ClearOne Digital Media User Manual

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StreamNet™ Digital Media and System Design Reference Guide

Table of Contents

Introduction ....................................................................................................3

Common AV Signals and Inter faces .............................................................5

What is StreamNet? ....................................................................................17

StreamNet Audio Technology .....................................................................24

Digital File Security and (DRM) ...................................................................26

HDCP Quick FAQ .........................................................................................31

Public Performance Rights ..........................................................................35

Designing a StreamNet System, introduction to required devices ...........41

Designing a StreamNet System, example configurations .........................47

StreamNet Products ....................................................................................50

AVoIP Video Encoder Feature Comparison Matrix .....................................55

View Decoder Comparison Chart ...............................................................57

Motion XT Use Chart ...................................................................................57

Encoders vs. Decoders Compatibility Matrices .........................................58

Example StreamNet System Design ...........................................................63

StreamNet FAQ ............................................................................................64

Solving Digital Media Related AV Problems ...............................................69

Glossary .......................................................................................................78

pg 2StreamNet Digital Media and System Design Reference Guide

The purpose of this reference guide is to provide valuable information on digital media

technologies for the AV dealer seeking to better understand how to make the transition

from analog based media formats and transports, to digital. Though comprehensive in

nature we recommend further study if the concepts and terms covered are new. ClearOne’s

StreamNet solutions are highly capable and scalable, allowing traditional system design

concepts to be challenged by offering more flexibility, higher quality and in many cases

costs savings.

Introduction

pg 3 StreamNet Digital Media and System Design Reference Guide

Introduction

We believe AV systems should no longer be analog.

+ Sources are digital. This doesn’t mean a modern audio video source won’t have

analog connectors. But since the program material is rendered digitally, it no longer

makes sense to convert the pristine quality of a digital file back to analog. Hence the

longer an AV systems designer is able to keep the digital signal intact, the better the

sound and picture quality will be.

Displays are digital. With the advent of digital fixed pixel displays and projectors,

the highest quality picture is possible when the content stream remains digital and is

not converted to analog. Though a reasonable quality picture is possible to achieve

with analog equipment, there are resolution and cabling limitations, which can greatly

degrade the end result.

Greater signal lengths without loss or degradation with digital. By transmitting

digital signals over Internet Protocol (IP) rather than analog or RF based distribution

methods, signal distances of several miles may be achieved with virtually no image

degradation or signal loss. This compared to mere hundreds of feet with analog where

image degradation can suddenly become a significant issue.

Mass exposure to HD and 3D program material has greatly raised consumer

expectation for AV system performance.

increasing sound and picture quality in nearly every arena. HDTV products and

program material is highly penetrated in the home. OEM automobile sound systems

are at the highest performance level they have ever been. Which along with ever

improving retail, and commercial AV system quality, means the average consumer has

a reasonably good understand of what constitutes good audio and video performance.

Wireless technologies improve installation flexibility. With new state of the art

wireless systems, the digital signal remains intact from the source to the transmitter to

the receiver to the speaker or display. This means AV systems designers have choices

in infrastructure that can lower or reduce the high cost of cabling or installation difficulty

when designing high performance audio video systems.

Cost benefits compared with extensive cabling costs and labor for large

installations.

type. However with IP based AV systems, a single Category 5 cable may carry the

load of several dozen audio channels along with multiple video streams and all control

signals. This reduces not only cable cost but also installation labor.

With analog systems, generally a single cable may only carry one signal

Consumers are presented with ever

pg 4StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

It is important to note that there is a difference between a file format and a codec. The job

of a digital codec is to perform the encoding and decoding of the raw audio data. While the

data itself is stored with a specific audio format in a file. Although most audio file formats

support a single type of audio data that is created with an audio coder, a multimedia

container format such as MKV or AVI may support multiple types of audio and video data.

Interfaces on the other hand commonly define a physical connectivity standard by which

various signals may be interconnected. Following are a few of the most common interface

types found in audio, video, network and control systems.

Digital Audio

AES/EBU - The digital audio standard frequently called AES/

EBU is officially known as AES3 and is used for carrying digital

audio signals between various devices. Several different

physical connectors are defined as part of the overall group of

standards such as IEC 60958 Type I Balanced – 3-conductor,

110-ohm twisted pair cabling with an XLR connector, used in

professional installations (AES3 standard). The IEC 60958 Type

II Unbalanced – 2-conductor, 75-ohm coaxial cable with an

RCA connector is often used in consumer audio applications.

Finally, IEC 60958 Type II Optical – optical fiber, usually plastic

but occasionally glass, with an F05 connector, may also be

found in consumer audio applications.

Toslink Optical

S/PDIF - A related system to AES/EBU, S/PDIF was developed

as a consumer version using connectors more commonly

found in the consumer market such as RCA connectors in

the case of 2-conductor 75-ohm coaxial cable. S/PDIF also

supports optical fiber termination and is found widely in

consumer applications.

pg 5 StreamNet Digital Media and System Design Reference Guide

XLR

RCA

Common AV Signals and Interfaces

Digital Video

HDMI – High-Definition Multimedia Interface (HDMI) technology

is a global standard for connecting high-definition products.

With HDMI’s uncompressed all-digital interface the viewer

receives both dazzling quality and ease of use. Well over 1,000

manufacturers incorporate HDMI connectivity into a growing

list of consumer products from HDTVs, Blu-ray Disc Players,

Gaming systems, Digital video cameras, Mobile devices and

more.

HDMI

The flexibility of HDMI is in the single cable capable to transmit digital video, digital audio,

and control data through a high-speed link.

DVI

HDMI offers

twice the bandwidth needed to transmit an uncompressed 1080p signal. This enables

better looking movies, faster game play, richer audio, 3D movies and gaming. Additional

benefits include higher resolution support beyond 1080p such as 1440p or Quad HD, faster

refresh rates like 120Hz or beyond and deep color, taking the HDTV display palette from

millions to trillions of colors. It should also be noted that HDMI specifies a robust digital

rights management scheme (DRM) known as HDCP. For this reason premium content

owners allow full HD output typically over HDMI only and not analog interfaces such as

component video.

Multimedia Interface (HDMI) standard in digital mode (DVI-D), and VGA in analog mode

(DVI-A) some devices will display a digital signal originating from a DVI connector but

terminating to an HDMI port. However, care must be taken in mixing and matching the

standards as certain data types and signals are not fully supported by DVI, but may be

supported by HDMI.

enormous bandwidth capacity of up to 10.2 gigabits per second, more than

DVI - The Digital Visual Interface (DVI) is a video interface

standard designed to provide high quality direct digital

connection of source devices to digital display devices such

as flat panel LCD computer displays and digital projectors.

DVI was developed by an industry consortium, the Digital

Display Working Group (DDWG) to replace the “legacy

analog technology” VGA connector standard and is designed

for carrying uncompressed digital video data to a display.

Because it is partially compatible with the High-Definition

pg 6StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

DisplayPort - DisplayPort is a digital display interface standard

put forth by the Video Electronics Standards Association (VESA)

which defines a digital audio and video interconnect scheme

intended primarily for use between a computer and its display.

DisplayPort is designed to replace digital (DVI) and analog

component video (VGA) connectors in computer monitors and

video cards. As well as replace internal digital LVDS links in

computer monitor panels and TV panels. Though DisplayPort

can provide the same functionality as HDMI it is not expected to

displace HDMI in high-definition consumer electronics devices.

DisplayPort includes optional DPCP (DisplayPort Content Protection) which is licensed from

Philips and uses 128-bit AES encryption. It also features full authentication and session key

establishment along with an independent revocation system, something that is considered

essential by premium content owners such as Hollywood studios. Later versions of

DisplayPort beginning with version 1.1 added support for the industry-standard 56-bit HDCP

(High-bandwidth Digital Content Protection) revision 1.3

DisplayPort

pg 7 StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

Network

Ethernet - Modern Ethernet networks are now able to easily

carry data and StreamNet signals simultaneously without

difficulty. This fact reduces cost for the AV systems designer

choosing IP audio / video systems as separate networks and

cabling no longer need to be installed.

Ethernet defines wiring and signaling standards for the Physical

Layer of the OSI networking model as well as a common

RG45 Ethernet

procedures at the lower part of the Data Link Layer. Evolutions include higher bandwidth

support, improved media access control methods, and changes to the physical medium

which has caused Ethernet to evolve into a complex networking technology. Ethernet

stations communicate by sending each other data packets, blocks of data that are

individually sent and delivered. As with other IEEE 802 LANs, each Ethernet station is given

a 48-bit MAC address. MAC addresses are used to specify both the destination and the

source of each data packet. Despite the significant changes in Ethernet over the years, all

generations of Ethernet (excluding early experimental versions) use the same frame formats

(and hence the same interface for higher layers), allowing them to be readily interconnected.

addressing format, and a variety of Medium Access Control

Ethernet network interconnection options:

pg 8StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

Category 5 / 6 Cable

Category 5 (Cat 5) cable for use in networks is tested for reliable transfer of signal

frequencies up to 100 MHz. Category 5 cable is terminated in either the T568A

scheme or the T568B scheme. Canada and Australia use the T568A standard,

and the U.S. commonly uses T568B scheme. Both schemes work equally well and

may be mixed in an installation so long as the same scheme is used on both ends

of the cable. An interesting fact regarding Category 5 network cable termination

is that 8P8C modular connectors are used but are often incorrectly referred to as

“RJ-45”. Of the four pairs of wire found in a Category 5 cable, each has differing

precise number of twists based on prime numbers so as to minimize crosstalk and

improve signal integrity. The pairs are made from 24 gauge (AWG) copper wires

within the Cat 5 cable standard. Although, cable assemblies containing 4 pairs are

common, Category 5 is not limited to 4 pairs. In fact backbone applications may

use up to 100 pairs.

12345

T568A

678

A newer cable standard known as Category 6 (Cat 6), is the cable standard

for Gigabit Ethernet and is backward compatible with the Category 5/5e and

Category 3 cable standards. Compared with Cat 5 and Cat 5e, Cat 6 features

more stringent specifications for crosstalk and system noise reduction. Category

6 provides performance of up to 250 MHz and is suitable for 10BASE-T, 100BASE-

TX (Fast Ethernet), 1000BASE-T/1000BASE-TX (Gigabit Ethernet) and 10GBASE-T

(10-Gigabit Ethernet).

12345

T568B

678

pg 9 StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

HTTP

FTP

TLS/SSL

Application Layer

TCP

UPD

Transport Layer

ICMP

IGMP

Internet Layer

ISDN

Ethernet

Link Layer

Internet Protocol Suite Layers

SMTP

POP

IMAP

REQUEST

ANSWER

DSL

computer and facilitates the interconnection of networks. This layer establishes the Internet

and contains primarily the Internet Protocol, which defines the fundamental addressing

namespaces. Internet Protocol Version 4 (IPv4) and Internet Protocol Version 6 (IPv6) are

used to identify and locate hosts on the network. Direct host-to-host communications are

handled in the Transport Layer which provides a general framework to transmit data between

hosts using protocols like the Transmission Control Protocol. The highest-level Application

Layer contains all protocols defined specifically for the functioning of the vast array of data

communications services. This layer handles application-based interactions on a process-

to-process level between Internet hosts that are communicating.

TCP/IP – The Internet Protocol Suite is a set of communications

protocols used for the Internet. It is also known as TCP/IP named

from two of the most important protocols contained in it, the

Transmission Control Protocol (TCP) and the Internet Protocol

(IP). Modern IP networking represents a synthesis of several

developments which evolved in the 1960s, 1970s, and emerged

during the 1980s, together with the advent of the World Wide Web

in the early 1990s.

The Internet Protocol Suite consists of four layers from the lowest

to the highest layer these are the Link Layer, the Internet Layer,

the Transport Layer, and the Application Layer. Each layer defines

the operational scope or reach of the protocols and are reflected

loosely in the layer names. Each layer has functionality which

solves a set of problems relevant to its scope.

The Link Layer contains communication technologies for the local

network where the host is connected to directly. The Internet Layer

describes communication methods between multiple links of a

pg 10StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

MoCA (Multimedia over Coax Alliance)

Using Coaxial cable, MoCA is the only home entertainment networking standard in use

by cable, satellite and IPTV operators and equipment providers. The current MoCA

specification can support multiple streams of HD video, delivering up to 175 Mbps

throughputs while offering unparalleled user experience via parameterized quality of service

(PQoS). Though primarily implemented for transportation of digital entertainment files,

MoCA fully supports Ethernet and thus is an excellent way to transfer data of any type with

no limitations. MoCA is a popular solution in any installation where coaxial cable may be

already installed thus negating the need to pull new wire. For AV installers working with

residential projects we recommend MoCA as a cost effective way to distribute StreamNet

and Ethernet signals. The Multimedia over Coax Alliance (MoCA®) features more than 80

certified products and is the universal standard for home entertainment networking. For

information on MoCA and compatible products visit: http://www.mocalliance.org/

HomePlug AV (Powerline Alliance)

The purpose of HomePlug AV (HPAV) is to provide high-quality, multi-stream, entertainment

data transfer using Ethernet standards over existing AC wiring. HPAV employs advanced

PHY and MAC technologies to provide a 200 Mbps class powerline network for video,

audio and data. The Medium Access Control Layer is designed to be highly efficient with

AC line cycle synchronization and Quality of Service (QoS) guarantees. HomePlug AV also

provides advanced capabilities consistent with new networking standards. HPAV offers tight

security based on 128-bit AES and the design allows a station to participate in multiple AV

networks. HPAV is backward compatible with HomePlug 1.0 and aims to be the network of

choice for the distribution of data and multi-stream entertainment including HDTV, SDTV, and

audiophile quality audio throughout the home. It is designed to provide the best connectivity

at the highest QoS of the home networking technologies competing for these applications.

HomePlug AV enables all devices with a power plug to have network access through HPAV.

For information on HomePlug and compatible products visit: www.homeplug.org

pg 11 StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

Audio Video Bridging (AVB)

ClearOne is a proud member of the AVnu Alliance, an industry forum dedicated to the

advancement of professional-quality audio video transport by promoting the adoption of

the IEEE 802.1 Audio Video Bridging (AVB), and the related IEEE 1722 and IEEE 1733,

standards over various networking link-layers.

An “Audio Video Bridging” network is one that implements a set of protocols being

developed by the IEEE 802.1 Audio/Video Bridging Task Group. The four primary differences

between the Audio Video Bridging (AVB) architecture and existing 802 architectures are as

follows:

1. Precise synchronization of audio and video signals as required by high quality AV

systems.

2. Traffic shaping for media streams to ensure ultra low latency and signal integrity.

3. Admission controls.

4. Identification of non-participating devices.

Key to AVB is the fact that it has been specifically designed for AV use and addresses the

unique requirements of distributing an audio and video signal in a high quality manner over

a standard switch Ethernet network.

To understand why AVB is special, lets look at the requirements for A/V streaming.

First, it must be possible to synchronize multiple streams so they are rendered correctly in

time with respect to each other. This might be to ensure lip sync or to keep multiple digital

speakers in phase, or it could be to maintain tight time sync of 40 or more microphone

channels feeding a live mixing desk in a live sound or studio environment. Regardless of the

application, what this means is A/V streams must be synchronized to within approximately

one microsecond. Something that is impossible for a standard switched network to achieve

using regular 802 architecture.

Furthermore, applications must be able to receive a high level of confidence that the network

resources needed are available and will remain available as long as the application needs

them.

This is sometimes referred to as a “reservation”, or “admission control”. The intent is for an

application to notify the network of the requirements for a stream ahead of time, and have

the network lock down the resources needed for that stream and, if they are not available, to

notify the application so the stream may be stopped or an error message delivered.

pg 12StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

Although delay through a network may on the average be very low, there is little effort made

to limit that delay in a traditional IT network. Since there is no concept of “time” in an IT

network, there is nothing in the network infrastructure itself that can aid in synchronization.

Additionally, the network itself does not prevent network congestion, so data can be lost if

buffers are inadequate or link bandwidth insufficient for the offered traffic.

IT networks count on higher level protocols to handle congestion such as TCP which works

by throttling transmission and retransmitting dropped packets. This is adequate when long

delays are acceptable, but will not work where low deterministic delays are required.

The typical way these last two problems are handled today is with buffering, but excessive

buffering can cause delays that are annoying in the consumer environment and completely

unacceptable in a professional application.

One way to allow existing IT-oriented networks to be used for A/V streams is to “manage” the

network at a higher layer or to impose strictly defined, inflexible configurations. For example,

in the professional market, there are a few systems in place that can provide adequate

delays and guaranteed bandwidth, but they require a single proprietary solution, and need

to be reconfigured every time a new device is added. CobraNet is an example of this kind of

architecture.

pg 13 StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

How AVB came to exist.

An effort was started within the IEEE 802.3 (Ethernet) working group to define a “Residential

Ethernet” which would directly address the challenges of A/V streaming. However this work

quickly moved over to the IEEE 802.1 working group. In particular, the group wanted to

ensure the technology was scalable from consumer applications in the home and car, all the

way up to high professional standards.

As explained previously, there is nothing more important than time synchronization when

distributing audio and video signals. To achieve this AVB devices periodically exchange

timing information. This precise synchronization has two purposes:

1. To allow synchronization of multiple streams.

2. To provide a common time base for sampling and receiving data streams at a source

device, and presenting those streams at the destination device with the same relative

timing.

