Fiber-optic audio snakes....anybody using them?

[cajonezzz]

Just curious if any mobile guys were using the fiber optic technology in their rigs.

I saw the Effanell midsize truck listed it in their gear.
http://aes.harmony-central.com/117AE...ght-Viper.html
what's the scoop?


http://www.whirlwindusa.com/esnake.html

[hollywood_steve]

I don't want to come off as truly stupid, but HOW are these things used on location? They would only be useful after the A to D stage and aren't the converters usually located in the rack next to the recorder (computer, whatever....). I guess if you had mic preamps with internal converters and you placed the preamps onstage, you could then have a digital run back to your recording location. Is that typical of how this thing would be used? If not, please explain.

[garysjo]

I'm not sure who's product they're using, but the Pat Metheny group is about to go out on a world tour with at least 16 lines feeding FOH via cat5. I believe they have 16 chs of Hardy M1 feeding 2 of the Panasonic A/D's in front of the dig. snake. They still need a large analog snake too, many inputs to FOH.

FOH mix is on a SOny DMX, monitors on a Yamaha PM5D. Sweet sounding propiatary boxes with ribbon tweets too!

[Waylon]

IIRC the L7 mobile uses fibre as a way to keep the stage form floating away....


( as ti is strapped to the boat anchor in the truck.... )

[cvanwinkle]

When I snooped around Effanel's mid truck at a gig last november, they had all their pres/A-Ds in a roadcase that sat at the back of the stage. After that, they have just the one line that goes to their truck.

They were extremely proud that they could run their cable along the same path as the AC mains from the generator truck. Whereas all of the other audio and vid cables were in a big miss on the other side of the lot. Thus, on load out, when all of the other trucks are trying to out their cables all in the same place all at the same time, their (single) cable is laid at a different place and goes quickly. Additionally, this also eliminates a world of grounding and isolation problems between their truck and the rest of the system.

The downside is you're relying on a single cable for all their feeds. Additionally, they had their A3 sitting backstage during the gig just to monitor the converters and the pre's. Downside if you're the A3 I guess.

To me, the pros outweighed the cons if you can afford it.

-C

[Remoteness]

The future is here today.

If you're running a completely digital system, it's the ultimate way to go. But, I'd be running a backup fiber. I believe, the Optocore system has a redundant fiber running a long side the main hose.

Have you seen that system? Check it out here...Optocore.com


Aviom has an interesting solution using Cat-5 cable.
Aviom Distributed Audio Networks

[Don S]

I've seen optical used with madi. 16 channels or 88.2 over 2 small cables - pretty sweet!

[Coolstuff]

I am aware of several different flavors of digital audio transport /distribution /delivery schemes available. First there is the choice between CAT 5 or Fiber, then there is the choice between digital audio newtorking and digital audio snake.

Digital audio networking (Whirlwing E-Desk, Audio Rail, Ethersound, Cobranet, etc.) allows you to have channel interface boxes in multiple locations around the stage, injecting and /or extracting audio channels at each box. So you could have say, an 8 channel box for each instrument /vocalist, up to the network maximum of 32 or 64 bidirectional channels. These systems usually give you computer control over the network and can even apply dynamics processing at the A>Ds. These are usually CAT5 systems.

Digital audio snakes (LightViper, Whirlwinf E-Snake, Otari LightWinder, etc.) closely replicate analog snakes, and can include digital splitting for multiple console boxes. Some include intercom channels, and some allow computer control /supervision.

How are they used on stage? In all cases, your preamps and A>D's (typically 24/96) are always on stage. Most have built in preamps w/ phantom power, but you could substitute your own and go in at analog line level. The Audio Rail uses ADAT interfacing to their network boxes so you have additional options. Those systems that feature computer control allow you to monitor and change preamp levels and much more. Some feature channel mxing, splitting, routing & dynamics control,

I think these are pretty cool features, but they're gravy on top of the weight and cost savings of copper, the loss of interference potential from AC, etc.

Originally Posted by garysjo

I'm not sure who's product they're using, but the Pat Metheny group is about to go out on a world tour with at least 16 lines feeding FOH via cat5. I believe they have 16 chs of Hardy M1 feeding 2 of the Panasonic A/D's in front of the dig. snake. They still need a large analog snake too, many inputs to FOH.

FOH mix is on a SOny DMX, monitors on a Yamaha PM5D. Sweet sounding propiatary boxes with ribbon tweets too!

They are probably using the MADI cards if they are doing CAT5.

[garysjo]

Originally Posted by Lowdbrent

They are probably using the MADI cards if they are doing CAT5.

Probably correct. BTW, i caught the show last week in Boston at the Orpheum.....killer playing and sound. Alphono Sanchez on drums was incredible.

[MikeF]

Just wanted to add that NetworkSound also has a Digital Snake available for a very reasonable price, check it out:


NetworkSound has a digital audio snake with following features available.


- 32X32 audio channels at 48 kHz sample rate over a 100 Mbps Ethernet or Fiber
- Guaranteed latency of 80 micro second (between digital I2S audio) and no sample loss or drop out

- Supports 48, 96, and 192 kHz
- Fully synchronous delivery of audio and control on same cable
- Built in cable redundancy (one sample loss maximum)
- Point to point, star or daisy chain
- Lossless long cable runs (100 meters over CAT-5 and 2 Km on Fiber)
- Modular architecture and upgradeable in 8X8 configurations of mixed audio formats
- Multiple audio formats supported, including unbalanced, balanced, SPDIF, AES/EBU etc
- Plug and play (no external control needed)
- Rack mount industry grade case
- Ease of transportation and quick installation


More information about the product can be found at:
http://www.networksound.com/Digsnake.html


Price:
8X8 balanced XLR I/O, CAT-5, redundancy, 2U rack: $1200 per pair
16X16 balanced XLR I/O, CAT-5, redundancy, 4U rack: $1800 per pair
32X32 balanced XLR I/O, CAT-5, redundancy, 8U rack: $2800 per pair


Fiber:
Additional $400 to the above prices


* Volume discount available
*Custom configuration, mic-pre and dealer/distributor prices available on request

Pls contact sales@networksound.com for further information.