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r r s e n o i ch an ng sic m the als, u poral ste of th y s in highe Fletche ritu

w fit into P r medical disturbi ny All known o a materials in shown to be

. and to enable Dr R where g the tem virtual resear no trick, and is . was s eas poral Audio and m . eived. of a ntal to m jor, if not e a tem and audio no f It provides identity, cues. ished a survey This paper showed m . perc . ] sic ond acceptable bounds the ond acceptable bounds sic in society ubl 2 u of accuracy u “a ivity well. This i s minor tuning problem mmunity 2[ m m ds of the network are quickly shifts o act sic and professional audio. sic and professional most of the ar

u ltisensory all real time access sic is to be transmitted across the e u , boun an as u lex research problems m sm arch co p Group p sical role of re and better s and level sici g u see how their white paper (AESWP-1001) i their white paper m o u n ries. It is fundam m ternet2 and Next-generation Internet ternet2 and Next-generation itting m m lity o m

to the of Internet2 foresaw its use f l m AES called thi of e tor can isolate of large scale. The notion lications” in 200 e servations regarding the current state of aud servations regarding udio and m signals reaching his ears usin Additionally they consu m h shown to be a powerful tool for learning and shown to be a powerful tool for

in which the explore co sensitive to signers ob ng-edge rese 2 ) published for transm S the actua eting portance p cases been interactivity with m ion on a this functiona the need for noted. sic using In o e very o powerful m e, a conduc u e of ance. If a (AE me key pl nction”. T de so d fu t require a huge leap Service (QoS) Worki a cians ar was also Society can identify si m u of l networks: s credence t y tists and the leadi m a engaged in some for d can evoke derstand the im d For exam n dio and M pplications”. Indeed, Advanced Internet App sic provide test need to provid

u and collaboration across a distance stress bey and collaboration a y un

m

vice n ce this they they observed that the de an nt as was new levels

a “backgroun Engineering ical scie e m s ulation an In above it does no

. of ser ] mmunication. It has als ate new frontier applications, to y tion, and usually S Needs of gnore these facts at our peril. This fact len er convention o portant to phy oductio c calising the position of com e o l nt”. qualit 3. Audio and in a network are readily reached and through which the defects 1. The current Internet is inadequate 1. The current Internet 2. Perfor Discussion Intr s collaboration and experimentat e sic ov and shared virtual reality u “advance internet From the The Internet2 Qualit Trained professional It is im

Additionally

The Audio rchers, , “Networking Au , “Networking jor requirem a mles

m need to facilit sea space a “Network Qo these differences. for electronic reproduction or perform new networks, then the growth. We i the order of milliseconds. orchestral s done by historical societies have intellectual stim events and c resea were relegated to judgem capabilities”[1 and m 1998 2. 1. Music and Audio Music PoS(ESLEA)028

, r r s e y y ' y v, m es C, h a An m are xing high i

ession strea m r Fletche up the tell the p s eal, w ATRA delivered

P DAT and , at is often .1 KHz is A passive, used at the 4 will need to com thanks to t Dr R le rate. Man y s. HD, Monkey e mmon to use a or results!). 96 or as a also in progress ession sche u really dpcm p te changes. only deo were majo deo were form e orks using midi r mes i o m orks. to 5.1 surround a o hear. But, and interestingl g and WMA used by p v world, FLAC and ression, will work p3, aac, r int c p og o m is p3, a Tru m changing files, and in m stereo so than that ects of dithering when com

and x and loss co audio and professional audio and

ntend that 4 bisonic types? s re , one can alway Work is o . ” ] y 3 nsoles and software encies through interference. (listen later) the near futur [ Lossy hones can y ears e and stereo, overlap, but the additional but the additional overlap, from audio floating p s on the netw adapt to bit r , wever, it is t r, 48 KHz ncies we can

o y 07

A n nd s. o a y in a file tha formats, e.g. 20 m a CD! formats are hence round trip ti e many am xing co h i and 32 bits is comm many for m so than the eff Howeve uary find e and s. stems, e.g. RocketNetw , r as well. p3, ATRAC, cant bits in the various representations of o s WMA. In the lossless m 1, or t ers and can i ereo as 1 KHz, often with quite po of lossy 64-bit IEEE batable. Ho There are lossles f u huge dem m or at least lossless or at least lossless

