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• The Dante Certification Program is a training program being offered by Audinate.

• This official certification lets your customers and peers know that you have the knowledge and skills required to successfully design and
roll-out Dante networks
• We’re doing this to provide a consistent set of methods and general knowledge about audio networking. This is sure to become
increasingly important as the technology becomes widespread and is adopted by more and more vendors, installers and customers.

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• With your Dante certification, you get use of the ”Dante Certified” logo for yourself. You also have the option to be listed in a directory of
fellow Dante Certified professionals at audinate.com.

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• Level 1 of the Dante Certification Program will be available online as well as “in person”
• It provides a background in digital audio concepts
• It covers basic automatic and signal routing using Dante Controller
• Setting up Dante in simple systems
• Using Dante Virtual Soundcard to record audio
• Level 1 may be all you need to successfully use smaller Dante networks, typically with 6 or so devices and 1 network switch.

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• Level 2 of the Dante Certification Program is generally delivered in person at various events conducted by Audinate and partners.
• It is targeted towards more experienced users who are running larger systems
• It covers details of Dante clocking options
• It outlines unicast and multicast network traffic and how Dante allows you to use both types
• It covers adjustment and monitoring of Dante latency
• It covers redundant Dante networks
• And it covers Dante software in depth, such as Dante Virtual Soundcard and Dante Via.

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• Taking a class like these is the first step to certification.
• All tests are conducted online at audinate.com
• There are 2 basic requirements to becoming Dante Certified:
• Pass the Level 1 online exam
• Pass the Level 2 online exam PLUS “hands on” exam at a live event

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A bit about Audinate, first.
• We are headquartered in Sydney, Australia.
• We are founded by, and employ many network engineers who deeply understand how networking and network standards work, and
how best to maximize performance for audio.
• We develop Dante as a 100% interoperable solution for ALL audio manufacturers. In this respect we are unique. We offer the same
technology to everyone, ensuring that every product that uses Dante can freely connect to any other, no questions asked.

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What do we make?

We are the sole creators and developers of Dante audio networking technology. We make all of it, from:

• Hardware modules and chipsets, sold to manufacturers in order to quickly and easily integrate Dante into their products.
• Development tools for manufacturers, so they can customize Dante to suit their needs and designs.
• And software products that allow audio professionals to use Dante;
• Dante Controller, which is the essential tool for managing a Dante network
• Dante Virtual Soundcard, software that lets you use any Digital Audio Workstation software you prefer directly on a Dante network, and;
• Dante Via, another software product that allows you to put connected audio products and applications directly on a Dante network.

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Level 1 topics:
• Digital audio basics
• IP networking basics
• What is Dante?
• Using Dante, with tools such as Dante Controller and Dante Virtual Soundcard

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We’ll start with a refresher on digital audio basics. There are a few key concepts here that help us to understand how Dante works, and
how to understand requirements surrounding subjects like bandwidth and latency.

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When we convert analog audio to digital, the analog signal is sampled at constant intervals of time. At each interval, the amplitude of the
analog signal is captured, and then represented as a number. This method produces a stream of values in time, and is known as Pulse Code
Modulation, or PCM. It is the most common format for digital audio, used in CD players since the very beginning.

PCM audio itself is uncompressed, by definition.

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The Sample Rate is just what is sounds like – how fast are the audio samples being taken? The math tells us what to do; the Nyquist
theorem states that if samples are taken at least twice the maximum analog frequency we wish to capture, then we can faithfully
reconstruct the entire signal.

Human hearing is generally agreed to be in the range of 20Hz to 20kHz, which indicates that a sample rate of 40kHz is sufficient. In practice,
this rate is pushed up to 44.1kHz (the old CD Redbook standard) or 48kHz (the most common value in pro audio), as these values fit nicely
with frame rates used in film and video standards. Higher sample rates allow for higher frequencies to be captured.

