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Network with four switches and 7 vlans and routing, and this year (automatically assigned without a DHCP server), and this means forĩ0% of systems (and 100% of small, stand-alone systems) if you useĪn unmanaged switch you really need to know very little about Their training that you just use link-local addresses IP systems that is beyond most sound engineers at the moment, ' also people subsequently talked about usingĭHCP or fixed IP addresses for Dante. I would start with your first statement, '. Either way you end up buying lots of extra kit if you don’t come out of the computer in the flavour the desk likes… MADI into Yamaha is intensely irritating, on the other hand. Dante into DiGiCo is mildly irritating – and you need to allow for any DiGiCo, not just the latest SD12 that is moving towards a simpler Dante integration. Thanks to Mic and Charles who made the really valid point that the best approach is to pick the format that integrates best with the particular desk you are dealing with (for now).It is “simple” to plug a mic into a powered speaker and make noise that doesn’t make analogue audio systems or their design “simple”.

I fundamentally disagree that Dante is “simple”. I reiterate the fact that if you give someone a system with an RJ45 on it, somewhere down the line that is going to end up plugged into a wider network and somebody needs to think about that. If you can cite a specific statement about Dante that is wrong then I would like to be educated.

I disagree that there are misconceptions about Dante in this thread.

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Having said that, I have worked with very senior people at major theatres who can not solder, put a 13A plug on properly, set gain to use more than 2 bits of Pro Tools (genuinely: I did have to troubleshoot a recording done on a U87 that wasn’t even metering at the inputs), tell if something’s using DHCP or not, and so on… I agree that if you take your job seriously you should understand Dante these days, and by association you should know a fair amount about networking.

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I can’t enforce that end users of a system I spec take a course to know how to use it.As far as I know MADI connection latency is essentially zero if no SRC is involved. One other point is that latency will be higher on a Dante network than with MADI, but Dante network latency is typically 1ms or 0.5 with a smaller network, which is largely irrelevant unless you’re hopping between a lot of devices. The one point of failure I don’t like is that DVS exists only the primary network, but that can be solved by using Yamaha PCIe cards (in a thunderbolt chassis if necessary) or their counterpart from Focusrite. I do think a well-designed Dante network can be highly reliable and not require IP knowledge from the daily users as long as they are given basic guidelines on what not to do, and maybe what to reboot when if there is a failure. Need to record something in tech from the band or an actor? Just send it to the tech table via dante.īut, if MADI covers all of your possible use cases and you don’t forsee any unusual routing being useful in the future, then yes, it is a more straightforward protocol. System tuning can all be done with DVS and a Ri-8, or just spare console inputs for measurement mics.

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For example, setting up an A2 monitoring station can happen on a computer running DVS and some routing software (or with one of the newer 2ch Dante headphone amps). Certainly Dante can do what MADI does as a single-wire multichannel transmission scheme, but having devices on a network means there are vastly more possibilities for routing, which open up a multitude of use cases that in my shows I’m still discovering. If the latter, to me this is somewhat of an apples to oranges comparison and the use cases don’t totally overlap. Is your question about what to use for playback, or a venue-wide audio distribution backbone?

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