音响系统

说白了就是网线

AES/EBU一直都有，看起来也不会被淘汰。用途不一样
Dante是AES67的一部分。有点像AES/EBU也叫AES3，MADI也叫AES10。

Ravenna,dante

还有一个协议是Waves的Waves soundgrid，目前现场用的很多。

音频传输协议 MADI  音频传输+控制协议 DANTE

Dante是应用最广泛的没跑了，兼容AES67.  
有点像手机领域的高通，提供芯片和解决方案。 降低了门槛.

AVB 在規格整合後也重新出來了...
另外MADI 的光纖，沒有100m的限制不用加緩衝，在遠距離的場所比較好佈建吧!

说白了就是网线里的来来回回的各种信号

我们都是用YAMAHA的产品接触入门DANTE ，建议你上雅马哈的专业音频网站上看看，资料很丰富。
   AES/EBU在广播领域应用很广泛，MADI是免费的应用也很广泛。

最先進可能談不上 有得必有失
所有標準有技術面
與 運作兼容性的現實面
更有商業運作落地的問題

音頻傳輸技術的臨界點在於應用範圍是否用於立即擴聲
在人耳能鑑別前
與越多的設備 透過更強大的拓樸組建系統

並依託已有的廣大通訊市場硬體支撐的基礎
才能降低成本

aes3 (aes/ebu) 是目前數字音頻的基礎
並且被許多協議引用
p2p 2ch 一條卡農線

AES10= MADI
P2P 載體 COAXIAL  OPTICAL FIBER
SOUNDCRAFT有變形載體 透過網線

AES50
P2P 載體 網線  OPTICAL FIBER

其他更多協議
https://en.wikipedia.org/wiki/Audio_over_Ethernet

网线的话还有SG和AVB协议，另外其他的也还有一些
各协议之间也可以互转，没什么最先进一说

学习了。链接的维基百科我这里登不上去，能否截图发下学习下？

Audio over Ethernet
In audio and broadcast engineering, Audio over Ethernet (sometimes AoE—not to be confused with ATA over Ethernet) is the use of an Ethernet-based network to distribute real-time digital audio. AoE replaces bulky snake cables or audio-specific installed low-voltage wiring with standard network structured cabling in a facility. AoE provides a reliable backbone for any audio application, such as for large-scale sound reinforcement in stadiums, airports and convention centers, multiple studios or stages.

While AoE bears a resemblance to voice over IP (VoIP) and audio over IP (AoIP), AoE is intended for high-fidelity, low-latency professional audio. Because of the fidelity and latency constraints, AoE systems generally do not utilize audio data compression. AoE systems use a much higher bit rate (typically 1 Mbit/s per channel) and much lower latency (typically less than 10 milliseconds) than VoIP. AoE requires a high-performance network. Performance requirements may be met through use of a dedicated local area network (LAN) or virtual LAN (VLAN), overprovisioning or quality of service features.

Some AoE systems use proprietary protocols (at the lower OSI layers) which create Ethernet frames that are transmitted directly onto the Ethernet (layer 2) for efficiency and reduced overhead. The word clock may be provided by broadcast packets.
Protocols
There are several different and incompatible protocols for audio over Ethernet. For example, using category 5 cable and 100BASE-TX signaling at 100 Mbits/second, each link can generally transmit between 32 and 64 channels at a 48 kHz sampling rate. Some can handle other rates and audio bit depths, with a corresponding reduction in number of channels.

AoE is not necessarily intended for wireless networks, thus the use of various 802.11 devices may or may not work with various (or any) AoE protocols.[1]

Protocols can be broadly categorized into Layer-1, Layer-2 and Layer-3 systems based on the layer in the OSI model where the protocol exists.

Layer-1 protocols
Layer-1 protocols use Ethernet wiring and signaling components but do not use the Ethernet frame structure. Layer-1 protocols often use their own media access control (MAC) rather than the one native to Ethernet, which generally creates compatibility issues and thus requires a dedicated network for the protocol.