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Bit Depth determines how accurate each audio sample can be, by determining how many possible values our scheme can represent.

If, for example, I were to use only 4 binary digits – 1s and 0s – to represent my audio, I’d have only 16 possible levels of amplitude with
which to describe each sample. Not very good, really.

Remember those old video game soundtracks, like on Atari? That stuff is 8 bits of resolution, or 256 possible levels of amplitude.

The CD uses 16 bits, and we all know how that sounds – pretty darn good, allowing 65,536 possible values. When we jump to 24 bits, we
have 16,777,216 possible values!

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From a purely technical perspective, Increasing both sample rate and bit depth will improve the absolute fidelity of a system, as they each
represent more data per second being captured. There are many differing opinions regarding the human perception of audio, and Dante
does not impose any judgment in this regard.

It makes sense that increasing both sample rate and bit depth increases the bandwidth required to transmit the digital signal – a higher
sample rate means more samples per second, and a higher bit depth means that each sample is that much bigger. For this reason, many
products that support multiple sample rates offer reduced channel counts at higher sample rate values, as they are constrained by the rate
of data they can provide.

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Now we can think a bit about bandwidth – that is, the amount of data required per second for digital audio.

Ignoring for a moment the overhead required for networking, audio bandwidth is easily described – it is simply the sample rate times the
bit depth, times the number of channels.

As an example, in a common pro configuration of 48kHz and 24-bit depth, 64 channels of pure PCM audio will consume 74mbits/sec, as
shown here.

Once we fold in network overhead (which is more variable) we arrive at a figure of approximately 96mbits/sec for 64 channels of Dante
networked audio. It's easy to see that on a gigabit network - that is 1000mbit/sec - even 64 channels of audio consume less then 10% of
the available bandwidth on a single link. The bandwidth constraints of earlier systems are simply not an issue with gigabit systems.

Note that in audio networking, calculating the exact bandwidth required is not as simple as merely multiplying sample rate and bit depth.
Nonetheless, this provides us with a sense of the capacity offered by modern audio networks.

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The Word clock is the clock that determines how data is interpreted in a digital system. Once audio has been sampled and is represented as
a series of digital values in time, we need to make sure that all devices in our system agree about how to read those values in time. They
need to agree about when each sample begins in a stream of 1s and 0s, so that the values can be faithfully converted back into analog
signals.

For this reason, digital systems always rely upon a single Clock Master as a reference.

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You’ve probably heard the term “jitter”. You may have even heard actual jitter. Jitter is a type of distortion that results from a word clock
being inconsistent. The samples no longer are played out exactly when they are supposed to.

While jitter exists in all digital audio system, it is recognized as a potential problem in legacy transports like AES3, MADI and ADAT. In those
systems, the word clock is embedded in the audio signal as a "start of frame" message which must be "unpacked" from the data stream,
which contributes to misalignment under some signal conditions, especially when connecting many devices together.

The classic solution was to use an expensive external clock that would “slave” each device, and thus force clock alignment between them.
Dante uses a highly accurate clock synchronization method that ensures outstanding jitter-free performance for any number of connected
devices without the need for any external clock sources.

Note that the image shows an impossibly large amount of jitter, for visual purposes. In the vast majority of real-world digital systems, jitter
is inaudibly and nearly unmeasurably small.

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Latency is an issue in all audio systems. It is the delay incurred by the transport and processing of audio signals. This is really only a problem
is settings where the delayed and un-delayed signals are heard simultaneously, as in a recording studio when doing overdubs on a digital
recording system or floor wedges on stage that are combined with the sound of live instruments.

Of course, audio latency is very pronounced without any electronics at all. Since sound travels at about 343 meters per second, each 34cm
requires about 1 millisecond. This air travel delay is why towers are used to align speaker output with the heavily delayed audio coming
from the stage. If you’d like to hear what a system sound like with about 2ms delay between sources, stand in the middle of 2 stereo
speakers and move just 34 cm to the left or right.