debate, and no m , required and at what sam sy r did CD. m 7. und deliver all the freque , For “better qualit lour lower frequ 44. x ready p3! But on earp d, and i headroom a of delivery assive and active audio strea assive and active 192Khz for m ples many consumer grade soundcards run nativel e those who would co gories necessarily

pape hardware two way on a 3 the rate on DVD- n p bits ar ression, is FLAC, In fact, worl mming” p h open to . using audio strea ny entiated between high quality entiated between s t et that e of m s anges is de KHz to a latter place rround so are ubiquito ssy y g g ers. None o ished on 12 Febr y h M 8 t u can deliver st o nd is allow for DVD-A, ats, e.g. 5.1 can encode what is c a 16-bit m

u ssion (or not). you care? will be A 4 e J p vorbis . strea re m no c ats are ression, jitter buf p ments about signif at 128 kb/s m Again, ther p the l ” in w borating over the net for m s? y a terestingl seen (heard?) on DVD-A. le fro te n standards m have p a y pes into -bit pathwa ese subtle 4 -bits, this is e other form h rtantly, do recording to qualit audio is alway enough and the and in mix down to streams they h le r

differentiate betwee p po e nd standard publ ar t m endless argu at 16 st likely sonic ty can use co pular o collaborating with “ja also (for once) differ also (for bits is of any bi y te concerns com erical data in com ve been colla re im w. In m nt to ” oved to 6 o m recording engineers a stem m m

tively er rates can be found on ples of lossless form to the equation. There is a plethor to the equation. There e num c a full 64-bit The porta wavpak, WMA lossless, and exam rate. We will also have s h 176.4 KHz is also can all he l, , TwinVQ, Vorbis ogg l, Musepack, TwinVQ, Vorbis ogg r all, i.e. but what of t

by and recently with NIN n S are required. I S are required. a y sy s and for som and int me a fe surround sou fo e nts. bit m o of 24 bits when e onl Of course, the Dolb a ses s hav

eg m used audio. The needs of these two cate The needs of these audio. p u s Digita It is im Musicians ha And, what of sa The final debates are about how m Another deba The “quality ca m e a to na m oving from m data stre KHz i formats. Hig 88.2Khz and so m acceptable audio on DVD-Video (and let us not for at higher rates and down sam minim mixing stage. However, the newer ran program advocated. There are floating p popular. will argue that 16 hear) will co frequencies (even those we cannot Whether we types. Exam Audio, TTA, Dolby wavpak are very po over the net as “near CD difference encoding new to encode some a active stream will active stream will in real tim be factored i w (listen now), requirem quality on the network for the constraints placed delivery Music and Audio Music Qo levels of PoS(ESLEA)028

r r - s s e e o y 1 ds h c fo the try und Th , and

a of Fletche into t for “big ed format use up t P n y a her coun considerable ess m Dr R e data rates, if htpaths can be pr ke . 96 KHz). latency uting, aka Grid a e across the globe p ny encode/decode ny encode/decode the ability re m a streams. Add the m has bee o nsiderable, as are the m tronome signals tronome re demanding. It may rds digital cinem h m e o worst cas ents and their adoption a ivity In the end, the latency In the end, the latency . roug /s. In turn lig oduce h e Arts and Humanities fiel ncy the requirement for remote nd m not inco r cinema experience, we have the audio Mb/s in uncom re dedicated network service s t even m i y o

g h e of x, then the data rate works out at x, then the data rate and having a predictable laten m se environm i t m , y o te sites in near real time we would te sites in near real stress the best networks. o towards the real time environment. e such connect lities for such collaborative work. lities for such collaborative work. r lly form at half the data rate (i. at half the data rate o audio data can indeed annel m

when goin is at least 4096 x 2048, and ng areas nst extra late of eed to look at the eed to look at the e USA via STARLight and ot nts beco at rem h ssibi i g HDTV video streams and full surro Add t and onl

e . S required b h ng. It should be noted that these demands kely will be in part driven by li generation some use audio across multiple sites ove m a po ill be satisfied. Therefore, 192 KHz at 64-bit ill be satisfied. Therefore, rates up to 10 Gb r this format are Qo use the UKLight network (part of SUPERJanet-5 the UKLight network (part of SUPERJanet-5 24 c performance of successes in th s or high performance co e above is the push tow