The protocol used for maintaining timing synchronization is specified in IEEE 802.1AS, which

is a tightly constrained subset of another IEEE standard (IEEE 1588), with extensions to

support IEEE 802.11 and also generic “coordinated shared networks” (examples include

some wireless, coaxial cable, and power line technologies).

pg 14StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

How audio and video signals stay in sync with AVB.

An 802.1AS network timing domain is formed when all devices follow the requirements of

the 802.1AS standard and communicate with each other using the IEEE 802.1AS protocol.

Within the timing domain there is a single device that provides a master timing signal called

the “Grand Master Clock”. All other devices synchronize their clocks with this master.

The device acting as Grand Master may be auto selected or specifically assigned. Example:

If the network is used in a professional environment that needs “house clock” for audio, or

“genlock” for video. Or if a specific timing hierarchy is needed for other reasons.

AVB devices typically exchange capability information after physical link establishment. If

peer devices on a link are network synchronization capable they will start to exchange clock

synchronization frames. If not, then an AVB timing domain boundary is determined.

Traffic shaping is yet another way AVB ensures tight timing and synchronization of signals

is achieved. Traffic shaping is the process of smoothing out the traffic for a stream so the

packets making up the stream are evenly distributed in time. If traffic shaping is not done

at sources and bridges, then the packets tend to “bunch-up” into bursts of traffic that may

overwhelm buffers in subsequent bridges, switches or other network infrastructure devices.

The AVB architecture implements traffic shaping using existing 802.1Q forwarding and

priority mechanisms and also defines a particular relationship between priority tags and

frame forwarding behavior at endpoints and bridges.

The vision of AVB is to realize a standard that will allow “no-compromise” streaming of

AV signals over modern networks. Since the same could be said of StreamNet products,

you may look to ClearOne to take a leadership position with respect to implementing AVB

support across our line.

pg 15 StreamNet Digital Media and System Design Reference Guide

Common AV Signals and Interfaces

Control

IR – Infrared Control (IR) is the most ubiquitous control method and format. Though every

manufacturer uses a slightly different standard, IR is so ubiquitous that near Universal

Remote Controls are available to operate nearly any consumer electronics device known.

IP – Internet Protocol is the preferred way to control any device as it eliminates issues with

IR interference and limited command sets. Using IP some manufacturers define a great

number of parameters that are not typically available on an IR remote.

Serial – Serial control otherwise known as RS-232 is the most common and widely used

standard for control of modern systems, after IR. Advantages of RS-232 include its wide

support and inclusion in many products. However, with RS-232, cable distance limitations

and the aging protocol are just a few of the reasons it is being rapidly replaced by IP which

offers much greater flexibility, reduced cabling and infrastructure requirements, and overall

greater reliability.

CEC – Consumer Electronics Control (CEC) provides for integrated, “one-touch”

commands across multiple linked components. When enabled CEC allows system-wide

behaviors such as one-touch play or one-touch record, where pressing a single button

launches a series of coordinated commands greatly streamlining the user experience. CEC

is enabled courtesy of HDMI because of the “smart” two-way connection protocols, which

allow devices to communicate and interact with each other using EDID information and

other mechanisms. Devices connected with HDMI have the ability to scan the other devices

capabilities to automatically configure certain settings. Though few consumer electronics

devices today take advantage of CEC, it is a capability all audio video professionals should

be aware of if and when it begins to show up in devices.

pg 16StreamNet Digital Media and System Design Reference Guide

What is StreamNet?

By utilizing standardized Ethernet TCP/IP protocols to distribute audio and video streams

over LANs, StreamNet offers a scalable system enabling virtually unlimited zones, and

sources. Using standard TCP/IP, StreamNet has the most advanced integration capabilities

available in distributed audio and video. With StreamNet, seamless communication with

other systems such as lighting

control systems, automation

systems, and security systems

is easily achieved. StreamNet’s

open architecture allows those

systems to feed information for

display and control in real-time,

eliminating need for keypads

to control each subsystem, or

intensive programming required

by integrated all-in-one control

solutions. In addition to selecting

sources from the TouchLinX

keypads, users can browse digital

media metadata via a color LCD or

any web enabled device.

pg 17 StreamNet Digital Media and System Design Reference Guide

What is StreamNet?

StreamNet is a family of products designed to distribute digital entertainment using standard

networking technology which by embracing open standards, has allowed ClearOne to

develop a system that leverages the reliability, expandability and cost-effectiveness of

traditional computer networking solutions. StreamNet provides the following advantages

over traditional distributed audio systems:

+ Unparalleled Scalability: 1,800,000 sources may be distributed to up to 1,800,000 zones

+ Compatible with both digital and analog sources and displays

+ High quality audio and video playback capabilities, supports high bit-rate codecs

+ Little to no programming required, since the system is IP-based, it requires little to no

programming

+ Easy to install and control with a rich user experience including animated screens

pg 18StreamNet Digital Media and System Design Reference Guide

What is StreamNet?

Because StreamNet was designed for real world applications, it does not require a

dedicated network. Instead, AV devices peacefully coexist with data services or other

applications on the same network. In order to place content on the

network, StreamNet multi-media encoders convert audio, video

and control signals into streaming data which is transmitted

across any Ethernet based network using Internet Protocol

(IP). For playback, StreamNet multi-media decoders convert

the IP stream back into audio, video and control signals for

playback on display devices and audio systems.

Furthermore with StreamNet, you may mix and match sources,

such as Blu-ray players, digital media players, satellite and cable boxes,

video cameras or computers, allowing virtually any audio, video or data source to be used

with a StreamNet solution. Additional capabilities of StreamNet include an interactive

network technology where audio channels are sent back over the network such as to

contact a help-desk or security office while simultaneously allowing the overhead speaker

system to play the audio track for the video display. StreamNet also provides GPIO at the

network edge, or in other words on the endpoints. This allows dealers to perform complex

room automation without any additional boxes, wiring or power supplies.

Existing Ethernet

IP Network

pg 19 StreamNet Digital Media and System Design Reference Guide

What is StreamNet?

Why TCP/IP for Distributed Video?

NetStreams’ vision for distributed video is one that consistently distributes high definition

video (up to 1080p) in an all digital format using TCP/IP on any standard switched Ethernet

RF (the old way)

max resolution 480 lines

network. This is the backbone of StreamNet. By distributing

video over TCP/IP, drastic improvements in flexibility, scalability,

and price / performance are achieved over traditional video

distribution methods. In addition, the incorporation of a distributed

architecture and distributed intelligence allows for flexibility and

easy expansion, since A/V sources may still be located at the head

end (like RF and Baseband systems), OR located anywhere on the

network.

Since TCP/IP was primarily developed for data transmission

across a network, ClearOne had to solve fundamental challenges

with using the protocol to distribute video. For example Network

bandwidth is a constraint to quality as packets may be lost if the

network is not managed correctly. Additionally synchronization

of signal distribution is essential and backwards / forwards

compatibility with legacy and newer sources always presents

issues.

full 1080P HD resolution

Only ClearOne has been able to solve all of these issues and

distribute the highest quality (1080p), uncompressed video,

point to point, and point to multipoint over TCP/IP on an Ethernet

network. NetStreams’ IP-Based system is the most advanced and

expandable distributed video system ever built.

pg 20StreamNet Digital Media and System Design Reference Guide

What is StreamNet?

Advantages of StreamNet IP-Based video distribution:

1. StreamNet delivers the highest quality uncompressed video over TCP/IP on a network

to multiple displays. With StreamNet, NetStreams is the first to deliver uncompressed

video over TCP/IP as most digital solutions for distributing

video employ artifact introducing compression prior to

distribution, due to bandwidth issues.

2. StreamNet can distribute multiple resolution formats of high

definition and standard definition video signals.

3. StreamNet technology insures precise synchronization

of audio and video signals for point to point, and point

to multi-point distribution, delivering the highest quality

audio and video performance with the lowest latency,

allowing audio and video signals to be delivered and

played back simultaneously at all display locations

without perceptible dissonance. Additionally, audio and

video signals distributed to multiple display locations

are fully synchronized across the network using TCP/IP

and eliminating lip sync problems. In addition signals are

automatically synchronized over the entire network for

point to multipoint distribution, with a total latency of just 30

milliseconds.

StreamNet’s suite of communication capabilities enables

easy system configuration and concrete network reliability.

StreamNet incorporates a suite of communications

conventions which reduce system configuration time and increases overall network

reliability. StreamNet services are known as Service Discovery, Message Routing, and

Status reporting.

Service Discovery - Every feature or function of the StreamNet IP-Based Multi-Zone

Audio and Control system is provided by a “service.” There are many types of services

– audio renderers, audio sources, general purpose inputs and outputs (GPIO), user

interface, media server proxy, to name a few. These services ‘advertise’ their existence

to the network, broadcasting their name, type, IP-Address(es) and other important

information. When StreamNet-enabled devices are plugged into the network, they

immediately advertise their capabilities in effect auto discovering and configuring,

reducing the need to program the entire system from scratch.

pg 21 StreamNet Digital Media and System Design Reference Guide

What is StreamNet?

Message Routing - ASCII messages provide the primary method of control and status

reporting for StreamNet. Every service has a name and optionally belongs to a zone

and / or some number of “groups”. Messages may be addressed to the service name,

room name or group name. Messages may be sent multicast (UDP) or unicast (UDP

or TCP) to any or all StreamNet-enabled devices. If required, StreamNet devices will

forward messages to ensure delivery to the service(s) addressed.

Status Reporting - StreamNet services output unsolicited reports of their state and

changes in state. Reports are in a flexible format that resembles XML. Each report

is a list of “variable=value” pairs. Status reports may be sent unicast or multicast.

In addition, a TCP client may “register” for status from one or more services and the

StreamNet device will aggregate the reports onto the one TCP connection.

4. StreamNet PerfectPixel technology faithfully replicates video over the network to ensure

the highest quality is achieved regardless of distance from the video source. Packet

loss can always occur when distributing a video signal (even a compressed one) over

an Ethernet network which may cause the picture to appear blotchy, color shifted, or

chunks of the picture to be missing all together. PerfectPixel technology solves this

issue with both compressed and uncompressed signals over the network and is a

combination of ClearOne’s proprietary algorithms for packet delivery optimization and

error concealment algorithm, insuring reliable delivery of video data and eliminating

dropped content across the network. The result is pixel-for-pixel, high definition video

distribution with consistency of high quality images across the network, regardless of

distance.

5. StreamNet can also distribute and deliver bit-for-bit, high performance audio including

the use of Dolby Digital® and DTS® multi channel formats for decoding by a Display,

A/V Receiver or surround sound processor.

pg 22StreamNet Digital Media and System Design Reference Guide

What is StreamNet?

6. TCP/IP, the language of the internet, was developed to support an almost infinite

number of nodes. NetStreams’ StreamNet offers support for a nearly unlimited number

of sources and zones, on any packet switched network. StreamNet incorporates a

state-of-the-art network architecture in which each product on the network has its own

IP address and network intelligence, eliminating the need for costly matrix switches

and central controllers. In addition, audio and video streams are multicast to provide

scalability. StreamNet technology is incorporated in the ClearOne MediaLinX products

and automatically converts audio and video in real time so it may be streamed using

TCP/IP for playback.

7. The StreamNet IP-Based distributed video system is future upgradeable. ClearOne has

insured the firmware in all new distributed video products (just as the audio products)

is upgradeable so additional features and CODECs may be added without costly

hardware upgrades.

8. StreamNet is easy to install and setup. Because StreamNet is completely IP-Based, it

does not require complex Matrix switches or external control systems with the massive

custom programming. Sources and displays are automatically discovered over the

network and a variety of easy to use graphical user interface skins are available, which

means programming time may be reduced by as much as 80% over a traditional video

distribution system.

Encoders

Decoders

Ethernet Switch

pg 23 StreamNet Digital Media and System Design Reference Guide

StreamNet Audio Technology

Automatic Synchronization of Streams (Time Sync)

A fundamental problem with using TCP/IP to distribute digital audio to multiple zones in a

home or commercial environment is synchronization of playback. Without synchronization,

audio can sputter, cut out, or have strong echo effects from zone to zone, sometimes

playing several seconds apart.

Simply incorporating a buffer to attempt to synchronize the audio is not enough. ClearOne’s

StreamNet technology provides the solution by removing the effect of network delays. This

is achieved by StreamNet assigning a “master” which is dynamically chosen to serve as the

time reference, thereby allowing all devices to share the same concept of time and stay fully

synchronized.

The sample rate is synchronized using a VCXO for low jitter. As a result, the maximum delay

between any two speakers is reduced to just 1 millisecond which is considerably below the

audible threshold. StreamNet allows audio in all zones to be synchronized when playing the

same source throughout the system, solving the problem of distributing audio over TCP/IP

packet-switched streams.

pg 24StreamNet Digital Media and System Design Reference Guide

StreamNet Audio Technology

StreamNet is compatible with traditional audio sources because MediaLinX automatically

converts audio in real time so it may be streamed over TCP/IP for playback in any zone

including IR commands packetized for easy control of the source.

Internet Protocol (IP-Based) enables pristine audio to be delivered digitally using state-of-

the-art meshed network architecture in which each product on the network has its own IP

address and network intelligence, eliminating the need for costly matrix switches and central

controllers. In addition, audio streams are multicast to provide scalability. With StreamNet

there is virtually no limit to the number of sources or zones you can have in the system, so

no matter the size or scale of your project, ClearOne’s StreamNet system will deliver the

performance you require.

Choose Between Uncompressed, Full Bandwidth Audio and MP3. The StreamNet

Multi-Zone Audio / Video and Control system can handle a wide range of audio sources

simultaneously, from uncompressed, full bandwidth audio to MP3 songs compressed at any

sample rate.

StreamNet enables a pure digital signal all the way to the speakers. Digital provides the

highest quality audio since it represents a perfect copy of the original studio recording.

However, at the amplifier, the digital signal is converted to analog so it can be heard. A

fundamental principle in audio is the longer the speaker wire, the more compromised the

audio signal becomes, as losses can occur due to speaker wire resistance (regardless

of the gauge). Besides losses due to cable resistance, longer cables begin to exhibit a

significant reactive component of capacitance and inductance regardless of the wire gauge.

When an AV professional designs a multi-zone audio system with long cable lengths, the

signal quality is compromised even more. Using StreamNet it is now possible to maintain

the quality of the signal by allowing the power amplifiers to be located at the speaker or in

close proximity significantly reducing the length of the speaker wire required and keeping

the signal in the digital domain for as long as possible.

pg 25 StreamNet Digital Media and System Design Reference Guide

Digital File Security and DRM

Defining DRM

DRM stands for Digital Rights Management and refers to a collection of systems used to

protect electronic media such as music, movies, images or any digital content where the

publisher wishes to ensure their data “bits” are not available to be freely swapped or shared

without proper compensation. DRM systems can vary widely but most frequently include

two primary pieces, encryption and access control.

Encryption as the name implies is designed to limit the free exchange of content so it cannot

be played outside the intended ecosystem, whereas access control is intended to limit the

number of plays or authorized devices available for playback. For example, Apple iTunes

uses a DRM system to limit the number of Apple devices iTunes files may be played on.

Digital Rights Management (DRM) is important to publishers of electronic media to ensure

they receive the appropriate revenue. By controlling the trading, protection, and access to

digital media, DRM helps publishers limit the illegal propagation of copyrighted works and

maximize revenue in the case of premium “paid” content.

The history of DRM technologies extends well before digital or electronic media existed

where copyright holders, content producers, or other financially or artistically interested

parties had certain business and legal objections to copying technologies. As early as

the player piano rolls in the 20th century copying technology represented a disruptive

technology to the live player who suddenly was no longer needed for the piano to be played.

Thus debates about the need for DRM are really not all that new. In fact we can thank a

successful outcome from the famous Sony “Betamax case” in the U.S. as paving the way for

the video tape recorder being made available for mass consumer use. Copying technology

in any form has and always will represent disruptive technology.

The advent of digital media and their associated conversion technologies, especially those

that usable on mass-market general-purpose personal computers, has vastly increased the

concerns of copyright-dependent individuals and organizations, especially within the movie

business. For this reason it is incumbent that all audio video professionals have some

understanding of DRM technologies as they can play a key role in a systems design, or in

certain equipment and cabling choices that otherwise would not be a factor.

Though certain copy protection schemes exist for analog, such as Macrovision, because

digital media files may be duplicated an unlimited number of times, with no degradation in

quality, DRM technologies are used by publishers to enforce access policies that not only

disallow copyright infringements, but also prevent lawful fair use of copyrighted works.

pg 26StreamNet Digital Media and System Design Reference Guide

Digital File Security and DRM

DRM can even be used to implement use constraints on non-copyrighted works, examples

include the placement of DRM on certain public-domain or open-licensed e-books, or

DRM included in consumer electronic devices that time-shift both copyrighted and non-

copyrighted works.

For the AV professional the most relevant discussion around DRM is to define transfer

stream DRM as compared with DRM encryption for digital files. Example: High-bandwidth

Digital Content Protection (HDCP) compared with Microsoft PlayReady DRM.

High-bandwidth Digital Content Protection (HDCP) is a form of digital copy protection

developed by Intel Corporation and is used to prevent copying of digital audio and video

content as it moves across DisplayPort, Digital Visual Interface (DVI), High-Definition

Multimedia Interface (HDMI), Gigabit Video Interface (GVIF), or Unified Display Interface

(UDI) connections.