In earlier audio networking solutions, such as VoIP, high latency was a real issue. As we’ll see, this is an area where Dante gives you
complete control.

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To summarize this section –

Digital audio works by playing out or recording samples

The bit depth describes the amplitude resolution, and sample rate determines the maximum frequency that the system can handle.

The word clock is key to the accurate transport of digital audio, because it’s all about data being processed as a function of time. This is why
Dante uses a clock distribution scheme that is designed to be robust and tightly synchronized even between hundreds of devices.

Networks can easily transport digital data. As we’ll see, ”time” is part of the special sauce that Dante brings.

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In this section, we’ll cover some very basic, essential networking concepts and help to clarify things that many audio professionals wonder
about.

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This is the first question that many audio professionals ask. When a new technology arrives, they naturally want to make sure that they
understand it.

Fortunately, the correct answer here is:

Not very much. Usually.

As we’ll see, modern networking standards and Dante work together to make most setups incredibly easy.

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From a networking perspective, most Dante systems are small and simple – they are usually doing only one thing, passing Dante audio and
control. There are really just 3 types of object on a simple network:

1. The things you are connecting – in this case, audio devices and probably a computer or two.
2. A switch or switches – these act as bridges that connect everything together
3. Cables that connect them.

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We often see this question arise – what kind of networking cable should I use for Dante?

The answer is: the same cable you’d use for any network. Audio traffic isn’t special in this regard. It’s just data.

Since gigabit network speeds are recommended for Dante, that means using CAT5E or CAT6 cable.

CAT6 is rated for greater noise resistance in electrically noisy environments. CAT5E will work fine the vast majority of the time.

All copper Ethernet cables are limited to runs of 100 meters or less.

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We are often asked about Wi-Fi. Isn’t that another medium for IP connections? Yes it is.

However, Wi-Fi differs a great deal from wired Ethernet. At present, Wi-Fi is not yet capable of supporting the low latency and drop-out free
performance of Ethernet cables, even under excellent conditions. For this reason, Dante devices will not recognize wireless networking as a
valid means of connection.

You may use Wi-Fi to connect a computer running Dante Controller to a Dante network. All control functions will work over Wi-Fi.

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People also ask if Dante works with fiber.

• Since this is just another way to do an Ethernet connection, the answer is simply “yes”.
• Fiber has advantages with distance, and can go several kilometers when required.
• Fiber requires switches that have fiber connections (Small Form-factor Pluggable, or SFP)

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Switches are always a big topic, but in many ways, they don’t have to be.

As mentioned previously, a good way to think of a switch is as a focal point that connects all your network devices together.

You can get switches to fit your needs, from very small to very large.

Switches are “smart”. They contain mechanisms that allow them to optimize traffic in many cases, and allow all the ports to go “full speed”
all the time, in both send and receive directions at once.

We strongly recommend that you only use gigabit speed switches. That extra bandwidth makes your life a lot easier.

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There are 2 basic types of switches you can buy: managed and unmanaged.

Unmanaged switches are less expensive, and offer no adjustments or settings.

Managed switches offer many different options and adjustments.

Which type do you need for Dante?

Nearly all the adjustments offered by a managed switch pertain to “mixed” networks in which you combine audio and other data – such as
a business that uses one network to do everything. If you are working with very heavily loaded networks, or putting Dante on an existing
shared network, a managed switch will likely be necessary.

Managed switches can help you with trouble shooting (e.g. bad cables), by having tools such as a web page which reports packet errors on
a switch port (as one example).

The answer is that either one can work just fine. If you are implementing a small, audio-only network, you can probably use an unmanaged

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switch with no problems at all.

In the examples we use here, no switch management is used. For dedicated audio networks, there is little need.

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Here’s a helpful thing to know:

• If you are using only one switch to connect your Dante devices, and
• You are only using the network for Dante audio

Then you don’t need a managed switch!

