned sequencing possible.
the network, with just one small exception which simplifies the daily
routine. All hardwired connections, as for example the cable runs to
the PA system or the hardware integrating the electroacoustic LARES
system, are lurking in the background hidden from most engineers
eyes. Similarly, the sound systems in the dressing rooms, as well as
the entire paging system, which is also based on NEXUS components,
works hidden in the background to avoid operational errors. The
NEXUS network has grown into a huge system integrating all the audio
domains in the venue!
An interesting addition to the NEXUS network relates to the NEXUS
STAR. This was acquired to host the mixer and DSP boards of both the
AURUS and CRESCENDO. Although the two mixing-console systems
share the same NEXUS network, they are separated from each other
completely and are assigned different network-address ranges. In
hardware terms, this is an efficient solution which also dovetails with
the notoriously difficult financial situation in the music landscape.
Direct Signal Delivery
During the upgrade, the old NEXUS microphone-input boards were
replaced by the latest XMIC+ boards because they feature an on-board
digital signal splitter with up to four separate outputs for each
microphone input. One of the outputs is used for the public address
system and a second one connects to the recording studio. Since
each user is assigned a separate output of the microphone board,
AURUS in the Production Control Room
For the production control room where space is not really an issue,
The Amsterdam Music Theatre opted for a big AURUS with 40 faders
installed in a large frame. Eleven dual-concentric encoders per
channel strip provide for even faster instant access to all critical
mixing parameters. In addition, the console is laid out for even more
convenient and versatile multichannel mixing where the use of the
dynamic automation — which is not present on the CRESCENDO — is
another essential tool for efficient working. To support extensive preproductions and recordings, the console system features three DSP
boards. This is sufficient for the in-house configuration of 64 input
channels.
either or both can set up individual gain settings, without any
interaction.
Special importance attaches to a third way of operating which has
now become possible. Microphone signals can be routed directly to
an OB truck or to a local DAW over MADI lines for recording instead of
passing them through one of the digital consoles first.
This digital splitting function is critically important for live use and
isn’t offered by any other mixing-console brand as an internal solution.
It is an exclusive feature of AURUS, AURATUS, CRESCENDO, and
especially the NEXUS!
Since the digital microphone inputs enable faster working than a
conventional analogue microphone preamp set up, they had already
been welcomed enthusiastically at The Amsterdam Music Theatre. The
microphone converter’s wide dynamic range offers true plug & play.
The microphones just have to be connected — there is no need to set
gains since inadequate or excessive levels simply cannot occur due to
the design of the converters.
A NEXUS Network
The installation at The Amsterdam Music Theatre was conceived as
an all-encompassing audio network. From the user perspective this
is clearly an advantage because there is no possible operational
situation where extra cabling, always a potential source of errors,
would be required. Each user can access virtually any resource on
However, the decisive argument for the AURUS and CRESCENDO was
audio quality. Because at the end of the day, a production, be it on
stage or on CD, only needs one thing: a great sound.
Living Up to Its Name
The Amsterdam Music Theatre programme is usually crammed full
seven days a week. Therefore, reliability demands on the hardware
systems are high because there is very little time for undertaking
repair work, not to mention dealing with a technical breakdown. Even
maintenance work must be well prepared and scheduled. Experience
with the highly reliable NEXUS network, which has been in use since
2004, was the basis of confidence in the new CRESCENDO. While
there was no previous experience of how the CRESCENDO would
cope in a theatre environment, this highly versatile mixing console has
already made its mark in many other applications — from OB vehicles
and TV production studios to large convention centres. Incidentally, a
number of theatres and operas have been inspired by the Amsterdam
example and the number of theatre installations is rising rapidly — or
crescendo, so to speak.