HDCP does not allow copying permitted by fair use laws, rather the system is meant to

stop HDCP-encrypted content from being played on devices that do not support HDCP or

have been modified to copy HDCP content. The HDCP system works as follows. Before

sending data, a transmitting device verifies that the receiver is authorized to receive it, and

if so, the transmitter then encrypts the data as it flows to the receiver. This is an example

of a transport stream DRM which is primarily what the average AV professional will come in

contact with. However, a complete understanding of digital file encryption is also required,

lest a file be attempted to play and the user presented with a dreaded, “file not authorized”

error message.

In contrast, Microsoft PlayReady DRM is one example of a system which protects digital files

and enables content services and device manufacturers to make more content available

to consumers without fear of losing control and revenue of their high value digital assets.

PlayReady fully supports domains and embedded licenses, making it simpler for consumers

to transfer and play content on a wider range of devices. Microsoft’s PlayReady technology

supports a wide range of audio and video formats, including Windows Media Audio (WMA),

Windows Media Video (WMV), Advanced Audio Coding (AAC), AAC+, enhanced AAC+,

and the H.263, and H.264 video codecs. It also moves beyond audio and video to support

games, images, and ringtones. In addition, it supports many business models for content,

including purchased downloads, subscription, rental, preview, and pay-per-view which

have now all become an essential part of premium service offerings gaining mainstream

consumer adoption.

pg 27 StreamNet Digital Media and System Design Reference Guide

Digital File Security and DRM

Why transport stream DRM is problematic in multi-source systems.

As is often the case with complex digital systems, particularly when DRM or digital

encryption technologies are involved, what should “just work” rarely does as promised

which is why a complete understanding of the pitfalls and challenges of multi-source and

multi-display video distribution must be understood.

To begin we need to define key elements contained within HDMI starting with the Data

Display Channel (DDC). The DDC is a two-way communications interface that sits between

the source and associated downstream repeater (or display device). The purpose of this

channel is to communicate device capability information encoded in a structure known

as Extended Display Identification Data (EDID). HDMI devices use EDID to broadcast to

receiving devices the audio and video formats supported. It should also be noted that the

DDC interface is used to set up and maintain HDCP encryption.

Adjacent to DDC is Hot Plug Detect (HPD), which broadcasts to downstream devices,

indicating its presence to the source. HPD allows each device to know when a cable has

been connected and automatically triggers authentication including EDID information about

a display to a source conveying its resolution capabilities.

Initially developed for computers and monitors, EDID is now found in most all consumer

electronic devices that support HDMI. As an example, a television may use EDID to indicate

support for the standard HD resolutions in addition to 1080p and Deep Color while another

TV may not support higher than 720p / 1080i resolution. All information regarding the audio

and video capabilities of each device is stored in its EDID.

The challenge AV professionals face in simple installations is minimal. In fact one could

argue HDMI greatly eases set-up and compatibility issues when dealing with simple

consumer systems comprising a single source and a single display. However, it is our

assumption the reader of this guide is commonly dealing with system designs of a much

more complex nature such as multi-room and multi-source, with perhaps dozens of displays

needing to be switched reliably. And for these system design applications, StreamNet was

developed.

pg 28StreamNet Digital Media and System Design Reference Guide

Digital File Security and DRM

Because HDMI and the EDID specification were not originally conceived to be used for

multi-point installations or applications, problems may be introduced in systems typical

of what AV professionals design, install or maintain, where display devices will not show

content. Since HDMI switches are required for large multi-source and multi-display systems,

and these same switches are responsible for collecting the display’s EDID and providing

a unified version to the source, it must be noted neither the HDMI nor EDID specifications

suggest how to do this task reliably. Which is why different HDMI switches and repeaters

often behave in unpredictable ways as each manufacturer implements the standards

differently.

As illustration, consider the following system.

Your client wishes to connect a 1080p projector with a surround sound processor in the

media room or home theater, and a 720p / 1080i display in the master bedroom using the

internal speakers for audio. So the question is how should the HDMI switch combine the

EDID information so each display shows the optimum image, or in some cases shows any

image at all, and audio is correctly passed to each environment?

It is our experience that certain devices on the market solve this problem by simply copying

the EDID from the first output. However in our scenario this would mean1080p video and

surround sound audio is sent to the family room which neither supports1080p or surround

sound audio.

Another approach some HDMI switches take is to create a merged EDID that limits the

content to only what both rooms can support. Unfortunately this means our media room /

home theater is now artificially limited to 720p video and stereo audio. Once we expand this

scenario to multi-point installations with multiple rooms, source devices and displays it is

easy to see why HDMI in many systems is problematic and why many AV professionals have

“defaulted” back to analog interconnection schemes. After all with analog you are ensured

to have picture and sound on every screen in every room. Of course never mind the quality

our customers paid for is never fully realized. At least it is nearly guaranteed to work every

time or so is the rationalization of this approach. However with ClearOne’s StreamNet digital

media solution there is now a way to not only provide your customers the very best picture

and sound, and do so reliably.

pg 29 StreamNet Digital Media and System Design Reference Guide

Digital File Security and DRM

Another complicating factor with many HDMI connected multisource / multi-display systems is HDCP encryption.

There are two parts to HDCP, which must be discussed to better understand why solving the

EDID problem alone does not guarantee reliable interconnection in advanced systems using

HDMI. The first is HDCP authentication and the second is HDCP encryption to prevent

interception during transmission. Using HDCP authentication ensures all devices receiving

content over the HDMI link are licensed and authorized. Only after successful authentication

may the display output audio and video streams received from the HDMI link.

Every HDMI device contains a unique ID known as KSV (Key Selection Vector), which must

be passed to the source. Devices that re-transmit HDCP content will inform the source

of all downstream connections in the system. The source must then verify each device

before it transmits content. It is this authentication process that frequently causes delays

when switching between devices as the source and display(s) must negotiate their KSV’s to

ensure content is only delivered to authorized devices.

The HDMI standard imposes a hard limit on the number of displays that can be connected.

Due to a limit in the number of KSVs available, the HDCP specification calls for only up

to 127 devices. However sources usually support considerable less than 127 and in

fact most consumer products only support ten devices at most. What this means is if a

repeater presents a source with too many KSVs, the source will cease transmitting content.

Unfortunately for the AV professional KSV limits are not an advertised feature as HDMI was

really designed for point to point communications where even ten KSVs was thought to be

“more than enough” by the manufacturer of the HDMI silicon chipsets.

When KSV values are exceeded, the viewer will not realize a problem until they try to route

an additional source to an extra display and audio / video begins to drop out inexplicably.

To make matters worse, this can occur without so much as an error message.

ClearOne’s StreamNet solution solves these problems because of the innovative application

of encoders and decoders in its architecture. Since every source in a StreamNet system is

connected to what is known as an encoder, the source is able to easily negotiate EDID and

KSV values with the connected encoder, keeping the original design intent of HDMI’s point

to point architecture intact. In the case of StreamNet decoders, these devices connect to

each display and in-turn are able to easily return the EDID and KSV information an HDMI

connected source requires. The StreamNet solution also informs the user of potential HDCP

limits and issues, for example if you try to connect to a source that has already exceeded its

KSV limit, we will instruct you on screen or on the touch panel of your options, and how to

remedy the issue. Since we store all information on each unit, we can also switch sources

very quickly, greatly improving the overall user experience.

pg 30StreamNet Digital Media and System Design Reference Guide

HDCP Quick FAQ

Q. What is HDCP?

High-bandwidth Digital Content Protection (HDCP) is a technology developed by Digital

Content Protection, LLC (a subsidiary of Intel) to protect digital entertainment content. HDCP

has been implemented across both DVI and HDMI interfaces. The HDCP specification

provides a cost-effective and transparent method for transmitting and receiving the highest

quality digital entertainment content to DVI / HDMI-compliant digital displays.

Q. Is HDCP an option to implement in any device with an HDMI connection?

While HDCP is optional in the HDMI specification, nearly every device intended to transmit or

receive protected content such as movies has incorporated HDCP. Manufacturers typically

do not call out HDCP support as the only devices that do not regularly include HDCP are

those not designed to transmit or receive protected content, such as consumer camcorders

and digital still cameras.

Q. If my display doesn’t have an HDCP compatible connection will I be able to view HD DVD and Blu-ray content in high definition?

Content owners (i.e., any movie studio releasing a title on optical disc format or digital

streaming / download) decide which technologies they will require to be used to protect their

content against unauthorized copying. Movie studios fearing high-definition versions of their

titles will be pirated, almost universally use HDCP when releasing high-definition versions of

their movies. Note, there are specific requirements on HDCP usage mandated by the U.S.

Federal Communications Commission and by industry bodies in Europe and Asia. With

certain exceptions, nearly all HDMI devices on the market today include HDCP support. DVI

devices, in particular earlier versions of DVI intended for computer applications, are less

likely to support HDCP.

Q. Is AACS (Advanced Access Content System) an alternative to HDCP?

No, AACS is the content protection for video on Blu-ray discs and HDCP is the content

protection for all video carried over the HDMI link between an HDMI enabled source and the

display featuring an HDMI connector enabled with HDCP. AACS is a stronger replacement

for the current content protection on today’s standard-definition DVDs known as CSS or

copy scramble system. The way AACS and HDCP work in tandem is as follows. The video

player will decrypt the AACS-encrypted content coming off the disc and then send the

content over the protected HDMI link (using HDCP) to the HDTV. Of course both the source

and display must be HDCP enabled for the content to be decrypted and played back.

pg 31 StreamNet Digital Media and System Design Reference Guide

HDCP Quick FAQ

Q. Can HDMI cables contribute to devices not working properly together?

The vast majority of image quality or interoperability issues with HDMI devices are related

to the software (firmware) used for device communication and content protection (HDCP),

and have nothing to do with the HDMI cable. These issues are often caused by the software

related to HDCP handshaking, or from devices improperly handling the device capability

information read through HDMI (EDID is incorrect). It is fairly uncommon for the cable to be

the cause of HDMI compatibility problems, generally the issues are HDCP related when a

source will not properly talk to a display.

Q: Is it possible for a source to connect to more sink devices (displays) then it supports?

The answer to this question is “No”. It is not possible to achieve this unless a product is

infringing on the HDCP license due to improper implementation. This is a question of great

confusion for dealers due to a few well-known HDMI matrix switcher products not properly

implementing HDCP.

The reason this is not possible is because HDCP is a technology designed for point to point

content protection to ensure high value data transmitted digitally from a source to a display

is fully protected and not easily hijacked or stolen in route.

HDCP works by allowing every source device to accept a fixed number of keys that allow it

to support one or more display devices or “sinks” based on the number of keys the source

product supports. As an example, there are several popular cable set-top-boxes that only

support a single display device. For the A/V systems design professional and installer this

can be problematic where the client may desire the source be simultaneously displayed

on a projector and flat panel display. This is not possible if the number of display devices

exceeds the key count contained in the source.

To ensure your projects do not run afoul of HDCP licensing and implementation rules

all StreamNet products implement HDCP as specified in the Digital CP agreement. We

encourage you to not submit your company or client to legal scrutiny by using products

which do not fully or properly implement HDCP.

pg 32StreamNet Digital Media and System Design Reference Guide

HDCP Quick FAQ

Q: How can a dealer identify products which may not properly implement HDCP?

Unfortunately HDCP was largely designed for consumer applications where point to point

is the normal connection protocol and 1 to n signal distribution, such as found in HDMI

matrix switches, is almost nonexistent. ClearOne will never attempt to label products as

“conforming” or “nonconforming”. However, in the interest of protecting our dealers from

making an innocent mistake and selecting products which could have a disastrous legal

result, we suggest you be cautious and seek written assurances if a manufacturer claims

any of the following.

1. If a manufacturer says they have a special HDCP bypass or “lawyer” button, steer clear

as this is expressly prohibited by the HDCP robustness rules and is a clear violation of

their agreement with the Digital CP.

2. If a manufacturer claims they can support more simultaneous displays than the

connected source has keys, steer clear as the only way to do this is to work around

the KSV limitation by regenerating keys or some other trick, all of which are expressly

prohibited.

3. If a manufacturer claims they can support more than 127 connected devices. The

upper limit for the number of connected displays to a source is 127. Any claim beyond

this is a clear sign the manufacturer is not properly implementing HDCP.

4. If a manufacturer suggests there is a consumer implementation of HDCP and a

professional implementation which is designed for the unique requirements of matrix

switched HDMI systems. At the moment of this writing there are not two different

implementation specifications. Furthermore, the content providers are the ones who

ultimately specify how their content is protected. This means even if a professional

version where to be introduced, if the leading content providers do not authorize it their

content will fail to play over your systems.

pg 33 StreamNet Digital Media and System Design Reference Guide

HDCP Quick FAQ

Q: What are the risks to a dealer if installing non-conforming HDCP products?

Note: it is not the purpose of this FAQ to provide legal advise which is why ClearOne

suggests any dealer with legal questions consult an experienced Attorney on the subject of

DRM and specifically HDCP.

HDCP is licensed by the Digital Content Protection LLC (DCP) http://digital-cp.com/ which

means every licensee agrees to explicit terms of use and implementation. For this reason,

and given the serious view content owners rightfully take on protecting their valuable

intellectual property (movies), any licensee found to be improperly implementing the

technology will likely face legal action. Though this may not affect a dealer directly, what

could affect a dealer is if the vendors products were rendered useless because of key

revocation.

One of the attractive features of HDCP is the ability to revoke access on certain devices

should the master keys be compromised. This allows content providers a method to

prevent further content access on infringing devices, while allowing unimpeded support

on devices which have not been compromised. This means a potential risk for any dealer

selling products not conforming to HDCP fully is at some point content from certain studios

may no longer play. If this were to happen, you can imagine how difficult it would be to

explain to a client why the system works with some content but not others.

It is not ClearOne’s purpose to predict what the studios will do, but instead educate dealers

on the issues. We encourage every dealer with concerns to first not take them lightly, and

second, consult appropriate legal advice, as the facts and application around every project

will be different.

pg 34StreamNet Digital Media and System Design Reference Guide

Public Performance Rights

Licensing bodies, why public performance matters, who is BMI, ASCAP, etc? Because most

all commercial music and video is licensed for home use only it is important to understand

when a use may become public performance so you can properly advise your client of the

unique requirements for this application. Our objective is to provide the user with general

information about licensing procedures and provide answers to the most frequently asked

questions that may be faced. Content licensing is a highly specialized area of entertainment

law and as such we recommend you consult an attorney or content licensing rights

consultant if you have any questions around this topic.

ClearOne is a responsible citizen in the copyright community and we believe wholeheartedly

in the protection of copyright. We support the philosophy that film makers, songwriters and

artists deserve to be compensated for their labors, an art which enhances the lives and

experience of every one of us.

What is “public performance”?

To perform or display a work “publicly” means two main things:

+ to perform or display it at a place open to the public or at any place where a substantial

number of persons outside of a normal circle of a family and its social acquaintances is

gathered;

+ to transmit or otherwise communicate a performance or display of the work to a place

specified by clause (1) or to the public, by means of any device or process, whether the

members of the public capable of receiving the performance or display receive it in the

same place or in separate places and at the same time or at different times.

(Title 17, U.S.C., Copyrights, Section 101, Definitions)

What does “home use only” mean?

In the case of motion pictures, including video recordings, and other audiovisual works

(music), one of the exclusive rights of the copyright owner is to perform or display the work

publicly. Unless video recordings are sold or rented with public performance rights or are

licensed for public performance, they should be considered “home use only” and should

be restricted to private showings in the home to a “normal circle of a family and its social

acquaintances.” The only exception to this is the “face-to-face teaching exemption.”

What is the “face-to-face teaching exemption”?

United States copyright law contains an exception which allows the lawful use of “home

use only” video recordings for public performance or display without the permission of

the copyright owner. Section 110 (1) of the law appears to allow the classroom use of

video programs that have not been cleared for public performance if, and only if, all of the

conditions set forth by the law are met.

pg 35 StreamNet Digital Media and System Design Reference Guide

Public Performance Rights

Notwithstanding the provisions of section 106, the following is not an infringement of

to-face teaching activities of a nonprofit educational institution, in a classroom or similar place

devoted to instruction, unless, in the case of a motion picture or other audiovisual work, the

performance, or the display of individual images, is given by means of a copy that was not

lawfully made under this title, and that the person responsible for the performance knew or

had reason to believe was not lawfully made;...

(Title 17, U.S.C., Copyrights, Section 110 (1), Limitations on exclusive rights: Exemption of

certain performances and displays)

Does the face-to-face teaching exemption apply to distance education?

No, the Technology, Education and Copyright Harmonization (TEACH) Act provides a more

limited right to use copyrighted material in distance education by accredited nonprofit

institutions providing certain conditions have been met. The law permits the performance of

nondramatic literary and musical works and “reasonable and limited portions” of dramatic

and audiovisual works “in an amount comparable to that which is typically displayed in

the course of a live session.” Educational materials marketed as “mediated instructional

activities transmitted via digital network” may not be used.

In order to take advantage of these exemptions there are many requirements including:

1) Access must be limited to enrolled students within class sessions; 2) Technological

protection measures must be put in place to prevent recipients from further distributing the

works; and 3) Institutions must institute copyright policies, provide information on copyright

compliance, and provide “notice to students that materials used in connection with the

course may be subject to copyright protection.”

The TEACH Act was enacted in October, 2002, and is a completely revised version of

Section 110(2) of the U.S. Copyright Act.