It is very common for small Dante systems to use only a single switch, and the settings that are recommended for very busy or mixed use
networks simply aren’t needed under those conditions. You can safely use unmanaged switches in these small networks.

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A special note about “green” energy efficient switches

The way that many are implemented may cause trouble with audio and other real-time media systems like Dante. This is especially true
when connecting multiple switches together.

In general, it is safer to disable or avoid switches with this feature.

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In earlier digital transport systems, you may have used a “daisy chain” topology for connecting your devices. This made sense in the analog
days, as we thought of each device as contributing some function in “series” with others: a mic goes to a preamp, which goes to some EQ,
which goes to be mixed, etc.

This can be done with networked audio products that contain switches in them. The data “hops” from one switch to another, which is very
convenient for small sets of interconnected devices. However, this type of topology doesn’t scale very well, as each “hop” incurs a potential
latency penalty. Too many and you cannot achieve low latency at all points on the network.

How many? In most cases of well-behaved switches, each hop imposes a very small penalty – typically several microseconds per switch
hop. However, the latency settings in Dante are based upon “worst case” assumptions and are thus quite conservative. If a “daisy chain” is
desired, we recommend that you test it to ensure that it works with the gear you have.

The primary problem with any ”daisy chain” isn’t latency – it’s that failure of any device in the chain will break connections to devices
further “downstream”. In general, switched networks are best thought of using a “star”, or “hub and spoke” topology. In such a setup, all
devices on a star are connected to a single switch. If any one device fails, the others continue to communicate. As the network gets larger,
additional switches may be brought in to extend the network. This method is generally how a network engineer would connect computers,

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for similar reasons.

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The diagram here is a good example of a “Star” topology in a Dante network. All devices – mics, a DSP, amplifiers and speakers are all
connected to a single switch. The switch is the center of the star to which all devices are connected. Note that the physical connections
shown here do not reflect the “flow” of audio through the system.

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The star topology is easily extended to larger systems – here are two small star networks joined together with another switch to form a
larger network. No device is more than 4 “hops” away from any other, making this a sensible design choice.

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In this larger example, 4 smaller stars are joined together by one switch to form a very substantial network in which no device is more than
4 “hops” from any other. In this example, we have 32 Dante devices connected – quite a bit for most audio applications, but very small for
an IP network.

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Let’s summarize this section:
• Always use gigabit switches
• Use CAT5E or CAT6 cable
• Use fiber for long runs (over 100 meters)
• Use either managed or unmanaged switches for smaller networks
• Dante-only networks with one switch do not require management features, and may safely use unmanaged switches.
• Use a ”Star” topology to minimize switch hops
• Avoid or disable “green” or EEE features

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This area is harder to grasp - not physical.

In old analog systems, a wiring diagram went a long way towards explaining what the system does – channels were physical cables that
went from outputs to inputs. But as we’ve seen in networks, the actual connections are logical – that is, they exist in software.

When devices are connected together in a Dante network, they communicate to one another by sending data from name to name,
controlled by software

Network cables are carrying lots of signals for lots of different devices. The wiring doesn’t tell you what the signals are or where they are
going.

Networking delivers data in packets that are addressed and sent to destinations. The data is reassembled at the destination.

Network technology is neutral to the type of data being transported. There is no need for a “special” audio network equipment.

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When you hear people talking about networking, you often hear about “network layers”. We don’t really need to deal with them in Dante,
but let’s clear up what they are.

Layers are a model for how IP networking works. In the full OSI model, there are 7 layers (!)
In audio networks, we are only concerned with the bottom 3 layers. Here’s what they are:

• Layer 1 – the physical layer. This is the actual physical medium being used to carry the traffic. For us, this means copper wire (CAT5E or
CAT6 cables) or fiber, connected to a port. As long as this layer conforms with standards, it freely allows us to build upon it, and create:

• Layer 2 – the data link layer. This is the layer at which hardware devices may recognized by their unique, fixed hardware addresses,
usually referred to as MAC or Ethernet addresses, Devices may now communicate using these numeric addresses.

• Layer 3 – the Network layer. This is the layer at which devices are assigned variable numeric addresses called IP addresses. Devices may
now communicate using these numeric addresses. The other members of the network don’t need to know the MAC address.

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• An IP address is a numeric value that is mapped to a device. It is not part of the device, and can be changed.
• A key point is that IP addresses define lines of communication. Devices can only directly communicate with others in same address range
on the network. A device with an IP address different from this defined range will not be able to communicate with others.
• In a LAN or stand-alone network, all IP addresses must be in the same range – and so we need a method that ensures that they are.
• IP addresses can be manually assigned, but are usually done automatically. They can be dynamic.
• Avoid manual, static IP addresses. They are rarely required and often result in problems due to human error, resulting in difficult to solve
problems such as duplicate IP addresses or unreachable devices that are out of the defined network range.

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The term LAN stands for local-area network. This kind of network is extremely common, and is typically what we have in our homes with a
Wifi access point and a few connected devices.

A LAN is a computer network that contains a relatively small number of devices (typically less then 200). Devices on an Ethernet LAN share
a common IP address range, which allows all devices to freely communicate with one another to send data and share resources. On a wired
Ethernet LAN, speeds are very high and reliability is excellent. Typical Dante installations are always on LANs.

Large business networks are commonly comprised of multiple LANs that are linked by routers. This practice provides useful segmentation
of groups of devices for security and traffic management.

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In audio networking, we often hear about “stand alone” networks. These are networks that are themselves LANs, all using a common range
of IP addresses. They are usually dedicated to a single primary purpose, and they are not connected to external resources such as the
internet or servers shared by other LANs. They are not connected to other LANs, but are islands of data traffic.

”Stand alone” is not really a technical term for distinguishing networks, but is a common method for separating responsibilities. For
example, an AV group may wish to have a separate network simply to avoid sharing costs and management tasks with an IT department. If
anything goes wrong, it is clear who needs to respond.

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• Because IP addresses are really important to a working network, Dante supports automatic addressing.
• When devices are connected together, Dante devices will self-assign addresses that create a working LAN, with no conflicts.
• No other components or configuration are necessary.
• Note that Dante fully supports all common means of managing IP addresses. They can be configured manually, or you can use a DHCP
server if you have one. But most Dante systems are stand alone networks using self-assigned addresses.

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To summarize:

1. Layer 3 is what enables the use of IP addresses in networking

2. Automatic addressing enables true ”plug and play” use of Dante in stand alone networks.
3. Stand alone networks are useful for keeping AV responsibilities separate from others – but not necessary from a technical perspective.

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44
Dante is technology comprised of hardware and software that transports precisely timed digital audio between devices using a standard IP
network.

Audinate develops this technology for the audio industry, ensuring that all manufacturers have a 100% interoperable high performance
solution, no matter what the brand.

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Dante builds upon IP networking to provide a host of features designed to make audio systems easier to deploy and use, while delivering
pristine, bit-perfect sound.

• All Dante devices use human readable names

• All audio is synchronized to a tolerance of 1 microsecond, for precision time alignment
• All devices are discovered automatically upon connection – no need to configure devices
• One-click routing of channels
• Low, 100% deterministic latency
• A clocking scheme that eliminates sources of jitter and clock propagation problems
• Automatic re-connection of all channels after power cycle or tear-down/setup.

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• In products, Dante interfaces are internally connected in just the same way as other digital I/O you might use, such as MADI, AES3 or
Ethersound.
• The difference is that rather than going from point to point with cables, the audio is placed on a network where it can be freely
distributed to as many other devices as you like, using software.
• As in many products that use interface cards, additional configuration is required to “tell” the product to use audio from a particular
card.

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A moment about bandwidth. Because many audio professionals have experience using older digital transports such as CobraNet or MADI,
they are accustomed to seeing strict channel count limitations, typically in the range of approximately 64 channels. It is natural to assume
that Dante might have similar constraints.

But it doesn't. The use of standard gigabit networking allows Dante to scale far beyond earlier systems, supporting as many as 512
bidirectional channels of audio for a single device on a single network port.

Referring back a our discussion of audio bandwidth earlier, we can see that with typical settings of 48kHz sample rate and 24 bit depth, a 64
channel bidirectional Dante device using all channels consumes only 1/8 the capacity of a gigabit link. This means that a Dante network can
safely handle hundreds or even thousands of channels overall.

Don’t worry about running out of room with Dante.

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• Recalling the description of sample rate, we know that it is key to communicating digital audio. Because Dante doesn’t convert sample
rates, you may only connect channels of devices that are running at the same sample rate. If you attempt a subscription between
channels with unequal sample rates, you will receive a clear error message.

• You may use different sample rates at one time on a Dante network, but only devices with common sample rates will be able to connect.

• Finally, recall that as sample rate increases, so does the amount of bandwidth required for each second of audio transmitted. As a result,
devices that support 64 channels at 48kHz may only support 32 channels at 96kHz (double the sample rate, double the bandwidth per
channel, half the number of channels)

• Dante supports all commonly used sample rates, from 44.1kHz up to 192kHz. Different products will typically support a subset of sample
rates that match the internal capabilities for that product.

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We defined latency earlier as the time required for a system to deliver audio from an input to an output.

• In Dante, latency is strictly defined and consistent. Default latency device latency is 1 millisecond, far below the threshold of noticeability
for live performances or studio overdubs. At this setting, receiving devices can be as much as 10 switch hops from transmitters, a
situation applicable only to very, very large networks.

• You can set Dante devices to go as low as 150 microseconds, or as high as 5 milliseconds to suit different situations.

• This setting is made on a per-device basis.

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When discussing digital audio fundamentals earlier, we talked about how important the work clock is. So how does Dante handle clocking?

• While many adjustments are permitted, the important thing to know is that by default, Dante handles clocking 100% automatically.
• Dante uses an election process that chooses the best Clock Master among devices, and all devices on the network use that clock as a
reference for synchronization.
• While a Clock Master is used to synchronize devices on the network, each Dante device incorporates its own high quality clock.
• By using this approach, jitter is eliminated as a problem on a Dante network, regardless of size.

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Dante is strictly audio transport. The audio data is not modified in any way, and is delivered bit-for-bit from any source to any destination.

Dante does not perform tasks other than transporting audio, such as:

• Sample rate conversion

• Level control
• MIDI
• SMPTE time code

These other items are handled inside products that support Dante. Control data such as MIDI or level control can easily be transmitted
alongside Dante audio between devices, but Dante is not involved.

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53
Dante Controller is free software from Audinate that works with all Dante-enabled devices from any manufacturer. It is the primary tool
used to setup and use Dante networks

Dante Controller is used to:

•Setup, view and or change audio signal routing
•Configure clocking (as needed)
•Adjust individual device parameters such as sample rate, etc.
•Monitor system health by observing actual latency behavior and clock quality.

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• LIVE DEMO PREFERRED
• When Dante Controller is launched with no devices connected, it appears empty.
• That’s because Dante Controller always shows the current state of the network, regardless of history.
• It’s important to understand that the state of a Dante network – the subscriptions, labels and settings – all reside on the Dante devices
themselves.
• This means that all copies of Dante Controller connected to a network will all “see” the exact same things.

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• LIVE DEMO PREFERRED
• Let’s connect a Dante device directly to our computer and see what happens – the device simply appears.
• This brings up a key point about Dante: all devices are self-discovering without pre-configuration.
• Note that the device has a human readable name. We can adjust that name, plus the names on the individual channels. No need for
cryptic numbers.
• This also bring up an important use case: a Dante device can simply be directly connected to a computer and be seen in Dante
Controller. No switch is necessary for this single connection. This type of setup can be very useful as a simple recording rig with a mixing
console and Dante Virtual Soundcard.