Please read more at www.stagetec.com/web/stages
17
Smart Switching
Extensive NEXUS Installation in hr’s Main Control Room Supplemented by a New NEXUS Server
The hr (Hessischer Rundfunk) radio service in Frankfurt has already supplied STAGES with food for thought in a number of
fascinating articles about their NEXUS installation. The German broadcaster was using NEXUS as a central router even before the
NEXUS STAR was invented. It employs modern CWDM optical lines for a NEXUS network spanning the entire service area. And, just
as important, it is considered to be a highly competent NEXUS user. This year, the station has brought us another innovation; the
largest NEXUS installation used as an autonomous switching system with built-in intelligence
It is now 10 years since hr radio replaced the main control room
analogue audio system with a NEXUS audio-routing system. The
installation has grown continuously since then. Today, it is an all
embracing network integrating every radio studio and remote site.
It consists of four separate interconnected sub-networks. NEXUS
remains the system of choice and, having been extended little by
little with minor additions, it is still fulfilling all of the extensive routing
requirements at hr to everyone’s satisfaction. Thus, there has been no
need for fundamental changes to the installation, at least so far as the
routers are concerned.
However, this was not the case with the third-party control room
software. Its purpose is to act as an inter-system overseer, controlling
and executing the complex operational sequences in the main control
room to a rigorous schedule. 10 years old and based on MS-DOS, this
control software had become outdated and could no longer fulfil the
requirements of an increasingly complex audio network. So, a new
control system was needed. It should be easy to operate, allow for
planning the highly complex routing conveniently, using a graphical
user interface and enable third-party systems to be integrated.
The switchover to a new system, the BFE KSC Manager, happened
seamlessly in 2009. This was a stroke of luck for hr since BFE had
already begun to co-operate closely with STAGETEC. One of the fruits
of this co-operation was very tight integration with the NEXUS routers.
The idea of NEXUS Server was born.
NEXUS Server is the Missing Link
With the NEXUS Server, STAGETEC has designed a system that
interrogates the main control room control system, KSC Manager,
about large numbers of scheduled routing events. The NEXUS Server
then organises the scheduling and triggers execution of these events
on the NEXUS system at the correct times autonomously. NEXUS
18
Server replaces the BFE controller, which the KSC Manager would
otherwise require for control signal translation purposes. NEXUS
Server, in combination with the connected NEXUS router, creates
a more intelligent system.
From the technical point of view, interaction between KSC Manager
and the NEXUS Server is based on an Application Programming
Interface API, a standard interface for application programming in the
IT world. Through this API, NEXUS Server queries the KSC manager
for all routing events scheduled for a specific period and receives
a suitably formatted events list. In the next step, NEXUS Server
triggers the required events at the appropriate times and reports the
execution back to the KSC manager. Thus the hr operator, who uses
the KSC system, not the NEXUS, can see at a glance the status of
a specific NEXUS router crosspoint.
Error Management
Improved status overview is just one major advantage of
communication between KSC manager and NEXUS Server. Error
detection and reporting are also key features. If a scheduled routing
event does not occur, NEXUS Server tries repeatedly to trigger it. If
these attempts fail, for example because the respective NEXUS Base
Device is not connected, an error will be displayed. In such a case,
the operator can react accordingly to solve the issue. In a simple
configuration with a KSC controller, the operator would not even know
about the problem. NEXUS Server also detects incorrect connections
and tracks any manual interventions to the NEXUS and logs both to a
database. This enables hr to analyse the exact course of events after
an operational error for example.
The smart interface also improves timing considerably because the
NEXUS Server handles the audio router timing management. When
many crosspoints are to be set at the same time, the KSC Manager
System Overview of the KSC Manager and the NEXUS Server at hr
During the move to KSC Manager and NEXUS Server, the hr installed a
control network based on IP addressing. This network only carries
control information while the audio is still routed using the NEXUS with
its total of 5,000 × 5,000 I/Os.
The network enables all the typical IT safety strategies to be deployed,
for example the use of redundant servers. The hr opted for a redundant
implementation of the NEXUS Server and also the KSC database server.