It should be noted that the TEACH Act does not restrict the law of fair use, which may allow

performances beyond those allowed by the TEACH Act.

Video specific Copyright information

Since there are specific uses where copyright material may be viewed in a public

performance setting it is important to consult an attorney for expert legal advise before

proceeding with your project. What follows is designed to provide an overview of copyright

issues in public performance situations.

A copyrighted video recording is a property right that gives the copyright owner of an

original work a bundle of exclusive rights. Which include the right to authorize or prohibit

reproduction, derivative works, distribution, and public performance or display of that work.

pg 36StreamNet Digital Media and System Design Reference Guide

Public Performance Rights

Under present law, copyright exists automatically from the moment a work is fixed in a

tangible medium of expression. The work may be published or unpublished and it is not

necessary for the copyright to be registered with the Copyright Office. As of March 1, 1989,

a notice of copyright on the work is optional and its absence does not necessarily mean that

the work is in the public domain. In short the rights of copyright apply to video recordings

as well as to other works and it is best to assume all recordings are protected by copyright

(unless verified otherwise by the original creator of the creative work).

What are some of the ways to find out if a video recording has public performance rights or home use rights?

+ Determine what rights are attached to a video recording at the time it is purchased or

acquired, and document that information. Know that the video recording is a legal copy

and know if the source of purchase or acquisition has the right to grant or convey public

performance rights or not. NOTE: It is the responsibility of the person displaying a

video recording to ensure they have legal right to do so in the situation they plan to use

it in. Do not assume showing a home use licensed movie in a church is the same as a

school or the same as a retail store. Consult an attorney if you have any questions or

concerns about whether your application could be infringing or not.

+ Look for rights information on the video label, container, or on the screen. Video

recordings with “home use only” rights usually, but not always, have statements

indicating home use. Do not assume a video recording has public performance rights

if “home use” or wording to that effect is not indicated. For example, video recordings

with public performance rights rarely have that information specifically stated.

+ Contact the copyright owner or the owner’s authorized representative for rights

information. If the rights cannot be determined, in order to avoid infringing activity, it is

advisable to assume a video recording does not have public performance rights.

When might schools or libraries consider obtaining licensing in order to use “home use only” video recordings for public performance?

Organizations should consider purchasing a license for public performance such as when

a public library desires to show video recordings in any situation outside of the definition

of “home-use-only” or, in the case of schools, outside of the definition of the “face-to-face

teaching exemption.” As example, a public library would need public performance rights to

show a video recording to staff in an in-service workshop, to children during story hour, or

to a community group meeting. A school would need public performance rights for a video

recording to be shown for entertainment in place of recess on a rainy day, or for after-school

programs, or as a reward.

pg 37 StreamNet Digital Media and System Design Reference Guide

Public Performance Rights

How can schools and libraries obtain a license to use home use video recordings for

public performance? One way is to contact the copyright holder directly, or the distributor

if the distributor has the authority from the copyright owner to grant licenses, to purchase

public performance rights or to request permission for a particular public performance

use. Another way to obtain a license, particularly in the case of feature films, is to contact

the licensing service representing the particular studio or title. Services vary in the types of

licensing offered and the scope of materials represented and are listed below.

Criterion Pictures USA, Inc. 8238-40 LehighMorton Grove, IL 60053-2615 1-800-890-9494 or

1-847-470-8164 Fax: 1-847-470-8194 http://www.criterionpicusa.com

Kino International Corp. 333 W. 39th Street, Ste. 503 New York, N.Y. 10018 1-800-562-3330

or 1-212-629-6880 Fax: 1-212-714-0871 Email: contact@kino.com http://www.kino.com

Milestone Film & Video P.O. Box 128Harrington Park, NJ 07640-0128 1-800-603-1104 Fax:

1-201-767-3035 Email: milefilms@gmail.com http://www.milestonefilms.com

Motion Picture Licensing Corporation (MPLC)5455 Centinela AvenueLos Angeles, CA 90066-

6970 1-800-462-8855 Fax 1-310-822-4440 Email: info@mplc.com http://www.mplc.com

Movie Licensing USAA division of Swank Motion Pictures, Inc.Schools: 10795 Watson

RoadSt. Louis, MO 63127-1012 Schools: 1-877-321-1300 Libraries: 1-888-267-2658 Other

organizations: 1-800-876-5577 Fax:1-877-876-9873 (Schools & Libraries) Email: mail@

movlic.com or mail@swank.com http://www.swank.com

Churches should contact Christian Copyright Licensing International at http://www.cvli.com/

for blanket licenses and full information on how to use copyrighted video licensed originally

for home use only in a public setting such as a religious service.

Music-Specific Copyright Information

RECORD RIGHTS

The copyrights for master recordings reproduced for use in our digital distribution

equipment are held by either the record companies or the artists themselves. The Digital

Millenium Copyright Act provides the owner of the master recording the right to receive

a royalty from any public performance of sound recordings. Because of this we wish to

ensure that all StreamNet distribution systems are not used in any way that would violate this

agreement. Any installation of our distribution system into a facility which is designated as

a public place almost always requires the payment of royalties to an appropriate licensing

body (see information on this at the end of the section). Thus it is important all public

venues, store fronts, performance stages, etc secure licenses for the reproduction rights

and performance rights in the recordings to be distributed (played) whether performed live

or reproduced electronically.

pg 38StreamNet Digital Media and System Design Reference Guide

Public Performance Rights

PUBLISHING RIGHTS

The music publisher is the entity that holds the copyright in a song. That is, the piece of

music itself not the paper on which it is printed or the recording on which it is performed.

Anyone who wishes to record a song, perform a song or synchronize a song in a motion

picture film or television program (for example), must secure a license from the music

publisher and pay either a statutory royalty or a negotiated fee or royalty, whichever the case

may be.

PUBLIC PERFORMANCE RIGHTS

In the United States of America nearly all public performances of music are licensed through

ASCAP, BMI or SESAC. For the most part, all “professional” American songwriters belong to

one or the other of these societies. Since the societies and the music publishers derive their

rights exclusively from their affiliated writers, virtually all music publishers have companies

belonging to all three societies. Membership is these societies are open to anyone who has

had a musical composition commercially recorded and/or published.

The Copyright Act as amended in 1976 granted the copyright owner (songwriter or music

publisher as the case may be) the exclusive right to license the performance of a musical

composition in public, whether or not for profit.

CONSUMER TECHNOLOGY BILL OF RIGHTS

On October 17th, 2002 Congress introduced legislation designed to recognize the rights

of consumers to use copyright protected works, and for other purposes. Which effectively

stated that it is the Sense of the Congress that United States copyright law should not

prohibit a consumer of information or entertainment content distributed via electronic media

from engaging in the reasonable, personal, and noncommercial exercise of the six rights

described in the next section with respect to works that the consumer has legally acquired.

THE SIX CONSUMER RIGHTS

1. The right to record legally acquired video or audio for later viewing or listening (popularly

referred to as `time-shifting’).

2. The right to use legally acquired content in different places (popularly referred to as

`space-shifting’).

3. The right to archive or make backup copies of legally acquired content for use in the

event that the original copies are destroyed.

pg 39 StreamNet Digital Media and System Design Reference Guide

Public Performance Rights

4. The right to use legally acquired content on the electronic platform or device of the

consumer’s choice.

5. The right to translate legally acquired content into comparable formats.

6. The right to use technology in order to achieve these rights.

USING TECHNOLOGY “Properly”

ClearOne is the manufacturer of equipment designed to distribute information or

entertainment content via electronic media for the sole purpose of engaging in the

reasonable, personal, and noncommercial performance of copyrighted works that the

consumer has legally acquired. ClearOne StreamNet equipment is designed and intended

for installation within a single private facility and is not designed nor intended to be installed

in a way that would provide a means to publicly perform copyrighted music without the

express prior permission of the copyright owner or their agents.

If an individual or group wishes to utilize StreamNet equipment in a way which could infringe

on copyrights, they must first contact the following organizations and make arrangements to

avoid being in violation of the law.

ASCAP (American Society of Composers, Authors and Publishers) http://www.ascap.com/

Established since 1914, ASCAP has over 30,000 members and is owned, and run, by its

membership.

BMI (Broadcast Music, Inc.) http://www.bmi.com/ Established in 1940 and has a

membership of about 65,000 songwriters and publishers who are referred to as Affiliates.

BMI is owned by 500 radio and television stations

SESAC (SESAC, Inc) http://www.sesac.com/ SESAC is a privately held organization the

smallest of the three performing rights societies.

Churches should contact Christian Copyright Licensing International at http://www.ccli.

com/ for license and information on how to compensate song writers for music performed in

religious services.

pg 40StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, introduction to required devices

Network

StreamNet works optimally on a Gigabit packet switched Ethernet network, though

StreamNet does not require a dedicated network and peacefully coexists on any data

network provided it is properly installed and configured. To ensure optimum performance

is achieved NetStreams SwitchLinX switches auto detect 10/100/1000 Mbps speed, full/

half duplex mode and MDI/MDI-X connections. This feature provides the user a simple way

to complete the network connection with the switch. The SwitchLinX gigabit models are

certified and preconfigured for the NetStreams DigiLinX IP Audio/Video distribution system

for easy, plug and play installation, eliminating time required to configure and setup the

switch for the DigiLinX system.

Network Switch example: SwitchLinX SW1148

pg 41 StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, introduction to required devices

Sources

With a StreamNet Encoder literally any source with analog connectors may be made

available for distributon on the StreamNet network. StreamNet uses a distributed

architecture that allows the hardware and the processing power to be spread out across

a TCP/IP network. This leverages many of the advantages of using TCP/IP over traditional

analog systems. Traditionally, sources are located near the head end controller or additional

cabling is used remotely locate the audio/video source in a conference room or hotel suite.

MediaLinX is not constrained by traditional limitations and can be located anywhere, only

requiring a network connection. Each MediaLinX Encoder is designed to support a single

source so integrators need only to specify the exact number required and can easily add

MediaLinX as the project evolves.

MediaLinX allows for unlimited Audio/Video Sources. Using TCP/IP as a distribution method

also renders limits on the number of audio/video sources obsolete. StreamNet treats

each source as just as another device on the network and using TCP/IP multicast protocol

StreamNet easily manages the network traffic. Each MediaLinX device handles the audio

and video signal encoding, IP stream output, and source control. Beyond a MediaLinX

encoder no additional hardware is required to add a source to the system.

MediaLinX is a versatile audio encoder. Each MediaLinX encoder will accept analog

(Line level or balanced) or digital audio (S/P-DIF) signals. The audio is converted using a

Burr Brown 24-bit/96kHz analog to digital converter. The integrator can adjust the signal

output strength to insure that it is consistent with other sources on the system. Then using

StreamNet™ technology the audio is converted into an uncompressed stream of TCP/IP

packets and made available to the system.

MediaLinX is an ideal SD / HD video encoder. The MediaLinX A/V can encode, in real-time,

both SD and HD video signals into either a compressed (MotionXT) or uncompressed

stream of TCP/IP packets, depending on the speed of the network switch. Using BNC

connectors the MediaLinX accepts H Sync, V Sync, Y/G/CVBS, Pb/B/C and Pr/R signa ls

allowing a variety of source types to work with MediaLinX A/V. Converting to TCP/IP will

insure the audio and video signal does not degrade on its way to the display, even when

cable distances are hundreds or thousands of feet.

pg 42StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, introduction to required devices

MediaLinX offers source control. The MediaLinX A/V not only manages audio encoding,

but also handles control of the source. Each device is capable of using IR, RS-232, or IP

to control the source. RS-232 and IP protocols provide the MediaLinX A/V the capacity for

two-way control of the source allowing the MediaLinX A/V to gather metadata and feedback.

Many sources are already available that take advantage of RS-232 and IP, others can be

created using StreamNet Agents written in LUA, a readily available open-source scripting

language. By including the source control at the MediaLinX A/V, means not having to install

additional hardware for source control.

MediaLinX Encoder example: MediaLinX MLA9300-CS

pg 43 StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, introduction to required devices

Displays

Using a StreamNet Decoder enables IP content distributed over the StreamNet network to

be played from any audio or video system. StreamNet decoders are compatible with any

modern display device and even legacy displays.

StreamNet uses a distributed architecture which allows the hardware and the processing

power to be spread out across a TCP/IP network. This leverages many of the advantages of

using TCP/IP over traditional analog systems. Traditionally, a video signal is transmitted over

long cables runs that degrade the quality of the signal and can increase the project costs by

requiring multiple cable runs per display. Using a decentralized IP based system preserves

the HD quality of the signal and saves money by requiring only one CAT5 cable for audio,

video, and control of the display.

ViewLinX Decoders fully support compressed and uncompressed video. Video may be

distributed in both compressed and uncompressed forms. Sending video uncompressed

allows the HD quality to be preserved during distribution on a gigabit network. For

installations without a gigabit network or those with many simultaneous streams, ViewLinX

fully supports compressed formats using NetStreams proprietary MotionXT™ Video

Compression. If at a later date video quality needs change, ViewLinX can be easily re-

configured to use uncompressed video.

ViewLinX supports unlimited number of displays. Using TCP/IP as a distribution method

also renders limitations on the number of display devices obsolete. TCP/IP treats each

ViewLinX as just another device on the network. By using TCP/IP multicast protocol

StreamNet easily manages all network traffic to ensure full motion and resolution is

preserved with minimal artifacts. Additionally, StreamNet technology keeps each zone

synchronized so all zones play within 500 microseconds of each other, ensuring audio and

video is always kept in sync.

ViewLinX supports both SD and HD video decoding. Each ViewLinX Decoder converts an

IP stream (compressed or uncompressed) back into SD or HD and outputs the program

material into the appropriate signal output type. All ViewLinX Decoders can output H Sync,

Vsync, Y/G/CVBS, Pb/B/C, and Pr/R signals through BNC connectors and include an HD 15

connector for VGA signals.

ViewLinX DualDrive technology can automatically determine which signal type is being used

and route the signal to the appropriate connector. This is ideal for situations where a display

must display VGA and video signals in the case of a DVD player and PC connected such

as in a corporate board room application. Dual Drive also allows both BNC and DB-15

connectors to be connected. The ViewLinX can also be programmed to switch the displays

input based on the source signal. With a ViewLinX Decoder the AV designer has maximum

pg 44StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, introduction to required devices

flexibility to design the system as a user would actually use it versus create a use case

around the operating mode of the equipment.

ViewLinX Audio Decoder. In addition to outputting video all ViewLinX Decoders are capable

of outputting analog (line level and balanced) audio and digital (S/PDIF) audio.

Additional features of ViewLinX include XVO (extended Video Output) which allows the

display to plug into a 2 gang multimedia port that is connected up to 50 meters from a

ViewLinX providing a very clean installation. The multimedia port and ViewLinX output

can both be connected enabling a single ViewLinX Decoder to drive up to 3 displays with

the same source content. ViewLinX Decoders also include two macro controlled contact

closures to trigger projector screens and an input sense which can trigger a custom macro

ideal for use in museums or kiosks that require content to be started when motion is

detected, for example.

ViewLinX Decoder example: ViewLinX VL9100-CS

pg 45 StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, introduction to required devices

Control

With Netstreams TouchLinX control you now are in full command of your lighting, HVAC,

Security, Audio and Video from anywhere in your home, or from anywhere on the Internet.

Using StreamNet not only can all audio and video signals be distributed, but the system

fully integrates with all leading brands of audio and video components and control products.

Plus StreamNet allows you to view IP security camera’s remotely from your iOS device.

