Danish Broadcasting Makes News with AoIP and SSL

Even with the emphasis on video automation and networking in news production, sound remains a key part of the process. This is illustrated by Danish Broadcasting Corporation (DR) fitting out the audio areas of its main television news studios with a new networked mixing and distribution system based on the Solid State Logic (SSL) System T audio over IP (AoIP)-based product range.

DR is Denmark's public service radio and TV broadcaster, which, like many of its counterparts worldwide, also distributes programming online and through streaming platforms. The new audio installation is for the news output of the DR1 and DR2 TV channels, which is based round two main studios at the broadcaster's DR Byen (DR City) studio centre in Copenhagen.

Two SSL System T set-ups have been installed in Studios 13 and 14. These are identical, each having a Tempest Audio Engine, 48-fader control room controller, T-SOLSA PC-based control software and remote fader panels. Analogue inputs/outputs (I/O) for the studios come through Alpha-Link Live R audio converters, handling AES and MADI feeds as well as analogue; and Network I/O SB 8.8 eight-channel networking stageboxes, which give connections for mics, lines and GPIO (General-purpose inputs/outputs). The machine room offers additional connectivity through Network I/O SDI-MADI and MADI Bridge devices.

Like other console manufacturers, SSL has adopted AoIP for its networking infrastructure. Specifically it uses the Audinate Dante format, with AES67 for interoperability. At DR this is part of a fully PSU redundant network, through which two other studios - 12 and 15 - are networked into the system using Alpha-Link LIVE-R, SB 8.8 and MADI-Bridge units. Further redundancy comes through OCP (Optimal Core Processing) technology, which is made possible by two Dante HD (High Channel) cards in each Tempest Engine, each delivering 1040x1040 bi-directional channels.

The System Ts are used for the four regular news programmes broadcast each day by DR1 and three daily shows on DR2. Other programming includes breaking news, general coverage of politics and big occasional events such as the Olympic Games, which are transmitted in 5.1. Both systems are used 24 hours a day and seven days a week all year round.

The consoles are used to mix all main broadcast outputs, as well as in-ear monitoring signals, studio PA and mix-minus feeds for live work. Stereo transmissions employ approximately 300 DSP paths, with 82 mono channels and 56 stereo channels, plus stems, auxes, mix-minus and masters. The whole installation also integrates with a Riedel intercom system.

Shorter bulletins are completely automated using the System T Dialogue AutoMix feature in conjunction with Vizrt's Viz Mosart automation controller, while audio for longer form material is mixed by operators at the console.

Let us know what you think…

Log-in or Register for free to post comments…

You might also like...

PTP Explained - Part 2 - Redundancy In Media Driven PTP Networks

In the first part of this four-part series we described the basic principles of the Precision Time Protocol. In part two, we investigate PTP redundancy, specifically for media networks.

PTP Explained - Part 1 - Network Architectures For Media Focused PTP Deployments

As the broadcasting industry is moving from a traditional SDI infrastructure towards the All-IP Studio providing a common frequency and – equally important – an absolute notion of time for all devices is now provided by the underlying infrastructure itself. In this fou…

Esports Expands Audiences Using Broadcast IP Production & Distribution – Part 2 – The IP Technology

Esports viewership worldwide is on a steep upward trajectory and will soon begin to challenge traditional sports broadcast audience figures. As the esports and traditional sports communities converge, what can traditional broadcasters learn from the remote production workflows being pioneered…

Essential Guide: Secure IP Infrastructures For Broadcasters

Security is becoming increasingly important for broadcasters looking to transition to IP infrastructures. But creating improved software, firewalls and secure networks is only half the story as cybercriminals look to find new and imaginative methods of compromising data.

Esports Expands Audiences Using Broadcast IP Production & Distribution – Part 1 – The Business Case

Esports viewership worldwide is on a steep upward trajectory and will soon begin to challenge traditional sports broadcast audience figures. As the esports and traditional sports communities converge, what can traditional broadcasters learn from the remote production workflows being pioneered…