Open standards
AES50
MaGIC by Gibson[2]
Proprietary
SuperMAC, an implementation of AES50[3]
HyperMAC, a gigabit Ethernet variant of SuperMAC[4]
A-Net by Aviom[5]
AudioRail[6]
ULTRANET By Behringer[7]
Layer-2 protocols
Layer-2 protocols encapsulate audio data in standard Ethernet packets. Most can make use of standard Ethernet hubs and switches though some require that the network (or at least a VLAN) be dedicated to the audio distribution application.

Open standards
AES51, A method of passing ATM services over Ethernet that allows AES3 audio to be carried in a similar way to AES47
Audio Video Bridging (AVB), when used with the IEEE 1722 AV Transport Protocol profile (which transports IEEE 1394/IEC 61883 over Ethernet frames, using IEEE 802.1AS for timing)
Proprietary
CobraNet
RAVE by QSC Audio, an implementation of CobraNet[8]
EtherSound by Digigram[9]
NetCIRA, a rebranded EtherSound by Fostex
REAC and RSS digital snake technology by Roland[10][11]
SoundGrid by Waves Audio
dSNAKE by Allen & Heath
Layer-3 protocols
See also: Audio over IP
Layer-3 protocols encapsulate audio data in OSI model layer 3 (network layer) packets. By definition it does not limit the choice of protocol to be the most popular layer-3 protocol, the Internet Protocol (IP). In some implementations, the layer-3 audio data packets are further packaged inside OSI model layer-4 (transport layer) packets, most commonly User Datagram Protocol (UDP) or Real-time Transport Protocol (RTP). Use of UDP or RTP to carry audio data enables them to be distributed through standard computer routers, thus a large distribution audio network can be built economically using commercial off-the-shelf equipment.

Although IP packets can traverse the Internet, most layer-3 protocols cannot provide reliable transmission over the Internet due to the limited bandwidth, significant End-to-end delay and packet loss that can be encountered by data flow over the Internet. For similar reasons, transmission of layer-3 audio over wireless LAN are also not supported by most implementations.

Open standards
AES67[12]
Audio Contribution over IP standardized by the European Broadcasting Union
Audio Video Bridging (AVB), when used with IEEE 1733 or AES67 (which uses standard RTP over UDP/IP, with extensions for linking IEEE 802.1AS Precision Time Protocol timing information to payload data)
NetJack, a network backend for the JACK Audio Connection Kit[13]
Zita-njbridge, a set of clients for the JACK Audio Connection Kit
RAVENNA by ALC NetworX (uses PTPv2 timing)
Proprietary
Livewire by Axia Audio, a division of Telos Systems
Dante by Audinate (PTPv1 timing)
Q-LAN by QSC Audio Products (PTPv2 timing)[14]
WheatNet-IP by Wheatstone Corporation[15]
Similar concepts
RockNet by Riedel Communications,[16] uses Cat-5 cabling. Hydra2 by Calrec[17] uses Cat-5e cabling or fiber through SFP transceivers.[18]

MADI uses 75-ohm coaxial cable with BNC connectors or optical fibre to carry up to 64 channels of digital audio in a point-to-point connection. It is most similar in design to AES3, which can carry only two channels.

AES47 provides audio networking by passing AES3 audio transport over an ATM network using structured network cabling (both copper and fibre). This was used extensively by contractors supplying the BBC's wide area real-time audio connectivity around the UK.

Audio over IP differs in that it works at a higher layer, encapsulated within Internet Protocol. Some of these systems are usable on the Internet, but may not be as instantaneous, and are only as reliable as the network route — such as the path from a remote broadcast back to the main studio, or the studio/transmitter link (STL), the most critical part of the airchain. This is similar to VoIP, however AoIP is comparable to AoE for a small number of channels, which are usually also data-compressed. Reliability for permanent STL uses comes from the use of a virtual circuit, usually on a leased line such as T1/E1, or at minimum ISDN or DSL.

In broadcasting and to some extent in studio and even live production, many manufacturers equip their own audio engines to be tied together with Ethernet. This may also be done with gigabit Ethernet and optical fibre rather than wire. This allows each studio to have its own engine, or for auxiliary studios to share an engine. By connecting them together, different sources can be shared among them. Logitek Audio is one such company using this approach.