TouchLinX Control examle: TL700

pg 46StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, example configurations

HDMI source to destination AV flow and control scenarios

Scenario 1: HDMI source to HDMI display and StreamNet Control

HDMI SOURCE

Source controls via encoder;

IR/Serial/Contact Closure/IP

provision(s) and sense

VIEW MLAV9500

HDMI Cable

Less than 15 Meters

DVI-to-HDMI Adapter

Display controls are conducted

via optional CEC control or with

decoder IR/Serial/IP provision(s)

and state machine via GPIO

CAT-5e+ CAT-5e+

LAN

Less than 50 kilometers

VIEW VL9300

DVI Output Decoder

VL-CEC

Less than 15 Meters

HDMI Cable

HDMI DISPLAY

Scenario 2: HDMI source to HDMI display via HDMI repeater (AVR) and StreamNet Control

Both AVR and Display controls are

Source controls via encoder;

IR/Serial/Contact Closure/IP

provision(s) and sense

conducted via optional CEC

control or with decoder

IR/Serial/IP provision(s) and state

VIEW MLAV9500

HDMI SOURCE

CAT-5e+ CAT-5e+

DVI-to-HDMI Adapter

HDMI Cable

Less than 15 Meters

LAN

Less than 50 kilometers

HDMI Cable

Less than 15 Meters

HDMI DISPLAY

machine via GPIO

VIEW VL9300

DVI Output Decoder

VL-CEC

Less than 15 Meters

HDMI Cable

HDMI

1.X Input

HDMI

1.X Output

HDMI AVR

pg 47 StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, example configurations

HDMI source to destination AV flow and control scenarios

Scenario 3: HDMI source to HDMI projector via HDMI repeater (AVR) and StreamNet Control

HDMI SOURCE

Source controls via encoder;

IR/Serial/Contact Closure/IP

provision(s) and sense

VIEW MLAV9500

HDMI Cable

Less than 15 Meters

DVI-to-HDMI Adapter

Both AVR and Display controls are

conducted via optional CEC

IR/Serial/IP provision(s) and state

CAT-5e+ CAT-5e+

LAN

Less than 50 kilometers

HDMI Cable

Less than 15 Meters

HDMI PROJECTOR

control or with decoder

machine via GPIO

VIEW VL9300

DVI Output Decoder

VL-CEC

Less than 15 Meters

HDMI Cable

HDMI

1.X Input

HDMI

1.X Output

HDMI AVR

Scenario 4: HDMI source to HDMI projector and HDMI (AVR) via HDMI repeater and StreamNet Control

Both AVR and Projector controls

Source controls via encoder;

IR/Serial/Contact Closure/IP

provision(s) and sense

are conducted via optional CEC

control or with decoder

IR/Serial/IP provision(s) and state

machine via GPIO

VIEW VL9300

DVI Output Decoder

Less than 15 Meters

HDMI 1-2

HDMI Cable

Less than 15 Meters

HDMI PROJECTOR

VL-CEC

HDMI Cable

HDMI SOURCE

VIEW MLAV9500

HDMI Cable

Less than 15 Meters

DVI-to-HDMI Adapter

CAT-5e+ CAT-5e+

LAN

Less than 50 kilometers

HDMI

1.X Input HDMI Cable

Less than 15 Meters

HDMI AVR

pg 48StreamNet Digital Media and System Design Reference Guide

Designing a StreamNet System, example configurations

HDMI source to destination AV flow and control scenarios

Scenario 5: HDMI source to HDMI display and HDMI (AVR) and StreamNet Control

HDMI

SOURCE

Source controls via encoder; IR/Serial/Contact Closure/IP

provision(s) and sense

VIEW MLAV9500

DVI-to-HDMI Adapter

HDMI Cable

Less than 15 Meters

Projector controls are conducted via optional CEC control or with decoder IR/Serial/IP provision(s) and state machine via GPIO

CAT-5e+ CAT-5e+

LAN

Less than 50 kilometers

VIEW VL9300

DVI Output Decoder

HDMI AVR

VL-CEC

HDMI Cable

Less than 15 Meters

VIEW VL9300

DVI Output Decoder

HDMI

1.X Input

PROJECTOR

VL-CEC

Less than 15 Meters

HDMI Cable

HDMI

AVR controls are conducted via optional CEC control or with decoder IR/Serial/IP provision(s) and state machine via GPIO

Scenario 6: HDMI source to HDMI display and StreamNet Audio, and Control

Projector controls are conducted via optional CEC control or with decoder

Source controls via encoder;

IR/Serial/Contact Closure/IP

provision(s) and sense

IR/Serial/IP provision(s) and state machine via GPIO

VIEW MLAV9500

HDMI

SOURCE

CAT-5e+ CAT-5e+

DVI-to-HDMI Adapter

HDMI Cable

Less than 15 Meters

LAN

Less than 50 kilometers

VIEW VL9300

DVI Output Decoder

VL-CEC

HDMI Cable

Less than 15 Meters

SLX300

Other SpeakerLinX Amplifiers

SpeakerLinX Amplifier

connected directly to n

HDMI

PROJECTOR

speakers

pg 49 StreamNet Digital Media and System Design Reference Guide

StreamNet Products

SpeakerLinX

Is a family of IP amplifiers designed to mount on or adjacent to a speaker or in the room

/ zone where the speakers are located. A SpeakerLinX module contains not only the IP

controlled amplifiers, but also a web server for complete control from any computing or

display device that hosts a web browser. SpeakerLi SLSL220 contantt Class-D amplifier with

the footprint the size of a credit card. By locating the amplifier right at the speaker, power

and damping losses are minimized, yielding impressive clarity and definition typically only

heard with expensive audiophile component systems.

SL254 – IP Based controller/4x25 watt Amplifier-SpeakerLinX functions

both the amplifier and a room controller. The SL254 SpeakerLinX includes

a 4 Channel, 25 watts per channel amplifier and a built-in web server that

uses an Adobe® Flash interface to control the system. The SL254 also

includes an EIM interface that allows it to use peripheral devices like the

KeyLinX, IRLinX, Audio Port and EIM enabled external amplifiers. The

SL254 provides the digital crossover for IP Ready speakers.

SL251 – IP Based controller/amplifier - an IP-Based controller/amplifier

designed to mount on or adjacent to a speaker. An Adobe® Flash®

enabled SpeakerLinX SL251 module that contains the IP-controlled

amplifiers and a web server for complete control from any computing or

display device that hosts a web browser.

SL9250 – IP Based controller/amplifier – 2 x 50 watts amplifier and controller with a built

in webserver using Adobe® Flash to control the

system. The unit comes in half rack width and

1U high enclosure. Digital crossover for IP ready

speakers. Includes balanced and single ended

outputs.

SLX300 – IP Based controller/amplifier – 2x150 watts amplifier and controller with

built-in webserver in half rack width and 1U high

enclosure included digital crossover for IP ready

speakers and balanced and single ended outputs.

SLX300

pg 50StreamNet Digital Media and System Design Reference Guide

StreamNet Products

MediaLinX

Converts analog audio or PCM digital signals into streaming TCP/IP 24-bit/96kHz audio

streams in real time. MediaLinX also converts analog video signals into streaming TCP/IP up

to 1080p and controls legacy sources with stored IR (Infrared) commands, offering IR pass-

through and power status sensing of attached components.

MLA9101 – IP Audio encoder-Newer native IP

Based sources can output the audio directly onto

the network through the Ethernet connection.

Older legacy sources that output the audio over a line

level connection need a device to convert the audio to

an IP stream. For each legacy source the MediaLinX

encodes and prepares the audio for distribution across the DigiLinX network. In addition

to encoding, MediaLinX also provides a mechanism for one-way and two-way control,

gathering metadata and power management of the source.

MLAV9300 – IP Video/audio encoder-gateway

for audio and SD/HD quality video to flow into the

DigiLinX network. For each source a MLAV9300

encodes and prepares the audio and video for

distribution across the TCP/IP netowrk. Provides a

mechanism for on way and two way control of the

source and can ensure that the source stays power on.

MLAV9500 – IP-Based A/V Encoder. DVI-D (HDMI

compatible/HDCP Compliant). Supports 1080p

and multichannel digital audio as well as analog

two channel audio in. IR input, IR/Serial RS232 output

in a 1U half rack width enclosure. Includes HDMI/DVI

adapter.

MediaLinXPro MLA4000 – IP Based 4-source

MediaLiNX component that combines digital

conversion of up to four Legacy analog or digital audio

sources and control of third party sub-systems such as

HVAC, lighting and security.

Power

MediaLinX A/V

MLAV9500-CS

pg 51 StreamNet Digital Media and System Design Reference Guide

StreamNet Products

ViewLinX

TCP/IP Video component that provides real time decoding of an uncompressed A/V stream

from a standard Gigabit TCP/IP network into an analog or S/PDIF audio signal and a

component, composite, S-Video or VGA video signal for output to a display.

VL9100 – IP Video decoder -simplifies the design and installation of large multi-zone

include separate components for controlling the display, its all included in the ViewLinX.

audio/video distribution systems. HD and SD

quality multimedia can be distributed to virtually

unlimited number of displays by placing a

ViewLinX at each display, There is also no need to

VL9300 – IP Based video decoder – HDCP compliant output.

Included HDMI-DVI adapter and VESA mount. Optional Power over

Ethernet.

pg 52StreamNet Digital Media and System Design Reference Guide

StreamNet Products

TouchLinX

TouchlinX is an elegant IP-based touch-screen designed to mount in a wall (standard two

gang footprint size). The 3.8-inch, 320x240 resolution color touch-screen can display the

meta-data and transport controls available for each audio source or SpeakerLinX module.

TouchLinX’s simplicity and intuitive design allows users to access their favorite songs,

artists, play lists, or stations easily and quickly. Each room can have customized bass,

treble, balance and loudness contours. TouchLinX’s functionality will expand, through

downloadable upgrades, to include zone-to-zone or whole-system intercom or messaging,

programmable alarms and more.

TL430 – 4.3 inch IP-Based in-wall touch screen controller-IP-Based in-wall LCS

touch screen features a 4.3 inch, high resolution, TFT color LCD ouch panel,

which displays the meta-data (artist, album, song, cover art) and transport

controls available for each audio/video source or SpeakerLinX module.

A/V

TALK/ MUTE

TL700 – 7.0 inch IP-Based in-wall touch screen controller-

IP-Based in-wall LCS touch screen features a 7 inch, high

resolution, TFT color LCD ouch panel, which displays the

meta-data (artist, album, song, cover art) and transport controls

available for each audio/video source or SpeakerLinX module.

TALK/

A/V

MUTE

MON DND

NS-TLA250 – Amplified Touchpad/room controller - The TouchLinX TLA250 is

ideal for zones requiring exceptional audio quality, but do not need a full color

touchscreen. The text based OLED screen provides metadata, control of the

zone, and IP intercom for the zone.

NS-KL201 – 10-button KeyLinX Keypad with IP-Intercom - The KL201 KeyLinX keypad is a

10-button single-gang in-wall keypad with intercom, microphone and monitoring capabilities

that works perfectly for applications or audio zones where basic control of audio is all that is

required.

pg 53 StreamNet Digital Media and System Design Reference Guide

StreamNet Products

SwitchLinX

SwitchLinX is a family of IGMP (Internet Group Message Protocol) enabled, multicasting,

non-blocking Ethernet switches designed specifically for handling the high demands of

networked audio/video distribution and control products. Multiple SwitchLinX’s allow

virtually unlimited numbers of networked audio sources or other networking or control

products. The NS-SW224 SwitchLinX is designed to fit in a rack or mounted set top style,

while the NS-SW208 is small enough to be mounted anywhere.

the high demands of networked audio/video distribution products. Additional SwitchLinX

modules can be employed to expand the network video inputs.

SW1124 – 24-port IGMP (Internet Group Message

Protocol) enabled, multicasting, non-blocking Gigabit

Ethernet switches designed specifically for handling

SW1148 – 48-port IGMP (Internet Group Message

Protocol) enabled, multicasting, non-blocking

Gigabit Ethernet switche designed specifically for

handling the high demands of networked audio/video distribution products. Additional

SwitchLinX modules can be employed to expand the network video inputs.

pg 54StreamNet Digital Media and System Design Reference Guide

AVoIP Video Encoder Feature Comparison Matrix

Encoder Features Note 1 Note 2 Note 3

Composite [YUV] Input (1) F-RCA Connector Green

Composite [YUV] Input (1) F-BNC Connector 75 Ohm Green

Composite [YUV] Pass-Through (1) F-RCA Connector Green

Composite [YUV] Pass-Through (1) F-BNC Connector 75 Ohm Green

S-Video [Y/C] Input (1) F-Mini-DIN [4 pin]

S-Video [Y/C] Input (2) F-BNC Connectors 75 Ohm Green [Y], and Red [C]

S-Video [Y/C] Pass-Through (1) F-Mini-DIN [4 pin]

S-Video [Y/C] Pass-Through (2) F-BNC Connectors 75 Ohm Green [Y], and Red [C]

Component [YPrPb] Input (3) F-RCA Connectors Green [Y], Red [Pr], & Blue [Pb]

Component [YPrPb] Input (3) F-BNC Connectors 75 Ohm Green [Y], Red [Pr], & Blue [Pb]

Component [YPrPb] Pass-Through (3) F-RCA Connectors Green [Y], Red [Pr], & Blue [Pb]

Component [YPrPb] Pass-Through (3) F-BNC Connectors 75 Ohm Green [Y], Red [Pr], & Blue [Pb]

VGA Input via DB15HD to DB15HD (1) DE-15F Connector (2) F-JackScrews

VGA Input via DB15HD to 5 BNC (5) F-BNC Connectors 75 Ohm Green [Y], Red [Pr], Blue [Pb], Grey

[H], & Black [V]

Digital Visual Interface [DVI-D] Input (1) F-DVI-D

Analog Stereo Audio Inputs (2) F-RCA Connectors Single

Ended

Analog Stereo Audio Inputs (2) Removable Screw

Down Euro blocks

S/PDIF Input (1) F-RCA Connector 75 Ohm Orange

S/PDIF Pass-Through (1) F-RCA Connector 75 Ohm Orange

Sync Pulse Sense [YUV] (1) F-RCA Connector Yellow

Sync Pulse Sense [YUV] Pass-Through (1) F-RCA Connector Yellow

Contact Closure Input (1) Removable Screw

Down Euro blocks

Contact Closure Outputs (2) Removable Screw

Down Euro blocks

Infrared / RS-232 Input Port [TSR] (1) 3.5mm Stereo TSR TX, RX, GND

Infrared / RS-232 Output Port [TSR] (1) 3.5mm Stereo TSR TX, RX, GND

Infrared / RS-232 Output Port [TSR] (1) Removable Screw

Down Euro blocks

10/100/1000 Auto Sense Ethernet Port (1) RJ45-F TIA/EIA-

DC Power Input Port (1) Removable Screw

Down Euro blocks

Front Mounted Reset Button

Front Mounted IR Status indicator

Front Mounted Infrared Reciever

Rack Mount Enclosure

Front Mounted Power LED

StreamNet DV Lossless CODEC

StreamNet MotionXT CODEC

Balanced

3.5mm (3) position

3.5mm (2) position

3.5mm (3) position

568-A

5.5mm (2) position

White [Left/Mono], & Red [Right]

Green / Ground, Positive, Negative

Green / Ground, & Positive

TX, RX, GND

Green Link, Yellow Activity

Green / Ground, & Positive 10-30vDC

MLAV

300





















MLAV

9300-CS





MLAV

9500-CS



pg 55 StreamNet Digital Media and System Design Reference Guide

AVoIP Video Decoder Feature Comparison Matrix

Decoder Features Note 1 Note 2 Note 3 VL 100 VL 9100 VL 9300

Composite [YUV] Output (1) F-RCA Connector Green

Composite [YUV] Output (1) F-BNC Connector 75 Ohm Green

S-Video [Y/C] Output (1) F-Mini-DIN [4 pin]

S-Video [Y/C] Output (2) F-BNC Connectors 75 Ohm Green [Y], and Red [C]

Component [YPrPb] Output (3) F-RCA Connectors Green [Y], Red [Pr], & Blue [Pb]

Component [YPrPb] Output (3) F-BNC Connectors 75 Ohm Green [Y], Red [Pr], & Blue [Pb]

VGA Output via DB15HD to DB15HD (1) DE-15F Connector (2) F-JackScrews

VGA Output via DB15HD to 5 BNC (5) F-BNC Connectors 75 Ohm Green [Y], Red [Pr], Blue [Pb], Grey [H], &

Black [V]

XVO Output (2) RJ45-F TIA/EIA-568-A A, & B

Digital Visual Interface [DVI-D] Output (1) F-DVI-D

Analog Stereo Audio Outputs (2) F-RCA Connectors Single Ended White [Left/Mono], & Red [Right]

Analog Stereo Audio Inputs (2) F-RCA Connectors Single Ended White [Left/Mono], & Red [Right]

Analog Stereo Audio Outputs (2) Removable Screw

Down Euro blocks

Analog Stereo Audio Input/Output (1) 3.5mm Stereo TSR-F Single Ended White [Left/Mono], & Red [Right]

S/PDIF Output (1) F-RCA Connector 75 Ohm Orange

S/PDIF Output (1) F-BNC Connector 75 Ohm Orange

Sync Pulse Sense [YUV] (1) F-RCA Connector Yellow

Contact Closure Inputs (4) Removable Screw

Down Euro blocks

Contact Closure Input (1) Removable Screw

Down Euro blocks

Contact Closure Outputs (2) Removable Screw

Down Euro blocks

Contact Closure Output (1) Removable Screw

Down Euro blocks

Contact Closure Outputs (4) Removable Screw

Down Euro blocks

Infrared / RS-232 Input Port [TSR] (1) 3.5mm Stereo TSR-F TX, RX, GND

Infrared / RS-232 Output Port [TSR] (1) 3.5mm Stereo TSR-F TX, RX, GND

Infrared / RS-232 AUX Output Port [TSR] (1) Removable Screw

Down Euro blocks

10/100/1000 Auto Sense Ethernet Port (1) RJ45-F TIA/EIA-568-A Green Link, Yellow Activity

10/100 Auto Sense Ethernet Port (2) RJ45-F TIA/EIA-568-A Green Link, Yellow Activity

DC Power Input Port (1) Removable Screw

Down Euro blocks

DC Power Input Port (2) Removable Screw

Down Euro blocks

Front Mounted Reset Button

Front Mounted IR Status indicator

Front Mounted Infrared Reciever

Rack Mount Enclosure

VESA Mount Enclosure

Front Mounted Power LED VL 9300-CS LED is located on Rear

StreamNet DV Lossless CODEC

StreamNet MotionXT CODEC

Bal. 3.5mm (3) position

3.5mm (2) position

3.5mm (3) position

5.5mm (2) position

Green / Ground, Positive, Negative

w/ VLCOM Green / Ground, & Positive

Green / Ground, & Positive

w/ VLCOM Green / Ground, & Positive

TX, RX, GND

Green / Ground, & Positive 10-30vDC

Red / Ground, & Positive 10-30vDC











 

 







 

 

 





 

 

 





 

 



 



pg 56StreamNet Digital Media and System Design Reference Guide

View Decoder Comparison Chart

VL100 VL9100 VL9300

Composite Output Yes Yes (1 xBNC)

S-Video Output Yes Yes (2 xBNC)