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• LIVE DEMO PREFERRED
• Now let’s use a switch to connect several devices at once, and they appear automatically just like the first.
• Now we can see two or more devices, so we can make a connection.

• Click the “+” sign by the words Dante Transmitters and Dante Receivers to reveal the individual channels.
• Use the “+” sign by each device name to open channels for only that device.

• Most Dante devices are both Transmitters and Receivers – analogous to Sources and Sinks for those who prefer that terminology.
• The transmitter channels always appear on the horizontal axis, the receivers on the vertical.

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Let’s send some transmitter channels from (A) to receiver channels (B)

LIVE DEMO PREFERRED

• In Dante, we call these connections subscriptions.
• Click the + sign to show the Transmitter channels on device A
• Click the other + sign to show the Receiver channels on device B
• Comment: this is like a big spreadsheet. We can see all the available channels on every device
• Remember from above: in order to connect, our devices must be using the same sample rate and bit depth. These devices are both set
to use a default of 48kHz/24-bit
• To subscribe this transmitter channel to this receiver channel, we simply have to click at the intersection on the grid
• A green checkbox appears, and that means we’re connected. That’s it.
• If our sample rates, bit depths and format types did not match, we would see an error message instead of the green checkmark.
• Let’s make a few more subscriptions with these two devices. Just click at intersections and you’re done.
• It’s that easy!

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• LIVE DEMO PREFERRED
• Deleting a subscription is just as easy
• Simply click on the green checkmark to disconnect a subscription.
• The icon disappears, indicating no connection.

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”Splits” – sending one channel to multiple devices and destinations– was hard with many legacy solutions, but it’s easy with Dante.

• LIVE DEMO PREFERRED

• Simply click at the intersections of the desired transmitter channels and multiple receiver channels. That’s it. No special hardware or
settings are required.
• The transmitter audio is sent to all receiver subscriptions. When splitting audio to more than 3 receiving devices, Dante Controller will
present a “Fan out” message, indicating that multicast use is recommended for optimal network efficiency. The topic of multicast is
covered in Level 2.

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Devices and associated channels can be given names of your choosing. It is highly recommended that you name your devices before doing
routing, in order to keep things clear.

LIVE DEMO PREFERRED

• To change a device name, double click the device name in the Routing view
• In the Device View that appears, click on the Device Config tab
• Edit the name as you please
• Click “Apply”, and it’s done

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• LIVE DEMO PREFERRED
• In addition to naming devices, you can use the Device View to label individual channels of transmitters or receivers.
• This is great for quickly identifying individual channels in a live mix, and makes it easy for volunteers or newbies to use the system.
• Think of it as a software version of the masking tape we typically find on consoles!

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In order for Dante devices to successfully subscribe to one another, they must be using the same audio format – in other words, sample
rate. This is adjustable for each device, in the Device View.

To access the Device View, double click the name of the device you wish to adjust

LIVE DEMO PREFERRED

• Navigate to the Device Config tab
• There you may adjust the sample rate and bit depth, here labeled as “encoding”
• Some manufacturers may allow only certain sample rates and encoding to be used, depending upon the product.
• By far the most common combination is 48kHz/PCM 24.

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LIVE DEMO PREFERRED

What happens when we disconnect or power down devices?

We all have to do this all the time, tearing down and setting up

• When we unplug or power down devices, they disappear from Dante Controller.
• Remember: Dante devices, not Dante Controller, contain the information about subscriptions. So what happens when we reconnect the
devices?
• When our devices are powered back up or plugged back in, they reappear in Dante Controller.
• All the subscriptions reappear as well!

• This brings up a great feature of Dante: the devices always remember what they are connected to. When you setup a system in a new
location, all the device subscriptions are automatically reestablished.
• You don’t even need Dante Controller for this to happen. Dante devices will automatically re-establish connections themselves.

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One final note – people often wonder if Dante Controller must be present for a Dante network to work.

No.

It is only required for making changes to the network – that’s all.

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Key takeaways from this section:

• Dante Controller automatically discovers and displays connected devices

• Dante displays devices with user-definable names
• For each device, Dante Controller displays both transmitter (source) and receiver (sink) channels.
• Channel to channel connections are called subscriptions
• Subscriptions are made and deleted by simply clicking at the intersection of transmit and receive channels for each device you are
connecting

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• Subscriptions may only be made between devices running the same sample rate and bit depth (encoding)
• Sample rate and encoding are adjustable (within manufacturer’s limits) in the Device View in Dante Controller for each device.
• Dante devices “remember” settings and subscriptions and automatically re-establish subscriptions upon power cycle or re-connection.
• Dante automatically selects a Master Clock from among the connected devices. There is usually no reason to change this selection.
• You don’t need to keep Dante Controller running on the network. It’s only needed for changes.
• Dante does not alter audio data in any way.

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In this section, we’ll introduce an incredibly useful tool, Dante Virtual Soundcard. Level 2 of this training contains a more in-depth look at
this product, but we’ll show you how you can start using it immediately using what you’ve learned here.

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• Dante Virtual Soundcard is software from Audinate that you install onto your Mac or PC.
• It behaves like a regular hardware soundcard in your computer, but instead of connecting to attached hardware, Dante Virtual Soundcard
connects to other Dante devices using a regular wired network connection.
• With Dante Virtual Soundcard, your computer becomes part of the Dante network. You can easily record and playout up to 64 channels
of audio directly on your computer, using your favorite applications such as Logic, ProTools, Cubase, etc.

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When Dante Virtual Soundcard is turned ON, it appears to be a regular audio device to your computer, just like any audio hardware you
might connect via USB, etc.

• Launch Dante Virtual Soundcard

• Set the necessary number of channels
• Start Dante Virtual Soundcard using the Start button

How Dante Virtual Soundcard appears as a device:

• On Mac OS X, Dante Virtual Soundcard appears as a standard Core Audio device.
• On Windows PC, Dante Virtual Soundcard supports either ASIO (very common for use with high performance recording software) or
WDM (very common for use with “consumer” audio products on Windows, such as Windows Media Player)

In the audio application you wish to use, connect to Dante Virtual Soundcard exactly as you would any physical sound device:
• Open the audio preferences for the application
• Choose Dante Virtual Soundcard from the list of possible audio devices to use as source and/or destination
That’s it.

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• Open Dante Controller (this can be on the same, or a different, computer on the Dante network)
• When Dante Virtual Soundcard is turned ON, your computer will appear in Dante Controller like anything other Dante device
• The name of the Dante device is the same as your computer’s name, by default. This can be changed in Dante Controller like any other
Dante device.
• The computer will display the number of transmitter and receiver channels configured in Dante Virtual Soundcard, above.
• Subscribe these channels like any other Dante device to send or receive audio.
• Example: to record a show from a mixer, we configure that mixer to send pre-fader outputs to its Dante card. We then subscribe those
Dante transmitter channels to the receiving channels of Dante Virtual Soundcard, and send the audio directly to our DAW.

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We strongly recommend that you continue on your path towards becoming a Dante expert. Level 2 gets in-depth on Dante Controller,
Dante Virtual Soundcard, and more about using networked audio effectively.

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Now that you’ve completed this session, we encourage you to take the online test and become Dante certified at Level 1.

• Create an Audinate account if you don’t already have one

• Navigate to http://www.audinate.com/certify and login with your Audinate credentials
• Choose the Level 1 test
• Once successfully completed, your certificate will be automatically generated and emailed to you.

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