Another benefit of computer networking is that it enables any number
of control clients to be run in parallel. The hr main control room now
houses two fixed KSC Manager work stations plus an extra terminal
which enables the KSC Manager to be accessed from a large KVM
switch.
transmits the details of all these scheduled routing events to the
NEXUS Server beforehand as a single data block. NEXUS Server
then executes the events at the appropriate time. This prevents a
bottleneck developing in the transmission of switching requirements
before it can even begin.
The Installation
hr operates four separate NEXUS routing networks currently, each
of which comprises several NEXUS STARs and a number of Base
Devices located at the central installation in Frankfurt. Each of the
routing networks is controlled by a dedicated NEXUS Server, which is
doubled up for increased security. At any given time a master system
and a redundant slave system run simultaneously. Master and slave
NEXUS Server status is displayed on the KSC user interface and the
operator in the switching room can change over to the backup system
whenever necessary. This makes a total breakdown of the control
system and resultant non-delivery of routing events very improbable.
The Story Continues
An installation as large as the one run by hr never remains static
for long. It is subject to constant modification to reflect changes at
the broadcasting centre and the remote production sites. A further
modification was planned for the turn of 2009, namely the merging of
the MADI router with the central audio router. Hitherto both had been
operated as separate networks. Now they are to be merged to form a
large scale system with around 3,700 inputs and 4,000 outputs. A big
project, which consequently needed careful planning.
First, the database sections on the KSC Manager were expanded to
map the enlarged router fully. Once this was accomplished, all sources
and destinations were then recognised by the control system even
though they were not yet available physically. All the routing processes
required after completion of the migration could thus be pre-arranged,
enabling a seamless transition to occur on the day.
Next to be upgraded were the actual NEXUS networks. First, the
change was used as an opportunity to upgrade from the Matrix 4th
generation protocol, which was still in partial use, to the current
Matrix 5th generation version. This allows the increased number of
crosspoints to be handled, supports all the new audio boards and
offers much greater flexibility overall.
The physical hardware redesign made it necessary to reposition the
optical cabling, some of which was more than 10 years old. This was
a rather risky scheme since it was possible that the adhesive in the
optical connectors could break when moved. So, in the run-up to
the hardware relocation, the broadcaster ensured that new cabling
was prepared. These preparations reduced the physical process of
connecting the two Nexus systems to just a few simple steps.
A new task for the NEXUS Server, including its redundant system,
which this project freed up, had already been identified. It will become
the so-called metronet, the audio connections to the Frankfurt Stock
Exchange and the Alte Oper, controllable from the KSC system. And
this is why each and every view of the overall installation at hr is just
a snapshot that shows us that nothing remains the same. The only
constant is NEXUS.
Please read more at www.stagetec.com/web/stages
KSC Manager: The Facts
Since the beginning of 2009, the hr has used the BFE KSC Manager to
control the main control room. KSC Manager is the main user interface
regardless of the equipment to be controlled in the background.
It enables all the relevant routers and systems located in the main
control room to be addressed. KSC Manager was originally developed
for TV main-switching-room environments — the hr installation is the
first purely radio application of the system.
KSC Manager enables routing events to be scheduled which will be
triggered subsequently at the appropriate time. This automation
feature renders a great many of the routine daily tasks in the main
control room redundant, freeing up time for employees to concentrate
on short-term changes, routing bottlenecks and error prevention.
In normal circumstances KSC Manager requires a dedicated controller
to handle the control data going out to the router. This controller
translates the KSC Manager instructions into a form understood by the
router — one parameter set for each routing event. While this approach
is simple and pragmatic, it is not an ideal solution for high-volume
routing. This is why the NEXUS — as the sole autonomous system was created with the help of NEXUS intelligent Servers.
19
Speechless? Never again!
New Audio Platform brings Davos to Canada with Gigabit Speed
As they have many times previously, tv productioncenter zürich tpc have once again positioned themselves at the forefront
of a new technology. Since December 2009, the Switzerland-based company has been the first user of the new DELEC oratis
digital commentary systems, which stand out with a clever concept and future-proof features. They are networkable, scalable,
and fully integrated
What does little Switzerland have in common with the huge NorthAmerican subcontinent Canada? First, both are multilingual. Next,
they share a deep passion for ice hockey, which comes as no
surprise since the sport was invented in Canada and spread over
to Europe late in the 19th century, mainly in the Alpine countries
because of the climate.
These two points of contact between Canada and Switzerland,
multilingualism and their mutual delight in ice hockey, have a common
denominator: the Spengler Cup, the world’s oldest ice-hockey
tournament which takes place every year between Christmas and
New Year’s Eve. Two seeded teams, namely local heroes HC Davos
and Team Canada, plus three internationally ranked guest teams
compete for the trophy in ten matches in the qualifying round and
the final. Founded in 1923, the Spengler Cup has become the
second-largest annual sports event in Switzerland — with around
80,000 local spectators and many more in front of their TV screens.
This is because the matches are not only broadcast live in
Switzerland in three language areas but also with a time-delay
in hockey-crazy Canada.
The Challenge
Three Swiss national languages plus a transmission to Canada, that
adds up to four separate commentary teams and four different audio
programmes. tpc acts as the technical service provider for the
German speaking public Swiss TV in Zurich and is specialized in
producing such multilingual audio programmes for Switzerland; this
and the technology required for multilingual commentary mixes are
part of their everyday life. Dedicated commentary systems route the
international sound feed to a commentary booth where the audio is
mixed with commentary in the target-language. While this may sound
relatively simple, it can become a real issue especially when a large
number of monitoring signals and intercom systems are involved.
20
However, the commentary systems are absolutely critical to
transmission which is why high quality audio and, just as important,
the highest possible reliability are key criteria. The existing analogue
systems did not really meet those requirements adequately. For this
reason, when revamping and upgrading their OB fleet to HD
technology, tpc urgently needed a new commentary system that
would integrate smoothly into the totally digital and fibre-based
environment. All these requirements were met effortlessly by DELEC’s
new oratis platform. The decision was thus made very swiftly, and
the first of the new OB vehicles with their DELEC commentary
systems has already undergone the acid test successfully.
System Concept
The oratis commentary system is based on a matrix frame
installed into the OB vehicle. The matrix frame accommodates a
number of plug-in boards and acts as a central audio router. The
commentator uses a COM3 commentator terminal connected
over a Gigabit Ethernet link to a commentary card in the matrix
frame. This approach enables the OB truck’s audio network to be
extended easily via fibre-optic cable up to the commentary booth
making it possible to monitor or mix any audio signal locally at the
commentary position.
Up to twelve commentator terminals can be driven by one matrix
frame. In addition, the system can be tightly integrated with the
NEXUS audio routers in the truck via MADI, making the oratis matrix
frame a real audio hub for all the commentators.
Integrating an extra commentator into this set-up requires hardly
any expenditure of additional effort. Large productions in particular,
with multiple commentators, as is usual in multilingual Switzerland,
benefit most notably from this approach.
In the near future, five tpc OB trucks will be equipped with one
matrix frame and six commentary terminals each. The set-up will be
The Spengler Cup is the oldest international ice-hockey tournament and has been played annually
with just a few interruptions since 1923. The host team HC Davos, Team Canada with Canadian
players from European clubs, and other teams from all over the world compete for the Spengler
trophy. The event takes place every year at the Vaillant Arena in Davos between the 26th of
December and New Year’s Eve.
complemented with an extra monitoring panel enabling all signals
to be checked conveniently in the vehicle. In general, the DELEC
system provides one terminal per commentator. However, up to three
commentators can share a single unit. Thus, a dual commentator
environment supplemented by a mobile reporter loses its complexity
and will become the norm.
The audio quality meets professional studio standards with 24 bit
interfaces, 32 bit internal processing and 48 kHz sample rate. This
quality is maintained even over very long cable runs between the
OB truck and the commentary position thanks to the use of optical
cabling. In contrast, the analogue system previously employed on the
OB vehicles could not provide sufficient quality whenever the cable
runs became slightly longer than usual.
Integration with the Hugentobler intercom system, prevalent in
Switzerland, was also a consideration. For this purpose, the
Hugentobler target-selection modules are physically installed into
each commentary terminal and can use the terminal’s microphone,
headphones, and cabling infrastructure.
Future Prospects
During the initial productions the changeover to the new commentary
system has already proved to be highly successful. The high
quality audio, the user-friendliness and close integration into the
OB vehicles’ infrastructure are compelling. However, the system
still offers tpc extensive potential for future development. The
company, which was an early adopter of optical cabling over eight
years ago, will probably soon make use of the four additional 100
Mbps interfaces which are available through the optical Gigabit
Ethernet line to the commentary position. These interfaces can be
used to provide other services independent of the oratis system,
for example, for displaying production instructions on a notebook
computer connected to the intranet, providing web access, or to
enable videos to be browsed at the commentary position.
In terms of scalability, the system offers nearly unlimited potential
for growth. For large events, several OB trucks oratis matrix frames
can be combined to form a huge overall network with more than 350
terminals — still with up to three commentators per terminal! For a
country like Switzerland with scarcely eight million inhabitants, this
capacity will most probably never be needed.
For use in dimly lit commentary boxes the oratis commentary terminals
can be equipped with optional goose-neck lights.
21
Interview with Beat Joss,
tpc’s audio engineer at
Spengler Cup in Davos
Which feature of the new oratis commentary system do you and
your colleagues appreciate the most?
For us the set-up and monitoring software is a real help.
It enables us to check what the commentator is currently doing on
the commentator terminal and to provide him with remote diagnostics
in case of operating errors. Before we had this system, someone had
to walk over from the OB truck to the commentary position to
instruct the commentator appropriately. That was not entirely
unproblematic considering the time pressure of today’s productions.
Now, we can intervene from the OB truck directly — which is
particularly useful when training the commentators. For that
purpose, I switch the system over to remote operation, make the
change, and reset it to local operation. The commentator can view
this on his or her terminal, which enables them to learn the correct
operation.
What is the learning curve for the commentator terminals?
The units are self-explanatory. We found that our own commentators
and those from pay-TV stations and even Canadian commentators,
who do not speak German, had hardly any problems when operating
the system.
This was even more amazing as the software and labels of our
system are all in German. Before designing the user interface, DELEC
had listened closely to us — compliments go to their developers! They
had seen for themselves exactly how tpc works and identified what
the new system should be capable of ideally. And this is how all the
units were designed.
How often do you use the new commentary system?
During the winter break of the football season, we do a lot of icehockey and skiing productions. I guess that we do about ten matches
or competitions on average every weekend. In the next few years, we
still have to upgrade all our OB vehicles for the German-speaking, the
French-speaking, and the Italian-speaking parts of Switzerland with
the system.
So you must have a great deal of confidence in the reliability of the
new system?
Yes, but we have also subjected it to proper testing. For example,
resistance to very low temperatures is critical to us. Sometimes,
the commentary terminals remain where they are needed for a few
nights — in the open air on the ski slopes. Our old analogue system
used to complain about such environments, for example, with
microphone-preamp problems. The oratis commentator terminals
have now been subjected to and passed a long-term cold-resistance
test in Zürich — and that was but one of many tests, all of which the
system has passed brilliantly.
Mr. Joss: Thank you very much for the discussion!
Please read more at www.stagetec.com/web/stages
New OB Trucks
Back in 2005, tpc put their first HD-enabled OB truck named HD1 into
operation: a big articulated trailer with extensions on both sides and a
control room with STAGETEC AURUS and NEXUS systems. During the
transition to HD technology, now in progress, the existing trucks are
being replaced gradually by new ones of various sizes. In addition to the
HD1, which was in operation during the Spengler Cup, tpc acquired
the new HD2 in winter 2009 — another big vehicle with a 48-fader
AURUS and nine stationary NEXUS Base Devices. Base Devices
required for mobile use (for example, as stage boxes) are selected as
needed for each production from the large pool available to all the OB
trucks. Some of the trucks — in particular, those used in the Italianspeaking part of Switzerland — are rather more compact to negotiate
confined village streets and to drive over high mountain passes and
down narrow lanes.
22
A reliable partner worldwide:
SALZBRENNER STAGETEC MEDIAGROUP
e.g. the first HD control room in Spain, with TVE in Madrid
Headquarter
SALZBRENNER STAGETEC
VERTRIEB PROFESSIONELLER AUDIOTECHNIK GmbH
Industriegebiet See
D-96155 Buttenheim/Deutschland
Phone +49 9545 440-0
Fax +49 9545 440-111
[email protected]
Once before, at the beginning of the seventies, the TVE studio 10/11 was
red-hot news. At the time it was trailblazing as the first studio in the whole
of Spain to produce in colour — and it is once again maintaining its lead
with the change to HD production.
You can find the addresses and all other details of the branches
distributors
as well as a full list of our reference installations
and
at
www.stagetec.com
Branches
Atlanta, USA
Phone +1-888-782-4391
Fax +1-888-782-4391
[email protected]
Brussels, Belgium
Phone +32 2 300 07 80
Fax +32 2 363 00 64
[email protected]
Hong Kong, Hong Kong
Phone +852-2452 2502
[email protected]
Rome, Italy
Phone +39 06 35403552
Fax +39 06 35347459
[email protected]
Beijing, China
Phone +8610-87 73 21 98
Fax +8610-87 76 62 59
[email protected]
Chemnitz, Germany
Phone +49 371 918 653-50
Fax +49 371 918 653-59
[email protected]
Löffingen, Germany
Phone +49 7654 9104-0
Fax +49 7654 9104-91
[email protected]
São José dos Campos, Brazil
Phone +55 12 3923-4729
Fax +55 12 3923-4729
[email protected]
Berlin, Germany
Phone +49 30 639902-24
Fax +49 30 639902-25
[email protected]
Cyberjaya, Malaysia
Phone +60 3 8318 2820
Fax +60 3 8318 8820
[email protected]
Moscow, Russia
Phone +7 495 621 3777
Fax +7 495 624 9497
[email protected]
Vienna, Austria
Phone +43 1 74040-270
Fax +43 1 74040-274
[email protected]
Minneapolis, USA
Mumbai, India
New Jersey, USA
Northridge, USA
Oslo, Norway
Paris, France
Rio de Mouro, Portugal
Rome, Italy
Seoul, Korea
Singapore, Singapore
Stockholm, Sweden
Taipeh, Taiwan
Tokyo, Japan
Victoria, Australia
Warsaw, Poland
Distributors:
Athens, Greece
Aylesbury, Great Britain
Bratislava, Slovakia
Helsinki, Finland
Ho-Chi-Minh-Stadt, Vietnam
Johannesburg, South Africa
Madrid, Spain
DISCOVER STAGETEC INNOVATIONS
Find out why NEXUS is the #1 brand in the world for decentralized
audio and data routing via fiber with a huge selection of I/O interfaces
which include MADI, 3G HDI embedding and de-embedding, Dolby E,
Serial, and more...
Find out how the new CRESCENDO digital production console can
handle a big job with a small footprint and effective price.
Whether you are on location or back at the plant, we have flexible fiber
routing and console solutions that can meet your toughest demands.
To find out more call us or visit:
www.stagetec.com
BUILDING TRUST
24
Industriegebiet See
D-96155 Buttenheim
Tel: +49 (0) 95 45-440 300
Fax: +49 (0) 95 45-440 333
[email protected]
www.stagetec.com
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