Component Output Yes Yes (3 xBNC)

DB15 (VGA) Output Yes Yes (5 xBNC)

RGBHV Outputs Yes

DVI Output Yes

HDMI Output Yes (w/a)

HDCP Support Yes

Compressed Video (Motion XT Technology) 15/30/45/60Mb 15/30/45/60Mb 15/30/45/60Mb

Uncompressed Video Yes Yes

Unbalanced Audio Input Port Yes (Stereo RCA) Yes (Stereo RCA) Yes 3.5mm

Unbalanced Audio Output Port Yes (Stereo RCA) Yes (Stereo RCA) Yes 3.5mm

Balanced Audio Output Port Yes (Eruoblock)

Digital Audio Output Port Yes Yes

IR Input Port Yes Yes Yes

Display Control Port Yes Yes Yes

AUX Control Port Yes Yes

Sense Input Port Yes Yes

Contact Closures Yes Yes Yes (w/a)

Relays Yes Yes Yes (w/a)

XVO Audio/Video/Control Exp. Ports Yes (2-RJ45)

Ethernet Ports (RJ45) 10/100/1000 10/100/1000 10/100

Phoenix Connections for Power Yes Yes Yes

Mounting Options (Wall, Rack and Vesa) Wall/Rack Wall/Rack VESA/Wall

Codec Selection vs. Primary use case or Application

Res/.Size

StreamNet

60mb 45mb 30mb 15mb 60mb 45mb 30mb 15mb

Cinema Live Action

Bandwidth Limited ANY Motion XT

Bandwidth NOT Limited ANY CODEC

Sports/News 480i-1080p

Live Sports 480i-1080p

480i-1080p

Security Camera Feed 480i 480i 480i

Movie Content HD 480i-720p 480i-720p

Hi Def Blu Ray 480i-1080p

480i-1080p

Display Size <24” ANY CODEC

Display Size 25-42” Motion XT

Display Size 42-65” StreamNet DV Motion XT

Primary Use Case/ Application

Display Size 65-120” StreamNet DV

Display Size >120” StreamNet DV

Digital Signage - Static (DB) 480i-720p Motion XT

Digital Signage - Motion 480i-1080p1StreamNet DV Motion XT

StreamNet DV CODEC with 1080p output requires MLAV9500 encoder and VL9500 decoder

StreamNet Motion XT® CODEC with 1080p output requires MLAV9500 encoder and VL9500 or VL9300 decoder

pg 57 StreamNet Digital Media and System Design Reference Guide

Motion XT

480i-1080p2480i-1080p

Motion XT

Encoders vs. VL100 Decoder Compatibility Matrix

StreamNet™ DV & MotionXT™ CODEC

VL100 DHD Decoder

INPUTS

(YUV)

Compostie

(Y/C)

S-Video

(YPbPr)

Component

MLAV 300 Encoder

VGA

Composite (YOV) S-Video (Y/C)

OUTPUTS

480i-576i

YUV to YUV Auto YUV to V/C

480i-576i

Auto YUV to V/C

Format Conversion

480i-576i

Auto YPbPr to VUV Format Conversion

480i-1080i/480p-720p

SVGA-WXGA

720p SVGA-WXGA

Format Conversion

V/C to V/C Auto V/C to YPbPr

Auto YPbPr to Y/C

Format Conversion

Auto YUV to YPbPr Format Conversion

Format Conversion

YPbPr to YPbPr

VGA to YPbPr

Scaling

VGA S/PDIFAnalog AudioComponent (YPbPr)

720p only

YPbPr to VGA

Scaling

SVGA-WXGA

VGA to VGA

Single Ended 2-Ch. Analog Audio

PCM/Bitstream

Audio

Analog

ALL EncodersMLAV 9300-CS EncoderMLAV 9500-CS Encoder

Audio

Analog

StreamNet™ DV & MotionXT™ CODEC

RBGHVDVI-D S/PDIF

Single Ended 2-Ch. Analog Audio

PCM/Bitstream

Balanced 2-Ch. Analog Audio

480i-576i

YUV to YUV

Auto Y/C to YUV

Format Conversion

Auto YPbPr to YUV Format Conversion

480i-1080i/480p-720p

SVGA-WXGA

480i-576i

Format Conversion

480i-1080i/480p-720p

SVGA-WXGA

Y/C to Y/C

Auto YUV to Y/C

Format Conversion

Auto YPbPr to Y/C

Format Conversion

Auto YPbPr to Y/C

Format Conversion

YPbPr to YPbPr

Auto YUV to YPbPr

Format Conversion

Auto Y/C to YPbPr Format Conversion

VGA to YPbPr

Scaling

YPbPr to YPbPrAuto YPbPr to YUV

YPbPr to VGA Scaling

DVI to YPbPr

PCM/Bitstream/High Bit-Rate Audio

720p only

YPbPr to VGA

Scaling

720p only

YPbPr to VGA Scaling

DVI to VGA

PCM to

Analog only

PCM to

Analog only

Analog to

Digital Convertor

PCMPCM Only

PCM &

Bitstream

Analog to

Digital Convertor

PCM/Bitstream/

HBR Audio

PCM/Bitstream

KEY

Audio SignalStandard Definition SignalHigh Definition Signal

pg 58StreamNet Digital Media and System Design Reference Guide

Encoders vs. VL9100 Decoder Compatibility Matrix

StreamNet™ DV & MotionXT™ CODEC

VL9100-CS HD Decoder

INPUTS

(YUV)

Compostie

(Y/C)

S-Video

(YPbPr)

Component

MLAV 300 Encoder

VGA

Composite (YOV) S-Video (Y/C)

OUTPUTS

480i-576i

YUV to YUV Auto YUV to Y/C

480i-576i

Auto Y/C to YUV

Format Conversion

480i-576i

Auto YPbPr to YUV Format Conversion

480i-1080i/480p-720p

SVGA-WXGA

720p SVGA-WXGA

Format Conversion

Y/C to Y/C Auto Y/C to YPbPr

Auto YPbPr to Y/C

Format Conversion

Auto YUV to YPbPr Format Conversion

Format Conversion

YPbPr to YPbPr

VGA to YPbPr

Scaling

720p

VGA Analog AudioComponent (YPbPr)

720p only

YPbPr to VGA

Scaling

SVGA-WXGA

VGA to VGA

720p only

YPbPr to RGBHV

720p only

VGA to RGBHV

PCM/Bitstream

Single Ended 2-Ch. Analog Audio

S/PDIFAnalog AudioRGBHV

PCM/Bitstream

Audio

Analog

PCM/Bitstream

ALL EncodersMLAV 9300-CS EncoderMLAV 9500-CS Encoder

Single Ended 2-Ch. Analog Audio

Audio

Analog

StreamNet™ DV & MotionXT™ CODEC

RBGHVDVI-D S/PDIF

Balanced 2-Ch. Analog Audio

480i-576i

Auto Y/C to YUV

Format Conversion

Auto YPbPr to YUV Format Conversion

480i-1080i/480p-720p

SVGA-WXGA

480i-576i

Format Conversion

480i-1080i/480p-720p

SVGA-WXGA

PCM/Bitstream/High Bit-Rate Audio

KEY

YUV to YUV

Y/C to Y/C

Auto YUV to Y/C

Format Conversion

Auto YPbPr to Y/C

Format Conversion

Auto YPbPr to Y/C

Format Conversion

YPbPr to YPbPr

Auto YUV to YPbPr

Format Conversion

Auto Y/C to YPbPr Format Conversion

VGA to YPbPr

Scaling

YPbPr to YPbPrAuto YPbPr to YUV

YPbPr to VGA Scaling

DVI to YPbPr

720p only

YPbPr to VGA

Scaling

720p only

YPbPr to VGA Scaling

DVI to VGA

720p only

YPbPr to RGBHV

DVI to RGBHV

PCM to

Analog only

PCM to

Analog only

PCM to

PCM

Analog only

PCM

PCM Only

PCM to

Analog only

Analog to

Digital Convertor

PCM &

PCM

Bitstream

Analog to

PCM

Digital Convertor

PCM Only

PCM/Bitstream/

HBR Audio

PCM/Bitstream

High Definition Signal

Audio SignalStandard Definition Signal

pg 59 StreamNet Digital Media and System Design Reference Guide

Encoders vs. VL9300 Decoder Compatibility Matrix

StreamNet™ MotionXT™ CODEC

VL9300-CS HD Decoder

DVI-D Analog Audio

OUTPUTS

INPUTS

480i-576i

(YUV)

Compostie

(Y/C)

S-Video

(YPbPr)

Component

MLAV 300 Encoder

YUV to YUV

480i-576i

Auto YUV to V/C

Format Conversion

480i-576i

Auto YPbPr to VUV Format Conversion

480i-1080i/480p720p SVGA-WXGA

VGA

Audio

Analog

ALL EncodersMLAV 9300-CS EncoderMLAV 9500-CS Encoder

Audio

Analog

StreamNet™ DV & MotionXT™ CODEC

RBGHVDVI-D S/PDIF

SVGA-WXGA

High Bit-Rate Audio

480i-1080i/480p

720p SVGA-WXGA

Analog to Digital PCM Single Ended 2-Ch.

Analog to Digital PCM

Analog Audio

PCM to Analog onlyPCM/Bitstream

Single Ended 2-Ch.

Analog Audio

480i-576i

YUV to YUV

Auto Y/C to YUV

Format Conversion

Auto YPbPr to YUV

Format Conversion

480i-1080i/ 480p-720p

480i-576i

Auto YPbPr to YUV Format Conversion

480i-1080i/

480p-1080p HDCP

PCM/Bitstream/

PCM to Analog Only

KEY

HDCP Handshaking

Audio SignalStandard Definition SignalHigh Definition Signal

pg 60StreamNet Digital Media and System Design Reference Guide

Encoders vs. MMP-100 Decoder Compatibility Matrix

StreamNet™ DV & MotionXT™ CODEC

MMP-100 XVO Port

VGAAnalog Audio Component (YPbPr)

OUTPUTS

INPUTS

(YUV)

Compostie

(Y/C)

S-Video

480i-576i

Auto YUV to YPbPr Format Conversion

Auto V/C to YPbPr

Format Conversion

(YPbPr)

Component

MLAV 300 Encoder

VGA

Audio

Analog

ALL EncodersMLAV 9300-CS EncoderMLAV 9500-CS Encoder

Audio

Analog

StreamNet™ DV & MotionXT™ CODEC

RBGHVDVI-D S/PDIF

SVGA-WXGA

480i-576i

Single Ended 2-Ch.

Analog Audio

PCM to Analog only

Single Ended 2-Ch.

Analog Audio

480i-576i

480i-1080i/ 480p-720p

YPbPr to YPbPr

720p only720p only

YPbPr to YPbPr

720p only SVGA-WXGA

VGA to YPbPr

YPbPr to YPbPr

Auto YUV to YPbPr Format Conversion

Auto Y/C to YPbPr

Format Conversion

VGA to YPbPr

Scaling

YPbPr to RGBHV

VGA to VGA

720p only

YPbPr to VGA

Scaling

480i-576i

720p only720p only

YPbPr to VGA Scaling

DVI to VGA

PCM/Bitstream/

High Bit-Rate

Audio

PCM to Analog Only

YPbPr to VGA Scaling

DVI to YPbPr

KEY

Audio SignalStandard Definition SignalHigh Definition Signal

pg 61 StreamNet Digital Media and System Design Reference Guide

Example StreamNet System Design

Football Stadium Wiring Diagram

VIEW MLAV9300 910-225-003

Entrance Concessions Store

Boxes Field Environmental

VIEW NS-TL700

NetStreams MediaLinX NS-MLA4000

VIEW VL9100 910-225-011

Live Game Big Screen

VIEW VL9100 910-225-011

Multiple

Screens

DVD/Cable/Sat PC

VIEW MLA9101 910-225-004

VIEW VL9300 910-225-012

Prices and Advertising

VIEW VL9100 910-225-011

Jumbotron

VIEW MLAV9300 910-225-003

Ethernet Switch

VIEW VL9100 910-225-011

IMPRESS IM100 Digital Signage Engine

VIEW MLAV9300 910-225-003

VIEW SL251

910-225-006

Speakers for Music

and Announcements

Artwork

Digital

Football Stadium Equipment List

Encoders:

VIEW MLAV9300 - 910-225-003 NetStreams® MediaLinX NS-MLA4000 VIEW MLA9101 - 910-225-004

Decoders:

VIEW VL9100 - 910-225-011 VIEW VL9300 - 910-225-012

Amplifiers:

VIEW SL9250 - 910-225-008

Gigabit Ethernet Switches:

VIEW NS-SW1148

User Interfaces:

VIEW NS-TL700

Power Supplies:

VIEW PL960 - 910-225-005

Digital Signage Engine:

IMPRESS IM100

pg 62StreamNet Digital Media and System Design Reference Guide

StreamNet FAQ

1. How many zones can StreamNet distribute audio to?

2. How many sources can I connect to a StreamNet system?

3. How good is the quality of networked audio with StreamNet?

4. What cable should I use for Pre-Wiring for the StreamNet System?

5. Why don’t you power the amplifiers via CAT5 like other systems?

6. Will StreamNet integrate with other AV systems?

7. How do I program a StreamNet system?

8. I’m working on a project now, what do I need to know?

9. How do I control the music with StreamNet?

10. Can I stream music from my PC to the StreamNet system?

11. Can I listen to Internet Radio Stations on a StreamNet system?

12. How is StreamNet different from other systems that distribute uncompressed (WAV) or MP3 files?

13. What compression ratios of MP3 does StreamNet support?

14. What is TCP/IP?

15. What does ClearOne recommend for sources?

16. Can I use a different remote control?

17. What is the Expansion Interface module (EIM) used for?

18. If I am transferring files or browsing the Web, will it interfere with the music?

19. How far can I run the wires for StreamNet?

20. Can I program the music to turn on and off and specific times?

21. Why should I locate the amplifiers at the speakers?

22. Can I mount the amplifiers in another location?

23. How loud will the music play?

24. Does StreamNet distribute digital (SP/DIF) audio?

25. Can I use SpeakerLinX with any speaker?

pg 63 StreamNet Digital Media and System Design Reference Guide

StreamNet FAQ

1. How many zones can StreamNet distribute audio to?

A StreamNet system can be almost

infinitely expan ded, just like a computer

network (the distribution is based on

computer network technology). There is

currently a hypothetical limit of around

1,800,000 rooms, but we’re working on

that…

2. How many sources can I connect to a StreamNet system?

Essentially, as many as you want. Connect

supported Audio Request® music servers

directly to SpeakerLinX using the Ethernet

connection. Legacy Audio Sources

(such as CD, Cassette player) each can

be connected to the network using the

MediaLinX IP-based Media Converter/

Controller via analog or coaxial digital

connection.

3. How good is the quality of networked audio with StreamNet?

How good is your source? StreamNet

is designed to never degrade the sound

quality. Since the network is digital, the

audio signal is always kept intact, full

bandwidth and resolution. StreamNet

devices also incorporates Burr-Brown®

96 kHz / 24-bit D/A and A/D converters to

maximize sound quality. StreamNet will

perfectly reproduce the source, even from

hundreds of feet away!

4. What cable should I use for PreWiring for the StreamNet System?

The StreamNet system utilizes Siamese

Ethernet + 14 or 16 gauge speaker wire

-- the new industry standard for audio

distribution. This allows for many different

types of installations and applications.

Ethernet insures maximum bandwidth

for audio distribution and the 14 or 16

gauge speaker wire is used for the power

connection.

5. Why don’t you power the amplifiers via CAT5 like other systems?

We found we could not get small amplifiers

to run properly off the limited current

capacity a CAT5 cable and RJ45 connector

is able to support. The amplifiers in the

StreamNet system are supplied 28 volts

from dedicated power supplies via thicker

14 or 16 gauge “speaker wire”. This

means we can have a much more powerful

amplifier resulting in fuller, richer sounding

audio. StreamNet is a professional audio

distribution system with wide frequency,

SPL and extended headroom support.

6. Will StreamNet integrate with other AV systems?

There are several ways to integrate

StreamNet with a wide variety of home

subsystems (lighting, security, telephones,

doorbells, air conditioning etc). Most

advanced systems are migrating to IP

networked control. StreamNet will also

integrate via RS-232 commands sent over

Ethernet, and IR commands.

pg 64StreamNet Digital Media and System Design Reference Guide

StreamNet FAQ

7. How do I program a StreamNet system?

Normally a StreamNet system is installed

and setup by an Authorized trained

professional installer. A Dealer setup

program that runs on a standard web

browser is used to configure the system

and IR.

8. I’m working on a project now, what do I need to know?

The wiring infrastructure is quite simple.

Ideally run CAT5e plus a 4 conductor

speaker wire from the location where

your sources will be out to each room.

Drop a service loop in a location where

you would install a control keypad

(typically near a door entrance or by

a desk) and then continue the wire

(including the CAT5e) up to the speaker

locations. If you anticipate installing

an Audio Port, which can export the

networked audio into a local system,

adding a sub woofer, or inputting a local

source in the system, the run another

CAT5e from the control keypad to that

source.

9. How do I control the music with StreamNet?

There are many ways to select and

control what you listen to in a StreamNet

system. TouchLinX keypad, which offer a

3.8 color LCD and touch-screen, mount

in the wall, at any desired location.

These keypads generate a rich user

interface and can control the audio and

sources in any room. The system can

also be controlled via KeyLinX button

keypads, a wireless equipped PDA, a

computer, or any web enabled device.