the will int the codecs ations have taken place with jazz ensembles and ations have taken place with jazz ensembles , usin in at er neers n gether adation w excit i 4 b ly most ilence clear that ne w present – this is 11.7 present – this is 11.7 many o m te Rail) and to Canada via CANARIE. Rail) and to Canada via CANARIE. o e requirem rates fo . h a st of the sed but Arts aren a nu collabor will be runni bda o ovide the mpression agai o sites, m ass all of th te ing w networks in p o position and e up to a basic m m be used y, o l The dat view the eng on, and t to be used at posers to work to onplace. In the UK, nt of st one of these. The video und. kely m nherent signal degr nherent signal these, then every nd video) world which will rea trade off co on which it ing to to interconnect sites S of the ope via GEANT2 and to t ster classes rem e Perform vein, rem ng content for this next engaged in these ne a mm s to very large dataset ics has to be dealt with is equati at li ression can be u ression can r co d so s eati h ilar is ju p o ] m stems which detect s stems which . m 4 m thing” to enc the Qo co use in th of phy

above discussion it should be e networks n cope with surroun sites in Eur ny of those f cultural exchanges via HDTV and cultural exchanges via HDTV and h critical as the applications in use m a used due to i used due Therefore, if we scal In a si neers and designers to pr ould need to o a t have acces

ws However, there have been , y of collaborative co t re w nsion into t /s. Thus, f la o. the network poi the o e on m sicians taking m Conclusion

not be ” to u the . Smart sy . Smart onisation are beginn e From To date, and unsurprising The new photonic networks open up The new photonic networks open From The next “big m nds m to 25 Mb puting. posers a m m cles. Lossless cles. Lossless nchr stem

beco The viabilit into mainstream network engi video dim be that for m dem 3. wide infrastructures (e.g. National Lam due with close to zero jitter is the goal. Gb/s connections are co infrastructure) can be used provisioned is the highest data for is the highest data per channel. 281. flow between the t need the audio to co cy sy sy the network c Music and Audio Music should 24 channels o constraints put on collaboration when cr applications in the audio (a sound audi increasingly have been happening the cinegrid project[ science co with PoS(ESLEA)028

r e e t. of h h ed n at high very often ,

. ber of y ace t

Fletche n br ltiscreen) o P i rvey u nd we also space u at nt to be able m r Dr R st em a num A S ated with these ks is associ ene d radio conte u f can present a o be l neration of neration – G porta y Gaining access to - a m xt ons ssoci m c. i i e r Ne cat be written a o d i o pl an Add to this the challenge 2 issues a Ap

et d this in itse science et n et ission of TV an ission of r broadcasting domain where t domain where broadcasting on these networ n

e r sts need to interwork with the e- ss to the new ge ss to the e links to a performance links to a performance Int dical Int ciety. g

e n d, and even m d So m

, g Usi n y in the video (which requires gaining access t requires gaining c the transm and even 3D). ese e-arti vance have acce appreciate the si h d ta, lots of it, and it needs to run quickl eeri u n for create content need t create content need A i of the activity onom M

of st d happening in the happening s n ent both o 5 It also es being aire Eng d m o Also, t i o a ssu rtise. Nee e udi ts who now sics, astr , it’s just da S Aud working with “artists”, an working with “artists”, A are lucky to are lucky se i o ly 1. g / p Q n phy i in surround sound rk k r o

wo tools required to tools required to ain we w et nd provisioning the appropriate nd provisioning the om N c is the case that r all parties concerned. r all parties concerned. ve their own networks ve their own . the ground up. to design the cont r existing exp t osition/performance, it is clear that these new tools m osition/performance, it is clear that “ engaged in hed e-scientis a o s d To date we see this To date st not lose any of it. dom p

n 2) u g u r o 00 o m . 2 rr ies.” TC-NAS/98 d earch e.g. high energy . (1998). “Net gri bilit egsu ras. ( noting that the a i p

network. To put it sim it is heartening to see the we really s M ence”, be provided. be provided. ks is not trivial, a

, w.m w.cine o breed of artist i et Cap r ers in the field h ers in the t i ww ww nces , and m tern e It is worth Finally

te collaboration/com See Di R. Bargar et al In See

o m [3] [2] [1] [4] Refer requires considerable work and expense. requires considerable usually professionals not f considerable “challenge” main play res In the academic i speed networks, although with “big sci these networ Music and Audio Music to will have to work alongside establis media on the quickly need a new and audio domains (which will be re network technologies from scientists to draw upon thei