10. Can I stream music from my PC to the StreamNet system?

Yes, but the meta-data (song title, track

title, artist name) available on the PC can

not be distributed at this time. This will

change in the near future when ClearOne

makes available software that will allow

your PC to stream its music, meta-data

and control functions.

11. Can I listen to Internet Radio Stations on a StreamNet system?

Yes, but the Internet Radio source must

be IR controlled and you must use a

MediaLinX to proxy this source onto

the network. This will change in the

future when ClearOne makes available

a networked Internet Radio, which in

addition to streaming its audio, it will also

stream its meta-data, and control.

12. How is StreamNet different from other systems that distribute uncompressed (WAV) or MP3 files?

While StreamNet makes it very easy to

listen to MP3 audio files, its capabilities

are not nearly that limited. StreamNet

gives you access to far more then just

MP3 files. The system can distribute

any source, including CD’s, AM, FM, TV

sound, even your old 8 track tapes! All

of your music is easily accessed and

controlled. Systems that are designed

primarily to distribute MP3 files do not

allow you to listen to you CD’s, without a

CD player in your room and the hassle of

finding the CD wherever in the house it

pg 65 StreamNet Digital Media and System Design Reference Guide

StreamNet FAQ

may be. StreamNet also offers far superior

sound quality. Unlike MP3 files, which

compress the sound by literally discarding

70% of the musical information, StreamNet

can distribute your music collection in full,

uncompressed fidelity. Should you decide

to listen to MP3 files, StreamNet offers

complete control over your music library

so that you can browse and sort by artist,

album genre or song title. And StreamNet

allows you to play different music in each

room or the same music in all rooms,

simultaneously; beautifully synchronized

(other systems simply cannot perform this

important function).

13. What compression ratios of MP3 does StreamNet support?

The StreamNet system supports the

following compression ratios of MP3

files, VBR (variable bit rate) 64 to 320

kbps. Support for additional Codec’s

will be added in the future, and may be

downloaded directly.

14. What is TCP/IP?

TCP/IP stands for Transmission Control

Protocol/Internet Protocol. This is the basic

communication language for computers

on the Internet (also on intranets and

extranets).

15. What does ClearOne recommend for sources?

You can use any sources you wish, analog,

digital or networked. StreamNet can

handle everything from the newest hard

disc based audio servers to old 8 track

players.

16. Can I use a different remote control?

There are many different types of remote

control options. Any learning remote can

control sources on a StreamNet system.

You can also use any device equipped with

a web browser.

17. What is the Expansion Interface module (EIM) used for?

There are many different uses for it. You

can use analog wall mounted input plates,

Bluetooth Digital Interfaces, External

amplifiers, Keypads, and more.

18. If I am transferring files or browsing the Web, will it interfere with the music?

No . The StreamNet system uses a very

sophisticated network technology to ensure

complete integrity of all StreamNet and

data traffic on the network is maintained.

19. How far can I run the wires for StreamNet?

For maximum quality and reliability,

ClearOne always recommends adherence

to the guidelines for networking practices

of the IEEE 802.3 standard. Nominally that

means runs up to 100 meters are fine,

beyond that, a repeater or other devices

can be installed to extend the range to

whatever you require. For very long runs,

you may wish to use a local power supply.

pg 66StreamNet Digital Media and System Design Reference Guide

StreamNet FAQ

20. Can I program the music to turn on and off and specific times?

Not yet, but in the near future, you

will be able to this. Since the firmware

for the system can be upgraded via

the internet. Users will be able to set

wake alarms and sleep alarms for

each room via their TouchLinX touch-

screens.

21. Why should I locate the amplifiers at the speakers?

There are lots of very significant

advantages to locating the amplifiers

as close to the speaker as possible.

The foremost advantage is that it

helps the system sound great. The

closer the amplifier is to the speaker,

the better the power transfer and

control. This design also protects

your investment in your entertainment

system. Many other systems place

all the amplifiers in on unit, where

they may generate a tremendous

amount of heat, dramatically reducing

the lifespan of the other electronics.

Additionally, in the unlikely event of

an amplifier failure, only one room is

disturbed and a replacement can be

simply plugged in. If all the amplifiers

are in one unit, losing just one channel

means the entire system must be

shut down until the amplifier can be

repaired and returned. This typically

takes weeks. ClearOne’ design would

have you back up and running in

minutes (and all the rest of the system

would operate perfectly the entire time.

22. Can I mount the amplifiers in another location?

Yes. SpeakerLinX intelligent amplifier

modules can be mounted to a truss

or a beam, inside a wall (decorative

cover plate sold separately), or rack

mounted (up to 4 on each rack mount

plate (also sold separately).

23. How loud will the music play?

That will depend on the speaker and

the room, but it’s safe to say loud

enough for just about anything. Having

a powerful amplifier located right at

the speaker maximizes the efficiency

of the amplifier/speaker combination.

And if you want even more power,

an additional amplifier (or amplified

subwoofer) can be easily added to the

room where the speakers are located.

24. Does StreamNet distribute digital (SP/DIF) audio?

StreamNet can distribute analog,

digital or compressed (MP3, WMA)

files with no loss. The audio is

transmitted via TCP/IP, overcoming the

normal limitations of analog or digital

audio distribution.

25. Can I use SpeakerLinX with any speaker?

Yes you can. Your system designer can

help select the proper SpeakerLinX

module for optimum performance.

SpeakerLinX modules can be mounted

on or near the speaker, in the room

or even in the main equipment rack.

Wherever it is located, the module will turn

your speaker into an IP enabled device.

pg 67 StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

Why AV designers must “conquer” HDMI

Hollywood studios and major television networks require that devices supporting

(transmitting) HD video do so only to protected outputs that use HDCP. The Blu-ray Disc

Association (BDA) delayed activation of the image constraint token (content protection flag)

to help minimize transition issues. However, after December 31, 2010 all new BD players

must limit analog video output of Blu-ray disc content to interlaced standard definition

(480i). And in fact, the BDA has set December 31, 2013 as the expiration date for analog

video on a BD player, stating that no player passing “Decrypted AACS Content” to analog

video outputs may be manufactured or sold after this date. This means future HD movies

will not be viewable at HD resolutions over analog or other unprotected interfaces, making

any AV distribution system designed solely around analog or unprotected signals suddenly

obsolete. Furthermore it is important to note that a similar situation exists with premium

cable and satellite TV, in which the Motion Picture Association of America (MPAA) is

petitioning the FCC to restrict HD transmission to protected outputs.

Unfortunately for the modern AV systems designer, HDMI can be challenging as it was

never intended for multi-point distribution applications making system designs all that

more challenging in all but the smallest of applications. However, for those designers

using StreamNet products and solutions, common HDMI problems and issues are all but

eliminated.

pg 68StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

HDCP Keys

HDMI with HDCP was created as a consumer technology to enable point to point secure

transfer or transmission of high quality digital content such as HD, and it was never intended

to be used in large multi-source and multi-display (zone) applications required by modern

residential or commercial AV projects. This means, too many devices in a signal path is

destined to create problems with the display of audio and video content.

HDMI source devices all have a limit to the number of downstream devices they support.

This limit is determined by the number of available HDCP keys in the device. All HDMI

sources that utilize HDCP limit the number of devices which may be connected at one

time. For this reason an important aspect of HDCP for all AV designers and installation

professionals is the use of “keys” which HDCP utilizes to manage handshaking between

devices.

The HDCP specification states the maximum depth (number) of devices between source

and display is six (6). This means connecting too many displays or video devices will cause

the source to stop outputting a signal without warning in most HDMI switching systems.

However, a unique feature of StreamNet is that the system actually provides user guidance

to the user of options available in an extended condition and provides choices, compared to

simply shutting off the stream without warning or explanation as most other HDMI switching

or digital transmission solutions would do.

pg 69 StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

HDCP Keys continued

Following is a more technical description of HDCP, beginning with two primary parts:

1. Authentication

2. Encryption

Using HDCP, authentication ensures all HDMI connected devices receive only content that is

licensed and authorized. Only after successful authentication will the display device output a

stream.

In a multi-point AV system, HDCP encrypts each segment of an AV transmission, and HDCP

authenticates every device via the source. Devices that re-transmit HDCP content inform

the source of all the downstream connections. This means every HDCP device has a unique

ID, known as a Key Selection Vector or KSV. The KSV must be passed to the source, which

then verifies every device before beginning to transmit content. In large systems, it is this

authentication process that frequently creates extended switch times when a new source is

selected. With StreamNet, because of its persistent architecture and method of handling

keys, switch time is nearly eliminated leading to a vastly improved user experience.

It is important to note that all sources have a predetermined limit on the number of display’s

which may be connected. This limit is caused by the number of KSV’s the source is able to

accept. Though HDCP allows for up to 127 devices, sources generally support as few as ten

and we have even found some which only support a single display.

The reason this can be a problem is when a repeater presents a source with too many

KSV’s, the source will stop transmitting content with no explanation. For this reason

installers must be aware of KSV limits in any HDMI installation involving more than one

display. We highly suggest testing devices in the field before completing a system design to

ensure your intended system results and performance may be achieved.

pg 70StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

Manufacturer Model HDCP Key Count Chart

Manufacturer Device Type Model Name HDCP Keys

Advanced Digital Broadcast

Anchor Bay Digital Video

Apple Digital Media Player Apple TV (gen 1) 16

Crestron Digital Media Player ADMS 16

Denon BD Player BDP-1610 16

DirecTV Satellite STB HR21 N/A

Dish Network Satellite STB ViP-211 16

DVICO Digital Media Player TViX HD M-6500A none

EchoStar Europe Satellite STB Vi P211 16

Echostar STB Satellite STB VIP-222 16

Enseo Tuner HD2000 16

Insignia BD Player NS-2BRDVD 13

Integra BD Player DBS 30.1 3

Integra BD Player DBS 6.9 3

LG BD Player BD-270 10

LG BD Player LG-BD370 10

LG BD Player LG-BD390 16

LG BD Player Super Multi-Blue 16

Marantz BD Player BD-7003 3

Marantz BD Player BD-7004 3

Marantz BD Player DV4001 9

Microsoft Game Console XBOX 360 16

Motorola Cable STB DCH-3416 1

Motorola Cable STB DCT-3200 1

Motorola Cable STB DCT-3412 1

Motorola Cable STB DCT-6412 1

Motorola Cable STB DCT-6416 1

Motorola Cable STB VIP 1200 16

Panasonic BD Player DMP-BD30 3

Panasonic BD Player DMP-BD35 3

Panasonic BD Player DMP-BD60 3

Panasonic BD Player DMP-BD80 3

Philips BD Player BDP 7200 16

Philips DVD Player DVP5990/12 9

Pioneer BD Player BD-LX80 16

Pioneer BD Player BD-LX91 16

Pioneer BD Player BDP-6000 16

Pioneer Elite BD Player BDP-05FD 16

Roku Digital Media Player N1000 16

IPTV STB ADB-3800W 16

Edge 101 8

Processor

Manufacturer Device Type Model Name HDCP Keys

Samsung BD Player BD-P1000 16

Samsung BD Player BD-P1500 7

Samsung BD Player BD-P-1600 7

Samsung BD Player BD-P-3600 16

Samsung BD Player BD-T3600 16

Samsung BD Player BD-UP5000 10

Samsung BD Player DBD-P1500 16

Scientific Atlanta Cable STB Explorer 4250HD 16

Scientific Atlanta Cable STB Explorer 8300HD 16

Sharp BD Player BD-HP20 16

Sharp BD Player BD-HP21U 3

Sharp BD Player BD-HP22 3

Sharp BD Player BD-HP50 3

Sky Satellite STB Sky HD 16

Sony BD Player BDP-S2000ES 16

Sony BD Player BDPS301 16

Sony BD Player BDP-S350 8

Sony BD Player BDP-S360 8

Sony BD Player BDP-S5000ES 16

Sony BD Player BDP-S550 10

Sony BD Player BDZ-X100 8

Sony BD Player DVD-P DPX - 2380 9

Sony DVD Player DVP-NS71HP 16

Sony DVD Player DVP-NS72HP 9

Sony Game Console PS3 16

TiVoHD DVR STB TiVoHD 16

Toshiba HD-DVD Player HD-A20 10

Toshiba HD-DVD Player HD-A3 16

Toshiba HD-DVD Player HD-A30 16

Toshiba HD-DVD Player HD-A35 16

Toshiba HD-DVD Player HD-D3 16

Toshiba HD-DVD Player HD-E1 10

Vudu Digital Media Player VUDUBX100 16

Western Digital Digital Media Player WDTV N/A

This information has been deemed accurate based on HDCP key data

found on chip set data sheets and other Internet sources including

StreamNet receivers which capture and log all HDCP information of the

connected source unit(s).

pg 71 StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

EDID and DDC

EDID stands for Extended Display Information Data. This is the data contained on each DVI

display or HDMI sink and there may be as many as one EDID per DVI or HDMI input. The

source device checks the display’s DVI or HDMI port for the presence of an EDID prom and

uses the information to optimize the output video and / or audio format. All sink devices

compliant to the DVI or HDMI specification must implement EDID.

EDID was formed as a standard to help PC monitors report their capabilities whereas

E-EDID is an extension of the EDID specification used traditionally by consumer electronic

devices to illustrate more advanced features. For example, PC monitors generally do not

support audio, so a traditional EDID structure would not account for this, whereas an E-EDID

would.

Before we discuss the role of EDID it’s important to understand the role of the DDC (Display

Data Channel) in the HDMI specification. In a video system, the vast majority of information

flow occurs from a source to a sink (display) where the video and / or audio travels. DDC

provides a back channel from the sink to the source to indicate events like hot-plug when

a new device is suddenly connected to the system or HDMI chain. The sink communicates

its display output capabilities back to the originating source device using DDC. Without this

feature, devices like DVD players would have to guess at what video / audio formats any

given display is optimized for.

An EDID PROM is used only in sink devices where this PROM sits on the DDC channel and

uses a 2-wire I2C bus (part of the DDC specification from www.vesa.org) to communicate

from the sink to the source. The EDID PROM contains information about the sink it resides

in. Its job is to communicate the preferred (or supported) video and audio formats and

resolutions to the originating source.

As an example, when a DVD player is powered on, it reads the EDID from an attached

HDTV. The HDTV will have in its EDID data pertaining to the size and type of display along

with native resolution, all supported resolutions including video connection capabilities, and

audio support. A connected source would compare this information with what it can put

out of its HDMI port, and automatically set itself up to send the best video and audio format

appropriate for the display.

pg 72StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

Repeaters

One limitation of HDMI is that traditional cables are general only certified for use up to

10 meters in length. However, HDMI technology has been designed to allow standard

copper cable construction at longer lengths but requires the use of a repeater to extend

beyond 10 meters. In order to allow cable manufacturers to improve their products through

the use of new technologies, HDMI specifies the required performance of a cable but not

maximum cable length. NOTE: It is not only the cable that factors into how long a cable can

successfully carry an HDMI signal but also the receiver chip inside the display which also

plays a factor. Receiver chips that include cable equalization are able to compensate for

weaker signals, thereby extending the potential length of any cable used with that device.

It is important to be aware of both active and passive solutions when it comes to HDMI

cables. Whereas a repeater by definition must be active and therefore power supplied to

the device in some manner. Any HDMI device that has active electronics should have a

provision for external power in order to be compliant. Some active devices, such as actively

powered HDMI cables or in-line signal extender boxes, will by default attempt to power their

electronics by taking power from the 5V line (+5V power) available on the HDMI connector.

The HDMI specification requires all source devices to provide at least 55mA (milliamps) on

the 5V line for the purpose of reading the EDID of a display.

While 55mA is not enough current to operate most HDMI accessory devices (which

typically require about 100 to 150mA), most source devices on the market today provide

significantly more current on the 5V line than the HDMI specification requires. As a result,

the vast majority of accessory devices can operate when interfaced with a source device

that provides more than the required current (i.e. over 100-150mA) on the 5V line. However,

it should never be assumed that the source device will provide enough power, and

manufacturers should make a provision for their powered HDMI accessory devices to obtain

external power.

For the AV systems installer and designer, what this means is that failure of video output

when a Repeater is used can often be attributed to a simple lack of adequate power. Just

because a device says it doesn’t need an external power supply, it is advisable to not use

it and select one where you can be assured the product will always have adequate power

regardless of the source that is connected.

pg 73 StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

The truth about matrix switches and HDCP

Many HDMI switches are nothing more than “muxers” providing digital cross connection

between multiple sets of HDMI inputs and HDMI outputs. For this reason, issues with HDCP

key exchange and EDID / DDC channel integrity where displays will suddenly stop working

or intermittent blanking occurs. It is not ClearOne’s purpose to identify products that do not

comply with HDCP licensing rules, however it is our objective to help dealers not fall into the

marketing hype of companies with potentially infringing products.

It has been reported that several well known manufacturers are making claims both public

and private about capabilities of their products which should the claims be true are in clear

violation of the Digital CP (HDCP) licensing agreement. We suggest if you have specific

applications or questions around HDCP that you speak with the vendor company and

consult a DRM licensing Attorney. To help navigate the marketing hype of these potentially

infringing vendors, dealers should pay close attention to any vendor making the following

claims.

1. Claim to have a special HDCP bypass or “lawyer” button.

2. Claim they can support more simultaneous displays than the connected source

supports. We suggest you consult ClearOne’s key count chart found in this guide.

3. Claim they can support more than 127 connected display devices.

4. Claim there is a consumer implementation of HDCP and a professional implementation

designed for the unique requirements of matrix switched HDMI systems.

5. Claim they have any “special” agreement with content providers.

6. Claim content providers don’t care because the professional and custom electronics

A/V channels are so small.

7. Claim they can sell you additional keys to support more devices.

pg 74StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

Troubleshooting matrix switch connectivity problems

When troubleshooting display problems with a matrix switch begin by taking the source to

within a standard HDMI cable length of the display (less than 10 meters) to test if syncing

between the source and display is possible.

Assuming the test is successful and you obtain a picture, work backwards from the display,

carefully accounting for every device in the signal chain. Simply go to the nearest upstream

device from the display and plug the source in to see if a picture may be obtained. By

repeating this process you can quickly determine where the signal is failing to pass.

Once the device not passing the video signal is identified, try physically switching inputs as

it is not always the case that HDMI Input 1 travels through the same silicon path as HDMI

Input 3, for example. Though better quality displays will offer the signal path regardless

of Input, we have seen examples where varying silicon parts are used which can lead to

sporadic performance across different displays.

Also, do not assume all HDMI cables are created equal. Furthermore, we encourage you

not to assume the more expensive a cable, the better it is! There are some well known

cases where the technical performance of a lower cost cable was actually better than the

more expensive interconnect. This is not to say there is no performance advantage to

higher end cables. As always don’t buy based on marketing hype, do your homework. And

when you find a good quality reliable cable, keep using them. Cables matter in every point

of an A/V system, but they really matter when dealing with HDMI.

One of the major advantages to StreamNet is the elimination of an HDMI matrix switcher,

which reduces overall system cost while improving system performance and reliability.

pg 75 StreamNet Digital Media and System Design Reference Guide

Solving Digital Media Related AV Problems

How StreamNet reduces HDMI switching time and improves system stability

Sync time between an HDMI connected source and display is typically around 2 seconds.

This can cause confusion with any user who selects a program source, fails to see a picture

and begins making other source selections. Source switching time is compounded in large

systems as every additional matrix switch, video processor or other HDMI connected device

in the chain increases the overall handshake and key exchange time.

Since StreamNet is not a matrix switched topology, switching between sources occurs

nearly instantaneously as the source is always in sync with the StreamNet encoder, and the

display is always in sync with the StreamNet decoder.

This means in practical application, a user on a StreamNet system experiences the speed

and reliability of analog, but with the picture quality, resolution and performance of digital.

StreamNet system architecture is point to point, exactly how the HDMI interface was

conceived to operate. With StreamNet, system stability is improved due to the elimination of

multiple levels of devices leading to fewer key exchanges, improving the odds of a display

not blanking.

pg 76StreamNet Digital Media and System Design Reference Guide

pg 77 StreamNet Digital Media and System Design Reference Guide

Glossary

Video Resolutions

Interlaced Scanning

Interlaced scanning displays (TV’s) show oddnumbered lines in succession, followed by the remaining even-numbered lines. This method is more prone to artifacts and was required for older cathode ray tube (CRT) video technology but is not needed for modern digital TV’s (DTV). However, much source material is still formatted in an interlaced format so all DTV’s will display interlaced video.

480i

480i where the “i” refers to the term interlaced is a form of standard definition digital television (SDTV). All analog and digital video outputs support this lowest level of video resolution.

Progressive Scan

Progressive scanning is a way of displaying images and video where all lines of every frame are drawn in sequence so the eye sees the entire picture at once as compared to interlaced video where the odd lines are alternated with even. For video with scenes of fast motion, progressive scanning provides the best visual presentation with the absence of visual artifacts such as interline twitter. Other benefits include better quality scaling to higher resolutions since scaling works with full frames.

480p

480p where the “p” refers to the term “progressive scan”, a form of standard definition digital television (SDTV) comparable to VGA computer displays. For reference, native resolution of DVD is 480p. However that resolution can be seen only if a DVD player outputs a progressive scan signal and the Digital TV accepts a progressive scan or component video input. It is also known as EDTV.

720p

720p where the “p” refers to the term progressive scan is one of two currently used formats designated as high definition television in the ATSC DTV standard. This technology comprises 720 vertical pixels and 1,280 horizontal pixels. 720p is not inferior to 1080i though 720p has fewer lines of resolution it has the advantage of providing progressive scanning and a constant vertical resolution of 720 lines, making it ideally suited to handle video with a high degree of motion.

1080i

HDTV standard that specifies an interlaced resolution of 1920 x 1080. Only analog component video and digital video outputs such as HDMI are able to support full 1080i video.

1080p

1080p is the highest resolution in the HDTV standard and refers to an image size that is 1920x1080, it is also often called progressive scan. Only digital video outputs such as HDMI are capable of supporting 1080p video. Be sure to check with your source and display manufacturers

to ensure the HDMI connectors on your equipment support 1080p as not all do.

Deep Color

Color depth standard associated with the HDMI

1.3 standard. Deep Color supports 10-bit, 12-bit and 16-bit color depths, an increase from 8-bit. Benefits of increased color bit depth include finer gradations between different shades of the same color meaning the viewer will experience smoother gradients and reduced color banding. Deep Color also enables the potential for a supported TV to display billions of colors. To view this improvement the entire video production chain must support Deep Color from the camera, editing software, video format, player, and display.

Video Scaling

In DTV because of the myriad of formats and resolutions possible, scaling is the process a display device (TV) must use to map the source to the actual capabilities of the display. For example, the conversion from a higher resolution input signal to a lower one.

Aspect Ratio

The ratio of width to height in a video display window. Traditional U.S. TV broadcasts and computer monitors featured a 4 by 3 aspect ratio whereas HDTV broadcasts typically feature a 16 by 9 width to height ratio.

16:9

Sometimes expressed as 16 by 9, 16 x 9 or 16:9 (also known as 1.78:1 in the film world). 16 by 9 is the standard DTV widescreen television standard which is 16 units wide by nine units high, as compared to a standard TV aspect ratio of 4 by 3.

4:3

Standard NTSC TV screen size measured by four units wide by three units high and often expressed as 4 x 3 or 4 by 3. In the film world 4:3 is also expressed as 1.33:1.

Anamorphic

Adopted from the film technique of shooting a widescreen image on a square 35mm frame, anamorphic is the process of compressing widescreen images to fit into the squarer standard 4:3 television signal. The images are then expanded for viewing in their original format on a widescreen display device. Widescreen or letterboxed DVDs that are not anamorphic have less detail when projected on a widescreen monitor because fewer lines are used to draw the image on the display and thus full resolution is not achieved. A non-anamorphic widescreen DVD is designed to be shown letter boxed on a standard “square” TV but appears with a black box all around the image when shown on a larger 16:9 widescreen TV. To fill a 16:9 screen, a non-anamorphic DVD has to be stretched, resulting in loss of resolution and detail. Whereas an anamorphic DVD that has been enhanced for 16:9 displays delivers 33 percent more resolution than regular letterboxed transfers.

pg 78StreamNet Digital Media and System Design Reference Guide

Glossary

Signal types and video formats

Component video

The electrical elements that comprise a video signal, consisting of luminance and two separate chrominance signals. These are expressed as either Y R-Y B-Y or Y Pb Pr. Component video is the highest quality analog format for HD video up to 1080i.

DisplayPort

A digital display interface proposed by the Video Electronics Standards Association (VESA) that defines a new license-free, royalty-free, digital audio and video interconnect method intended to be used primarily between a computer and display monitor or computer and home theater system. A newer version known as DisplayPort Multimode may be converted to HDMI, DVI or RGBHV. Today nearly all DisplayPort sources implement DisplayPort Multimode.

DVI

Digital Visual Interface; a digital interface specification created by an industry consortium, the Digital Display Working Group. This universal standard for connecting flat panel monitors is also used for data projectors, plasma displays, and digital TVs. Using a DVI connector and port, a digital signal sent to an analog device is converted into an analog signal (if the device is digital, such as a flat panel monitor, no conversion is necessary). There are three different DVI configurations: DVI-A for analog signals, DVI-D for digital signals, and DVI-I (integrated) for both analog and digital signals.

DTV

Digital television is a generic term that refers to all digital television formats, including high definition television (HDTV) and standard definition television (SDTV).

HDMI

High Definition Multimedia Interface. USB-like digital video connectivity standard designed as a successor to DVI. Transmits both digital audio and video signals and incorporates HDCP digital copy protection.

SDTV

Standard definition television. Digital television format that includes 480-line resolution in both interlaced (480i) and progres- sively scanned (480p) formats; offers discernible improvement over conventional analog NTSC picture resolution, with less noise; similar to DVD or satellite TV quality but not considered high definition.

Widescreen

An image with an aspect ratio greater than 1.33:1, or a picture wider and narrower than a traditional television image. Typi- cally refers to TVs in the 16:9 aspect ratio. Y Pb Pr (Component Video) Y Pb Pr (also known as component video) is specified as luminance, and two chrominance channels of blue minus luminance and red minus luminance. This can also be written as Y Cb Cr (or Y R-Y B-Y).

DRM and Security

Authentication

Authentication ensures digital data transmissions are delivered to the intended receiver, and also guarantees integrity of the data and its source. The simplest form of authentication requires a username and a password but authentication protocols may also be based on secret key encryption, such as DES, or on public key systems using digital signatures. Modern DRM (digital rights management) systems all use more advanced key encryption schemes.

DRM

Digital Rights Management is any secure technology which enables the copyright owner to control access to their intellectual property (such as a music, video, or text file) and to specify what a user may do with it. For example, DRM can both encrypt a file so it cannot be easily played outside the intended playback environment, and DRM can control access such as with a 48 hour rental window.

HDCP specific terms:

Authorized Device

An HDCP Device that is permitted access to HDCP Content is referred to as an Authorized Device. An HDCP Transmitter may test if a connected HDCP Receiver is an Authorized Device by successfully completing the following stages of the authentication protocol – Authentication and Key Exchange (AKE) and Locality check. If the authentication protocol successfully results in establishing authentication, then the other device is considered by the HDCP Transmitter to be an Authorized Device.

Content Stream

Content Stream consists of Audiovisual Content received from an Upstream Content Control Function that is to be encrypted and Audiovisual Content received from an Upstream Content Control Function that is encrypted by the HDCP System.

Device Key Set

An HDCP Receiver has a Device Key Set, which consists of its corresponding Device Secret Keys along with the associated Public Key Certificate.

pg 79 StreamNet Digital Media and System Design Reference Guide

Glossary

Device Secret Keys

For an HDCP Transmitter, Device Secret Key consists of the secret Global Constant. For an HDCP Receiver, Device Secret Keys consists of the secret Global Constant and the RSA private key. The Device Secret Keys are to be protected from exposure outside of the HDCP Device.

Downstream

The term, downstream, is used as an adjective to refer to being towards the sink of the HDCP Content. For example, when an HDCP Transmitter and an HDCP Receiver are connected over an HDCP-protected Interface, the HDCP Receiver can be referred to as the downstream HDCP Device in this connection. For another example, on an HDCP Repeater, the HDCP-protected Interface Port(s) which can emit HDCP Content can be referred to as its downstream HDCP-protected Interface Port(s). See also, upstream.

Global Constant

A 128-bit random, secret constant provided only to HDCP adopters and used during HDCP Content encryption or decryption

HDCP Content

HDCP Content consists of Audiovisual Content that is protected by the HDCP System. HDCP Content includes the Audiovisual Content in encrypted form as it is transferred from an HDCP Transmitter to an HDCP Receiver over an HDCP-protected Interface, as well as any translations of the same content, or portions thereof. For avoidance of doubt, Audiovisual Content that is never encrypted by the HDCP System is not HDCP Content.

HDCP Device

Any device that contains one or more HDCPprotected Interface Port and is designed in adherence to HDCP is referred to as an HDCP Device.

HDCP Encryption

HDCP Encryption is the encryption technology of HDCP when applied to the protection of HDCP Content in an HDCP System.

HDCP Receiver

An HDCP Device that can receive and decrypt HDCP Content through one or more of its HDCPprotected Interface Ports is referred to as an HDCP Receiver.

HDCP Repeater

An HDCP Device that can receive and decrypt HDCP Content through one or more of its HDCPprotected Interface Ports, and can also re-encrypt and emit said HDCP Content through one or more of its HDCP-protected Interface Ports, is referred to as an HDCP Repeater. An HDCP Repeater may also be referred to as either an HDCP Receiver or an HDCP Transmitter when referring to either the upstream side or the downstream side, respectively.

HDCP Session

An HDCP Session is established between an HDCP Transmitter and HDCP Receiver with the transmission or reception of rtx as part of the

authentication initiation message, AKE_Init. The established HDCP Session remains valid until it is aborted by the HDCP Transmitter or a new HDCP Session is established, which invalidates the HDCP Session that was previously established, by the transmission or reception of a new rtx as part of the AKE_Init message.

HDCP System

An HDCP System consists of an HDCP Transmitter, zero or more HDCP Repeaters and one or more HDCP Receivers connected through their HDCPprotected interfaces in a tree topology; whereas the said HDCP Transmitter is the HDCP Device most upstream, and receives the Audiovisual Content from one or more Upstream Content Control Functions. All HDCP Devices connected to other HDCP Devices in an HDCP System over HDCPprotected Interfaces are part of the HDCP System.

HDCP Transmitter

An HDCP Device that can encrypt and emit HDCP Content through one or more of its HDCPprotected Interface Ports is referred to as an HDCP Transmitter.

HDCP

HDCP is an acronym for High-bandwidth Digital Content Protection. This term refers to this content protection system as described by any revision of this specification and its errata.

HDCP-protected Interface Port

A logical connection point on an HDCP Device that supports an HDCP-protected Interface is referred to as an HDCP-protected Interface Port. A single connection can be made over an HDCP-protected interface port.

HDCP-protected Interface

An interface for which HDCP applies is described as an HDCP- protected Interface.

Master Key

A 128-bit random, secret cryptographic key negotiated between the HDCP Transmitter and the HDCP Receiver during Authentication and Key Exchange and used to pair the HDCP Transmitter with the HDCP Receiver.

Public Key Certificate

Each HDCP Receiver is issued a Public Key Certificate signed by DCP LLC, and contains the Receiver ID and RSA public key corresponding to the HDCP Receiver.

Receiver Connected Indication

An indication to the HDCP Transmitter that an active receiver has been connected to it. The format of the indication or the method used by the HDCP Transmitter to connect to or disconnect from a receiver is outside the scope of this specification.

Receiver Disconnected Indication

An indication to the HDCP Transmitter that the receiver has been disconnected from it. The format of the indication or the method used by the HDCP Transmitter to connect to or disconnect from a receiver is outside the scope of this specification.

pg 80StreamNet Digital Media and System Design Reference Guide

Glossary

Receiver ID

A 40-bit value that uniquely identifies the HDCP Receiver. It has the same format as an HDCP 1.x KSV i.e. it contains 20 ones and 20 zeroes.

Session Key

A 128-bit random, secret cryptographic key negotiated between the HDCP Transmitter and the HDCP Receiver during Session Key exchange and used during HDCP Content encryption or decryption.

Upstream Content Control Function

The HDCP Transmitter most upstream in the HDCP System receives Audiovisual Content to be protected from the Upstream Content Control Function. The Upstream Content Control Function is not part of the HDCP System, and the methods used, if any, by the Upstream Content Control Function to determine for itself the HDCP System is correctly authenticated or permitted to receive the Audiovisual Content, or to transfer the Audiovisual Content to the HDCP System, are beyond the scope of this specification. On a personal computer platform, an example of an Upstream Content Control Function may be software designed to emit Audiovisual Content to a display or other presentation device that requires HDCP.

Upstream

The term, upstream, is used as an adjective to refer to being towards the source of the HDCP Content. For example, when an HDCP Transmitter and an HDCP Receiver are connected over an HDCPprotected Interface, the HDCP Transmitter can be referred to as the upstream HDCP Device in this connection. For another example, on an HDCP Repeater, the HDCP- protected Interface Port(s) which can receive HDCP Content can be referred to as its upstream HDCP-protected Interface Port(s). See also, downstream.

pg 81 StreamNet Digital Media and System Design Reference Guide

Notes

pg 82StreamNet Digital Media and System Design Reference Guide

NOTES

pg 83 StreamNet Digital Media and System Design Reference Guide

StreamNet™ Digital Media and System Design Reference Guide

Contact TechSales for Installation, Design and Quote Assistance:

800-705-2103 techsales@clearone.com

About ClearOne

ClearOne is a global communications solutions company that develops and sells conferencing, collaboration, streaming media and connectivity systems for audio, video, and web applications. The reliability, ﬂ exibility and performance of our advanced comprehensive solutions enhance the quality of life through better communication, education, and entertainment.

NetStreams delivers the ultimate IP A/V experience by distributing high deﬁ nition audio and video over TCP/IP networks. NetStreams’ products offer unprecedented levels of performance, functionality, simplicity, reliability, and expandability. By combining audio/video content, metadata and control signals into one stream incorporating industry standards, NetStreams’ newly patented StreamNet® solutions are a smart investment, enabling the Power of AV over IP™ - today.

NetStreams’ StreamNet technology provides elegant solutions for streaming media & control applications such as digital signage, distribution of HD video and audio, LAN Cloud Matrix Switching™, and audio paging over data networks.

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ClearOne Digital Media User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual