AV-over-IP in 2026: Upgrading Event Production with Networked Audio & Video Systems

In a packed arena, an audio engineer no longer worries about running hundreds of meters of heavy copper snake cables across the venue. Instead, a single fiber cable carries dozens of pristine audio feeds while high-definition video signals zip through network switches to every screen. This is the promise of AV-over-IP in 2026 – replacing traditional analog and point-to-point audio/visual cabling with flexible, network-based systems. Event producers are increasingly trading cable spaghetti for streamlined networks that handle sound and visuals with unprecedented scalability and control. It’s a transformative shift that’s future-proofing event production infrastructures and unlocking new possibilities for shows of all sizes.

Event technologists with decades of experience have witnessed both triumphant successes and painful failures when implementing new tech. One common lesson: systems that seemed bulletproof in theory can falter under real-world event pressure if not designed and tested properly. AV-over-IP is no exception – while it offers tremendous benefits, it also introduces IT-style considerations like bandwidth limits, latency management, and cybersecurity. This comprehensive guide draws on hard-won lessons and case studies from festivals, concerts, and conferences that have made the leap to networked AV. You’ll learn practical steps for transitioning to AV-over-IP, how to avoid common pitfalls, and how to harness this technology to create more dynamic, efficient, and resilient events.

Understanding the Shift to AV-over-IP

Traditional AV vs. Networked AV Systems

Traditional event AV setups rely on dedicated cabling for each signal: XLR cables for analog audio, multicore snakes carrying dozens of channels, SDI or HDMI cables for video, and separate lines for lighting control. These point-to-point connections are fixed in function – an audio cable carries only audio, a video cable only video. Scaling up means exponentially more cables, matrix switchers, and distribution amps. By contrast, AV-over-IP sends audio and video as data packets over standard networks. A single Ethernet or fiber line can carry many channels of audio and multiple video streams simultaneously. Routing is handled in software rather than physical patching – if you need to send a video feed to another screen, you simply join it on the network instead of running a new cable.

To illustrate the difference, consider a typical medium-sized event:

In essence, the networked approach turns AV signals into IT managed data. This convergence has been happening for years in broadcast and installed AV. By 2026, it’s reaching live event production in earnest. The flexibility to route any signal anywhere and dramatically reduce bulky cabling is a game-changer for event teams tired of taping down wires and managing patch panels. As one seasoned production manager put it, “Our audio guy used to carry a 300-meter analog snake to every festival – now it’s a single fiber spool and a couple of network switches.”

Why 2026 Is the Tipping Point

Several trends have aligned to make 2026 a tipping point for AV-over-IP adoption at events. First, events are scaling up in size and technical complexity – even mid-sized festivals now have multiple stages, video walls, silent disco headphones, live streams, and intricate special effects. Managing these with old-school cabling becomes a logistical nightmare. Many organizers learned this as their events grew; as a result, scaling your event technology effectively often means embracing network-based systems from the ground up. The networking challenges at a 50,000-person festival or a multi-arena tour simply demand more flexible infrastructure.

Second, the technology itself has matured and come down in cost. A decade ago, audio-over-IP was mostly limited to top-tier touring acts and broadcast, and video-over-IP solutions were niche or proprietary. Now, widely adopted protocols like Dante and NDI (more on these soon) have proven themselves in countless productions. Hardware manufacturers have integrated network ports into mixing consoles, stage boxes, projectors, and cameras. What used to require expensive specialty gear can now be achieved with standard IT equipment – often the same gigabit switches and CAT6 cables used in office networks. This commoditization lowers the entry barrier significantly.

Finally, event producers are more IT-savvy and risk-aware in 2026. High-profile live events have suffered embarrassing outages and delays due to tech failures, increasing pressure to build more robust systems. A new generation of professionals fluent in both AV and IT is emerging, eager to leverage tools like remote device monitoring and software-based routing. The mindset is shifting: rather than fearing IP complexity, teams are learning how to manage it. Vendors are also offering better training and support, knowing that user error can sink an IP deployment. In short, the industry hype has given way to practical know-how.

It’s worth noting that this transition is gradual, not all-or-nothing. Many events operate hybrid setups during the changeover – for example, using networked audio between the stage and mixing console, but still running some legacy analog lines as backup or for simplicity on smaller components. This hybrid period is often key to gaining confidence. Event technologists recommend phasing in AV-over-IP components incrementally, so crews can get comfortable and documentation can evolve before completely retiring the old gear.

Debunking Common Misconceptions

Despite the momentum, some misconceptions still give event producers pause. Let’s tackle a few:

• “IP Networks are not reliable enough for live AV.” In reality, a well-designed event network can be far more reliable than analog/SDI cables. Quality managed switches rarely fail outright, and redundant paths mean the show doesn’t stop even if one link goes down. For example, at one large EDM festival, a core network switch overheated mid-show – but audio didn’t drop because the Dante audio network instantly failed over to its secondary switch. The audience never knew there was an issue. That kind of resilience is hard to achieve with analog alone, unless you ran two of every cable (impractical!).
• “Latency will ruin the experience.” Yes, sending signals over IP involves encoding/decoding that can add milliseconds of delay. But modern solutions are extremely low-latency: network audio protocols often add <1–2 ms one-way, and some IP video systems operate in the realm of ~1 video frame of delay. The extra latency is negligible when configured properly. In fact, many “all-digital” productions (digital consoles, DSPs, etc.) already incur a similar few-ms latency even without networking – and performers/audiences don’t notice as long as audio and video stay in sync. Managing latency is important, but it’s a solvable engineering detail, not a deal-breaker.
• “It’s too technically complicated for our crew.” Any new system has a learning curve, but event crews are quick learners – especially when the benefits are clear. User-friendly tools like Dante Controller (for managing audio routes) or NDI Studio Monitor (for viewing IP video streams) make daily operation fairly straightforward with some training. The workflows shift (you might be clicking a routing matrix on a laptop instead of patching a cable), but with proper training and gradual rollout, your team can absolutely master networked AV. Many vendors offer certifications (e.g. Audinate’s Dante Certification courses) which several savvy audio engineers now carry on their resumes. Over time, managing an AV network starts to feel as routine as tuning a PA system or focusing a projector.

Key Benefits of AV-over-IP for Event Production

Scalability Across Large Venues and Festivals

One of the biggest advantages of AV-over-IP is easy scalability to large venues and multi-stage events. On a traditional setup, sending audio or video to a new location (say an overflow viewing area or a delay speaker tower) can be a major project – pulling new cables, configuring matrix outputs, and often hitting limits of your hardware I/O. In a networked system, if the location is on the network (e.g. a network switch and an AV decoder device or powered speaker with a network jack), you can route any existing signal to it almost instantly. Need to add a video screen in the lobby at the last minute? Just plug it into the network and authorize the stream – no need to find a spare HDMI output and run 50 meters of cable through the rafters.

This scalability shines at festivals and large venues. Coverage of huge areas becomes much simpler. For instance, Coachella’s engineers have used a Dante audio network to cover vast festival grounds with multiple delay speaker towers. They carried left, right, and VIP audio feeds over a single network to 21 delay positions spread across two stages, eliminating long analog runs. Because the audio was on IP, they could time-align and adjust each delay zone centrally, and even re-route between stages if needed. The network approach meant adding extra delay speakers was plug-and-play – critical when you have hundreds of thousands of fans spread out. A senior Coachella audio tech noted that Dante was the most cost-effective and efficient way to deliver audio to over 100,000 festival goers, allowing them to install delay rings and additional destination points with ease. Such scalability with consistency would be extremely hard with analog.

Video distribution likewise benefits. Large convention centers or multi-stage festivals can send video feeds to any screen on the premises once everything is networked. At a conference, the keynote video can be streamed to breakout room projectors, overflow areas, and a media center simultaneously without requiring a stack of DA’s (distribution amplifiers) and matrix switcher outputs. One IP video feed on the network can reach all those endpoints. And if the CEO decides to do a surprise address from Room B instead, you can pull up that room’s camera feed on the network and display it everywhere in seconds. This flexibility fundamentally changes how producers can design shows – you’re no longer constrained by fixed wiring infrastructure when deciding where content can go.

Simplified Cabling & Faster Setup

Anyone who has crawled under stages or flown trusses knows the pain of massive cable looms. Traditional AV setups for a big show might involve kilometers of copper: heavy analog multi-pairs for audio, thick SDI coax snakes for video, plus backup lines, intercom cables, etc. It’s a workout to deploy and a complex task to troubleshoot. AV-over-IP slashes this complexity. Fewer cables carry more signals, dramatically reducing the mess and weight. One rugged Cat6 cable can replace a 48-channel analog audio snake; one fiber cable can replace a bundle of ten SDI video runs.

The practical impact is faster load-ins and load-outs. Crews spend less time pulling cables and more time fine-tuning the actual sound and visuals. For example, an open-air festival that switched to networked audio between stage and FOH found that their audio setup time dropped by 40% – they no longer needed to route and test dozens of analog lines one by one. Instead, they ran two fibers (primary and backup) and were essentially done with cabling. The monitors engineer could send any channel to FOH through Dante with a click rather than having to physically cross-patch XLRs. Tearing down after the show was similarly speedy, with far fewer heavy cable reels to coil up.

There’s also a safety and aesthetics benefit. With fewer cable runs, tripping hazards and clutter are minimized. Clean cable management not only looks professional but also reduces the chance of accidental unplugging or damage. Modern network cables and tacticals fiber are lightweight and slim compared to old analog snakes as thick as your wrist. When you multiply that difference by the dozens of runs an event might need, you’re taking literal tons of weight off the production. This can translate to lower trucking costs and easier compliance with venue safety regulations (some venues have strict rules on cable ramp usage, exit crossings, etc.). From a production operations view, less cabling means fewer potential points of failure, too – each physical connector is a risk (of being kicked, corroded, etc.), so having, say, 10X fewer connectors in your setup improves overall reliability.

Real-Time Centralized Control and Monitoring

Another powerful benefit is the centralized control that networked AV systems enable. In the past, if you wanted to know the status of an audio feed, you might literally have to follow a cable or rely on an engineer at the other end. With everything on IP, you gain a bird’s-eye view of the whole AV ecosystem. Specialized software can show every audio channel and video stream on the network, where it’s going, and at what quality. For instance, Dante Controller software displays all Dante-enabled devices and lets you matrix any audio source to any destination with a grid interface – you can see, in real time, which console is sending audio to which amp rack, and if any packet errors are occurring on those routes. Similarly, NDI video tools allow a director to preview any camera or computer feed on the network from a central station, then route it to a switcher or recorder as needed.

This centralization means faster adjustments during showtime. If an audio channel is clipping, an engineer at the network operations center (NOC) can identify which device is sending hot signals and coordinate a fix. If a display in the lobby isn’t showing the right content, a tech can drag the correct stream to it without running over to the far end with a laptop and HDMI cable. For complex events with multiple stages or rooms, staff can effectively monitor all AV systems from one spot. Many large-scale productions now have a “network A1/A2” and “network video engineer” roles whose job is to keep an eye on the overall IP system health. They use dashboards to watch bandwidth, device statuses, and synchronization, ensuring everything is functioning. This is analogous to how IT admins monitor enterprise networks – a practice now finding its way into live events.

Centralized control also opens the door to remote management. In 2026, it’s increasingly common that expert support can log in to an event’s AV network remotely to assist. Imagine a scenario where a specialized video engineer in London can remotely access a media server at a New York event to help troubleshoot a stream – all because it’s on an IP network with secure remote access. During the pandemic, some events even had fully remote directors switching video feeds over VPN connections. While a lot of events still keep control local, the infrastructure allows new workflows. Even within the venue, remote control is easier: a TD can tweak audio EQ from a tablet while walking the far end of the arena, communicating with the Dante network to adjust the console – something not possible if you’re tethered by analog cables.

Future-Proofing and Interoperability

When you invest in networked AV, you’re essentially investing in an IT backbone that can carry whatever new format the future throws at us. This is a key future-proofing advantage. In the old model, if you moved from standard-def video to HD, you had to swap out a lot of coax cabling and switchers for ones that handle higher bandwidth, or from analog audio to digital you needed new multi-cores or AES breakout boxes. In a well-designed IP network, the pipes are typically high-bandwidth and agnostic to content. Upgrading from HD to 4K video might simply mean more bandwidth use, but the same fiber cable that carried your 1080p signal can carry a 4K or even 8K IP stream (assuming your switches can handle the throughput). Similarly, adding more audio channels (say you go from 32-channel mix to 64-channel) doesn’t require new physical snakes – it might just be a software license or configuration on the existing network.

This adaptability is crucial as formats evolve. Consider immersive audio and video: spatial audio setups or 360° video projections require many channels of content. Over IP, adding those is much easier than running dozens of extra discrete lines. We’re also seeing emerging tech like augmented reality (AR) effects and interactive displays at events – these often piggyback on the event network too, syncing AR visuals with stage video or pulling real-time data from the cloud. If your production infrastructure is already networked, integrating these new experiences is far simpler because they can tie into the same unified system. Essentially, AV-over-IP lays a foundation for integration of anything IP-based, from IoT sensors to AI-driven effects, which would otherwise be isolated systems.

Interoperability is part of future-proofing as well. Open standards are starting to gain traction in AV-over-IP, aiming to ensure that devices from different manufacturers play nicely together on the network. For example, AES67 is an audio-over-IP interoperability standard that some Dante, Ravenna, and Q-SYS devices all support, enabling them to exchange audio streams even if they don’t use the exact same protocol internally. On the video side, the emerging IPMX (IP Media Experience) standard is building on SMPTE standards to allow different vendors’ gear to interoperate for pro AV applications. While the industry isn’t fully open yet, the trend is moving that way. This means an investment in networked AV today should not lock you out of options tomorrow – ideally, your network infrastructure will accommodate new gear as long as it adheres to these evolving standards. In fact, industry analysts have noted that buyers are increasingly wary of getting locked into proprietary AV ecosystems and are demanding more open, interoperable solutions. End-users are looking for flexibility over the next five years, so manufacturers are adapting, making it more likely your current network backbone will work with the next generation of gear.

Cost Efficiency and ROI Considerations

It’s worth touching on the business side: does AV-over-IP save money? The answer can be yes, in the long run, but it often involves upfront investment. Gigabit or 10-Gig network switches, Dante interface cards, IP cameras – these can add cost compared to basic analog gear. However, many events find ROI in several areas:

• Labor and Time Savings: Shorter setup/teardown time means lower labor costs and the ability to do more with a smaller crew. If you can cut one or two riggers or reduce venue dark-day rentals because tech setup is faster, that’s significant money saved. For example, a corporate AV team calculated that switching to networked audio saved them about 20% in labor hours for each event, which over a year’s calendar paid off the cost of the Dante hardware.
• Equipment Consolidation: One network can carry signals that previously required multiple independent systems (audio snake, separate intercom lines, video matrix, etc.). You might be able to eliminate renting a big video matrix switcher if your network and software can handle the routing. Or reduce the number of long multi-core analog cables you need to purchase or rent (and eventually replace). These reductions can offset the cost of switches and NICs. A single well-chosen network switch can replace several traditional splitters, DAs, and patch bays, simplifying the gear roster.
• Revenue Protection: Perhaps the biggest ROI factor is avoiding failures that could cost ticket sales or refunds. It’s hard to quantify, but consider an outage scenario: if a networked system with redundancy prevents a show-stopping failure (like the audio going dead or screens going blank), it may save the event’s reputation and avoid refunds that could amount to tens of thousands of dollars. The reliability and fast recovery features of IP systems (if designed right) act as an insurance policy. As one guide on crisis-proofing event technology with fail-safes emphasizes, the investment in backup links and offline modes is well worth it when you consider the cost of an event tech meltdown.
• Future Opportunities: Having an IP infrastructure can open new revenue streams. For instance, you can easily integrate a pay-per-view live stream using the same camera feeds from your venue – bringing in remote audience revenue with minimal additional setup. Or offer premium experiences (like a VIP mobile app with multi-angle selectable video streams or dedicated headphone mixes) that ride on top of your network. These tech-driven offerings can boost ticket prices or sponsorship deals. It’s much easier to execute these ideas when your AV system is network-enabled and flexible.

Of course, budgeting for an AV-over-IP transition should include training and possibly hiring network-savvy crew or partnering with IT consultants. Those costs are sometimes overlooked. But many organizations find that after the one-time expense of getting people up to speed, the ongoing operational costs actually drop. They suffer fewer emergency equipment rentals (because of capacity issues), fewer last-minute courier runs for forgotten cables, and so on. When presenting the case to stakeholders, it’s wise to highlight these total cost of ownership factors and not just the upfront price tag of new gear. A networked system is an asset that keeps giving efficiency returns over its life.

Key Technologies and Protocols in AV-over-IP

Audio-over-IP Solutions (Dante, AVB, etc.)

On the audio side, Dante has become the de facto standard for live event audio-over-IP. Developed by Audinate, Dante is an IP protocol that allows hundreds of channels of uncompressed digital audio to be routed among devices over standard Ethernet. It’s popular in touring and events because of its ultra-low latency (often as low as 1 ms) and plug-and-play device discovery. Many mixing console brands (Yamaha, Allen & Heath, DiGiCo, etc.) offer Dante interface cards or built-in Dante support, as do stage box and wireless mic system manufacturers. With Dante, an engineer can route any console output to any amplifier or recorder on the network using Dante Controller software, without patching physical cables. It uses standard network gear, though for best performance switches that support Quality of Service (QoS) and IGMP snooping (for multicast) are recommended. Dante also supports redundant primary and secondary networks for failover – a feature widely used in critical shows. As a proprietary but ubiquitous solution, Dante has a massive ecosystem and is often the first choice for event audio networking, as seen when Rat Sound simplified the Coachella festival setup by routing networked audio across large spaces. It’s not the only option, though.

Another player is AVB (Audio Video Bridging), now often seen in the flavor of Milan (an initiative led by the Avnu Alliance). AVB is an IEEE open standard that reserves a slice of bandwidth on a network for time-sensitive AV traffic. It requires AVB-compatible switches (which are getting more common) but offers very reliable low-latency performance with built-in synchronization using the Precision Time Protocol (PTP). Some professional audio manufacturers (Meyer Sound, L-Acoustics, etc.) use AVB/Milan in their systems. For example, the L-Acoustics Milan network protocol carries multi-channel audio to amplifiers and processors with guaranteed latency and synchronization – great for large PA deployments with many amps. While AVB hasn’t attained Dante’s level of adoption in touring, it’s strong in installed sound and those brands committed to open standards.

There are also interoperability standards like AES67. AES67 isn’t a full protocol with discovery, but rather a set of rules that allow different audio-over-IP systems to exchange streams at a basic level. Dante, Livewire (radio broadcast AoIP), Q-LAN, and others have AES67 modes. This is useful for bridging systems – say your event’s broadcast partner brings gear that isn’t Dante but supports AES67, you can configure a Dante device to transmit AES67 and the other to receive it. In practice, configuration can be a bit technical, but it’s like a common language where needed. Ravenna is another high-performance AoIP framework often used in broadcast and recording, which is largely AES67-compliant too.

For intercoms, many modern comms systems like those from Clear-Com or Riedel are now network-based, carrying multiple intercom channels over IP (sometimes piggybacking on Dante or their own IP standards). Even stage communications are converging onto the same networks used for main show audio.

To summarize some popular audio networking options:

Most events leaning into AoIP go with Dante due to its balance of performance and ecosystem support. However, the key is to pick one ecosystem and ensure all critical gear can interface with it, either natively or via adapters. For example, if your consoles and stage racks are all Dante, but your PA system uses Milan, you might use a bridge device (some processors can listen on both Dante and Milan, or you insert a Dante-to-Milan converter). These decisions should be part of planning – you don’t want to be figuring out audio network interoperability during load-in!

Video-over-IP Standards (NDI, SDVoE, SMPTE ST 2110, etc.)

Video has its own set of protocols. A leading choice for live events and streaming is NDI (Network Device Interface), originally developed by NewTek. NDI carries high-quality video (and audio) over standard networks and is beloved for its simplicity in mixed environments – you can have PC sources, cameras, and hardware encoders all recognize each other’s NDI streams with minimal setup. It’s widely used in conference production, esports, houses of worship, and even broadcast for secondary feeds. Over the past decade, NDI has emerged as one of the most dominant video-over-IP solutions in Pro AV, technically known as Network Device Interface, and has been driving AV-over-IP workflows significantly. Version 5 and 6 have improved efficiency, and there’s an “NDI|HX” variant that uses H.264/H.265 compression for lower bandwidth at slightly higher latency. A typical NDI stream of 1080p60 video might consume ~100–150 Mbps (full bandwidth mode), whereas NDI|HX can drop that to a more Wi-Fi-friendly 10–20 Mbps with a quality trade-off. Many PTZ cameras now output NDI directly, and tools like vMix or OBS can ingest and output NDI easily, making it a flexible choice for events that do a mix of IMAG (Image Magnification on screens) and live streaming. NDI’s ease of use (connecting sources by name over the network) often outweighs its heavier bandwidth in scenarios where a dedicated Gbps network is available.

For professional broadcast-grade production – say you’re producing a major sports event or a sizable concert tour with a full video crew – SMPTE ST 2110 is the gold-standard suite of IP video/audio standards. ST 2110 sends uncompressed (or minimally compressed) video, audio, and ancillary data as separate streams over a managed network, typically requiring 10 Gbps or higher links for HD and especially 4K video. It basically replaces SDI cables with IP packets, while maintaining broadcast quality and synchronization. The advantage is ultra-low latency and no visual loss (since it’s uncompressed), but it demands enterprise-grade switches and knowledge to configure properly. ST 2110 is more common in TV studios and OB trucks; however, its influence is trickling into live events as equipment manufacturers unify their broadcast and live production offerings. For instance, a large new arena or theater might install a ST 2110 backbone so that all video sources (cameras, media servers, switchers) connect to the network rather than point-to-point SDI routers. This allows flexible routing and easier integration with broadcast or streaming infrastructure. A notable example is how international sporting events have moved to IP – the Olympic broadcast operations now deliver thousands of video streams to rights holders via IP networks including ST 2110, showing the massive scale that IP can handle.

Between NDI and ST 2110, there are also proprietary pro AV solutions like SDVoE (Software Defined Video over Ethernet). SDVoE is an alliance of manufacturers using a common standard to send video (often HDMI/DVI sources) over 10 GbE networks with virtually no latency. It’s popular in high-end installations (like sports bars with many screens, or corporate AV matrix replacements) and some touring applications. Brands like Christie, Crestron, and others use SDVoE modules in their equipment so that a 10Gb switch becomes your video matrix. SDVoE typically uses light compression (if any) to fit video into 10 Gbps, enabling 4K60 4:4:4 video over structured cabling. The benefit is matrix-switcher performance with IP flexibility – any input can go to any output – but it requires all participating gear (encoders/decoders) to be SDVoE compliant and a 10Gig network.

We can’t forget simpler approaches, too. Many events successfully use standard streaming protocols (RTMP, SRT, etc.) for less mission-critical video distribution. For example, sending a green room monitor feed across the internet via SRT, or streaming a panel session from one ballroom to another via a local RTMP server. These introduce more latency and are one-way streams, but they leverage common IT tech and can be easier to traverse long distances or network segments. The downside is latency and potential buffering (several seconds delay), so they are unsuitable for IMAG or anything requiring tight sync. But for overflow rooms or remote viewers, they do the job and integrate with the IP workflow (audience might not know if the video on a screen was delivered via NDI internally or via a local YouTube stream – it’s all data to them).

A quick overview of major video-over-IP tech:

Choosing a video distribution method depends on the specific needs of the event. Many events actually use a combination: for instance, NDI for most sources feeding the live stream and breakout rooms, but direct SDI or SDVoE links for the IMAG screens that show the stage camera (to minimize any perceptible delay between the audio and the big screen image behind a speaker). It’s not uncommon that a high-end concert keeps the primary screens on a SDI or SDVoE system for zero latency, but distributes additional camera feeds or graphics to other areas via NDI. The beauty of an IP approach is that these can coexist on the same physical network infrastructure if set up properly – you could have a VLAN for your NDI traffic and another VLAN for a SMPTE 2110 production going to a broadcast truck, all on the same fiber backbone but logically separate to avoid interference.

Ensuring Interoperability (Standards vs. Proprietary)

One challenge when adopting AV-over-IP is navigating the mix of proprietary protocols and emerging standards. Interoperability is crucial to avoid vendor lock-in, but the reality is that today you will likely pick a core protocol (like Dante for audio, NDI for video) and build around it. However, you should remain mindful of open standards and keep flexibility for the future.

For audio, as mentioned, AES67 can act as a bridge standard. Many Dante devices now have AES67 mode, which means if down the line you need to interface with a new audio system that isn’t Dante (say a broadcast OB van that uses Ravenna or a theatre installation with Q-SYS), you can use AES67 streams to interchange audio. It might take a bit of networking expertise to get the devices on the same subnet and clock domain, but it’s doable. The key is that your network transport is IP, which inherently makes things more interoperable than analog, where tying two systems together could require extra AD/DA conversions or kludgy wiring. With IP, it’s often a matter of software updates or configuration to connect across protocols.

On video, there’s a lot of attention on IPMX in 2026. IPMX is a forthcoming pro AV standard based on the SMPTE 2110 essence approach but tailored for easier use in installation and live event environments (with features like USB and HDCP support for protected content, which 2110 doesn’t inherently handle). While still in development, IPMX aims to allow hardware from different brands to work together for things like simple point-to-point links or matrix switching without proprietary gear. Early tests are promising, but as Futuresource Consulting noted, the market is currently fragmented, and end-users worry about being locked into proprietary solutions. So, many are looking to IPMX as a hopeful unifier. In the meantime, alliances like SDVoE try to at least standardize within a group of vendors.

For an event producer, a practical stance is: choose widely supported platforms now, and demand standards compliance as it becomes available. For example, if you’re buying new networked audio gear, check if it supports AES67 or Dante Domain Manager – indicators that the manufacturer cares about interoperability and large-scale integration. If upgrading video infrastructure, ensure the switches and gear have enough headroom (10G, etc.) and perhaps compatibility with standards like 2110 or upcoming IPMX, so you’re not stuck on an island. Also, keep an eye on software that can link different systems. Some management software or production switchers can control both NDI and SDI sources or output both NDI and 2110, acting as gateways. In a pinch, you can always use dedicated gateway hardware (e.g. a PC with a Dante Virtual Soundcard and an AVB interface to bridge audio between Dante and AVB domains, or a capture device to ingest NDI and output SDI if needed).

In short, while you might start with a proprietary solution to get the job done (nothing wrong with that – they often work very well and reliably), design your network in a way that doesn’t preclude adding other protocols or devices later. Segmented network architecture, ample bandwidth, and modular design (using separate VLANs or switches for different systems that can be interconnected via controlled gateways) will give you a flexible base. That way, you’re not throwing it all out if the industry coalesces around a new standard in five years.

Planning the Network Infrastructure for AV-over-IP

Bandwidth Requirements and Network Capacity

When you migrate AV to IP, your network becomes the highway for all that data, so you need to size it right. Bandwidth is a primary concern. Audio is relatively light on bandwidth – even dozens of uncompressed audio channels are easily handled on a 1 Gbps network. A single 24-bit/48 kHz mono audio channel is roughly 1.2 Mb/s (megabit per second) and Dante packets add some overhead – but you could carry 64+ channels and still be under ~100 Mb/s. That’s why gigabit (1000 Mb/s) Ethernet is plenty for hundreds of audio channels; in fact, Dante allows up to 512×512 channels on a single gigabit link under optimal conditions! So for audio-only, Gigabit switches and NICs are usually sufficient (with some exceptions if you’re doing hundreds of channels at high sample rates, like 96 kHz recording of 500 channels in a mega installation, but that’s rare in live events). The main point is you typically don’t worry about saturating a gigabit link with just audio.

Video is the big bandwidth driver. Uncompressed HD video can be around 1.5 Gbps per stream (for 1080p60) and 4K can be 6–12 Gbps per stream – clearly beyond 1 Gbps network capacity. That’s why all practical video-over-IP solutions use some compression or require multi-gig networks. If you opt for NDI (full bandwidth), a single 1080p stream at 125 Mbps means you can, in theory, have 8 such streams on a 1 Gbps link before hitting capacity. In practice, you’d budget headroom and not fill a link above ~70% sustained usage, so maybe 5-6 streams per link. If you have multiple cameras, graphics, etc., they quickly add up. For anything beyond a handful of HD streams, a 10 Gbps network backbone is advisable. You might still use 1 Gbps at the edge devices, but uplink them to a 10G core switch so the core doesn’t become a choke point. For example, you could have three NDI cameras (100 Mbps each) and two NDI playback PCs (100 Mbps each) – if they all send to a single switch, that switch sees ~500 Mbps total, which is okay on 1G. But if you add a 4K NDI feed (~300 Mbps) and some overhead, you’re at ~800+ Mbps; at that point one more feed or a burst could flood a gigabit backplane. So, network design might put those devices on separate switches or a multi-gig switch.

For high-end uses like ST 2110, 10 Gbps (or even 25 Gbps) network interfaces are the norm. Uncompressed 1080p60 requires around 3 Gbps (so you can fit three on a 10G link), and uncompressed 4K60 needs roughly 12 Gbps (so even one of those needs more than 10G, which is where either compression like JPEG XS or 25G links come into play). If your event production is looking at 4K IMAG or a production that rivals broadcast in quality, you will want to invest in enterprise-grade switches and NICs that support these higher throughputs. The cost of 10G equipment has come down considerably, and even 25G or 40G uplinks are now within reach for rental inventories and large venues. The key is identifying how many concurrent streams at what resolution/quality will run. It helps to map out worst-case scenarios: e.g., “We will have up to 8 HD video streams and 2 4K streams at once, plus ~64 audio channels.” From that, calculate bandwidth needs and add a healthy safety margin (at least 20-30%). Also remember overhead: IP and transport protocols have some overhead, and if using multicast, you might get streams duplicated on links if not careful (more on that with IGMP considerations below).

One shouldn’t forget other traffic on the network. In some cases, the AV network might be dedicated (which is ideal), but often you may still have other data on it – perhaps lighting consoles using Art-Net/sACN (lighting networks), intercom, or even production team Wi-Fi. Those can consume bandwidth too. Lighting control is small, but something like media server file transfers or backup recordings over the network can spike usage. Segment high-bandwidth AV traffic on its own VLAN or physical network if possible, so that an unrelated data transfer doesn’t interfere with your audio/video streams. Many events, for instance, run a separate “production network” for all show-critical traffic and keep guest Wi-Fi or general internet usage on a different network or VLAN with limited access to the core switches. This segmentation ensures your precious AV streams aren’t competing with someone’s 4K YouTube upload from the press tent.

In summary, carefully audit your bandwidth needs:

• List out how many audio channels, video feeds (with resolutions), etc. you plan to have.
• Calculate approximate data rates for each (manufacturers often provide these specs, e.g. “NDI HX @ 1080p uses ~12 Mbps”).
• Sum them up and observe where the peaks could be. For instance, during a keynote you might have all cameras and graphics feeding the main switcher plus also being recorded – that’s the peak load scenario, versus maybe in breakouts it’s less.
• Size your switch capacities (both port speed and switch fabric capacity) to more than handle that peak. For critical uses, never run a network link at sustained 100% usage; keep it under ~70-80% to avoid added latency and allow burst overhead.
• Don’t forget headroom for future expansion – if you think you might add another stage feed or more channels next year, build that in now. It’s cheaper to overspec the network a bit up front than to have to swap to bigger switches later.

One handy practice some experts recommend is to simulate or test under load. If possible, before the event, connect all your gear and perhaps run some dummy high-bandwidth streams (like play a high-motion video on loop through NDI, generate multi-channel audio noise, etc.) to see how the network copes. Monitoring tools on the switches or a laptop running analysis can show if any links are peaking. This “stress test” approach catches bottlenecks before they catch you during the show.

Managing Latency and Synchronization

Latency is a top-of-mind issue for live events – especially when you’re dealing with things like live music, where latency between on-stage sound and what the musicians hear can make or break a performance, or IMAG video, where audio and video must sync for the audience. Keeping latency low in a networked system requires attention at every stage: the encoding/decoding process, the network transmission, and the buffering in devices.

For audio, most AoIP systems are designed for extremely low latency. Dante, for example, can be configured with latencies as low as 0.25 ms between devices on the same switch, though a typical safe setting is 1 ms or 2 ms for live sound. That’s effectively negligible. The Dante devices all sync their clocks using PTP (Precision Time Protocol), which ensures that audio samples are aligned across the network. The result is that you can have speakers and consoles distributed widely but still in tight sync, as if they were connected through a traditional word clock or coaxial cables. When deploying, you’ll designate one master clock (often the main mixing console or dedicated Dante master) and let everything else slave to it. Latency can increase slightly if there are multiple network hops (switches) between devices, but even then Dante’s worst-case on a busy network might be a few milliseconds, which live audiences cannot discern if the sound system is properly aligned. The bigger concern is making sure all outputs (main PA, delays, monitors, etc.) are deliberately aligned for the venue – the network will deliver them nearly simultaneously, but you might introduce some delay intentionally for alignment (like delaying mains to backline or delays to mains). Networked audio actually makes it easier to adjust these timing offsets centrally, using processor units or even within the Dante routing if needed.

For video, latency can vary widely depending on the protocol. Uncompressed methods like SDVoE or ST 2110 essentially have no added compression latency – the delay is only whatever buffering the switch does (microseconds) plus perhaps a frame sync if needed. So, those can be on the order of <1 frame delay. Compressed methods like NDI or others will add a few frames. Full NDI is pretty efficient; many estimate it at ~3 frames of latency end-to-end (so ~50 ms at 60 fps). In practice, it’s often lower if all devices are on a good, low-jitter network. NDI|HX (the compressed version) might add more (maybe 100ms or more) due to compression and buffering. For IMAG, you want to keep total system latency ideally under about 2 frames (33 ms) to avoid noticeable lip sync issues or video lag behind a performer’s live actions. This is why critical IMAG paths sometimes stay on SDI or another ultra-low-latency path, but if using IP, you’d choose a solution that meets the latency requirement (like ST 2110 or SDVoE or well-optimized NDI).

Synchronization between audio and video is crucial. You don’t want the video on screen ahead or behind the audio from the speakers. In a traditional world, we often would delay audio slightly to match video because video processing (through cameras, switchers, projectors) often adds more delay. In a networked environment, you have tools to adjust this too. Some IP video systems allow you to embed audio and maintain sync (NDI carries audio with the video stream, for example). Or you might use a separate sync mechanism. A common approach is to use timecode or PTP sync across the network. For example, a network might distribute SMPTE timecode or use the PTP master clock to also sync video devices (ST 2110 does this inherently with PTP). By having everything reference a common clock, frames of video and samples of audio can be aligned. Still, most events will do a final manual sync check – e.g., have a person clap on stage and see if the clap sound matches the LED wall video, adjusting audio delay as needed to fine-tune.

It’s important to also manage buffer settings on devices. Many network devices let you choose higher buffer (and thus higher latency) for safety on unreliable networks, or lower buffer for minimal delay on clean networks. For example, Dante has configurable latency per device (0.25, 0.5, 1, 2, 5 ms etc.). If your network is rock solid and devices are close, you can dial this down. If you have a more complex network (multiple switches, heavy traffic), you might bump it up to ensure no dropouts. Similarly, NDI receivers often buffer a certain number of frames and some receiving software allows adjusting this. The goal for live events is to tune these buffers so that they are as low as possible while still avoiding glitches. Always test under full load – a buffer that’s fine when nothing else is happening might underrun when the network is stressed. So push your network with traffic and verify that audio doesn’t crackle (sign of too low buffer) or video doesn’t stutter.

One often overlooked factor: processing latency in PCs or DSPs on the network. If you’re using a software audio processor on a computer or a media server for video that adds latency, those contribute to the chain. For instance, some DSP plugins might add a few milliseconds; some video scalers add a frame or two. When everything is on a network, you might string together more processing blocks than before, so keep an eye on cumulative latency. You may need to simplify a processing chain or use more hardware-based acceleration if ultra-low latency is needed.

In summary, achieving low latency and good sync in AV-over-IP is very feasible, but it requires end-to-end consideration. Use the right protocols, synchronize devices with a master clock, set appropriate buffers, and test thoroughly. Thankfully, modern tools have made this easier – e.g., experienced technologists use networked signal generators and measurement tools to verify latencies down to the millisecond across their systems, something unheard of in analog days without expensive gear. With IP, you can measure and adjust with high precision.

Switches, Cabling, and Network Topology

The backbone of your AV-over-IP system is the network hardware: switches, cables, and overall topology design. Choosing the right switches is critical. Not all network switches are equal for AV needs. Here’s what to look for:

• Managed Gigabit (or better) Switches: At minimum, use professional-grade managed switches (so you can configure VLANs, QoS, IGMP Snooping, etc.). Unmanaged switches can cause traffic issues, especially with multicast-heavy protocols – they’ll broadcast streams everywhere, leading to potential floods. Managed switches from reputable brands (Cisco, Extreme, Netgear’s Pro AV line, etc.) give you control and often have profiles or guides for AV setups. For larger demands, consider switches with 10G or 25G uplink ports or full 10G backplane if doing a high-end deployment.
• Backplane and Throughput: Ensure the switch’s backplane can handle full traffic on all ports simultaneously (many cheaper switches cannot). For example, a 24-port Gigabit switch should ideally have at least 24 Gbps of switching fabric (GBps full duplex per port). Pro switches often list non-blocking architecture, meaning any port can talk to any other at full rate concurrently.
• Support for Multicast (IGMP Snooping): Many AV protocols (e.g., Dante in some modes, NDI discovery, etc.) use multicast to send one stream to multiple receivers efficiently. IGMP Snooping is a switch feature that manages multicast traffic, ensuring it only goes to ports that have subscribed to it. Without snooping, multicast can become broadcast-like (going to all ports, clogging them). Enable IGMP Snooping on your AV VLAN and have an IGMP Querier configured (usually one switch acts as the querier to manage group memberships). This way, if you send one video source to 5 screens via multicast, that stream doesn’t burden ports that don’t need it.
• Quality of Service (QoS): QoS allows prioritizing certain traffic. Dante and AVB use QoS to prioritize clock sync and audio packets to keep them ultra-steady. A good AV-oriented switch will either automatically prioritize Dante packets (some have profiles you can load) or allow manual QoS config (e.g., trust DSCP values that Dante already tags on its packets). Setting QoS ensures that if someone connects a random device that floods the network, your critical audio packets still get through first. It’s a safety mechanism. It’s wise to follow vendor recommendations here – Audinate has a tech note on switch settings for Dante, for instance.
• Latency and Jumbo Frames: Some video protocols can benefit from “jumbo frames” (larger Ethernet frame sizes) to optimize throughput. Check if your switches support that if needed (for example, some 4K over IP systems use jumbo frames to reduce overhead). But be cautious: all devices in that network path must support jumbo frames, otherwise you can get fragmentation issues. Latency through the switch should be very low for a good switch (microseconds). High-performance switches also have deep packet buffers which can help smooth out bursty traffic (especially important if mixing traffic types). Enterprise switches often fare better in these aspects than cheap SOHO ones.
• Power over Ethernet (PoE): Conveniently, many IP devices like small PTZ cameras, network speakers, or even some Dante adapters are PoE enabled – meaning the switch can power them over the cable. If you plan to use such devices, get switches with PoE/PoE+ capability. It simplifies deployments (fewer power supplies) and can even allow centralized UPS backup (if the switch is on a UPS, all connected PoE devices stay powered during a short outage). Just ensure the switch has enough power budget for all devices (e.g., a 24-port PoE switch might supply 15W per port, but only have a 200W PSU total, meaning you can’t max all ports at once). Calculate and get a robust model if using PoE heavily.
• Redundancy Features: Some events opt for two parallel networks for critical systems. If so, you might use two switches with identical setups (Dante Primary and Secondary networks, for example). High-end switches can also stack or use link aggregation/trunking for more throughput or failover between core switches. If this is a large permanent venue installation, consider using redundant core switches and multiple fiber runs, so if one switch fails, the other instantly takes over (some advanced systems use technologies like Spanning Tree Protocol or vendor-specific fast-failover protocols to handle redundancy, but those require careful config to avoid loops). For touring events, usually simpler: they’ll just run two independent networks (A and B) for audio and sometimes video, each on separate switches, and devices send to both. That way if one goes, the other continues seamlessly. Plan redundancy according to the criticality of the signal. For the headline act’s audio, you likely want a backup network; for a backstage ambiance mic feed, maybe not.

Regarding cabling, the choices are typically Cat5e/Cat6 for copper or fiber optic for longer runs/higher bandwidth. Copper Ethernet (Cat5e/Cat6) reliably handles gigabit up to 100m. For 10G, Cat6a is recommended to ensure full 100m runs (Cat6 can do 10G but usually shorter distances). The great thing is these are standard cables – inexpensive and easy to get. Use shielded cable (STP) in environments with high interference (like around lighting dimmers or big power runs) to avoid any noise coupling; though it’s digital, extreme EMI can still affect data integrity.

Fiber becomes important when you need to run beyond 100m or need 10G+ bandwidth over distance. Common options are multimode fiber (OM3/OM4) for shorter distances (up to a few hundred meters for 10G, for example) or single-mode fiber for longer distances (kilometers if needed). Fiber is immune to electrical interference and also provides electrical isolation (no ground loops, etc.). Many events use ruggedized fiber snake systems – essentially a reel with several fiber cores in a tough cable – to connect stages to front-of-house or different parts of a festival site. You’d then use fiber transceivers (SFP modules) in your switches to connect to that fiber. Design fiber paths with redundancy if possible – e.g., two fiber cores to each vital location via different routes – in case one gets crimped or broken by an unfortunate accident (like a vehicle driving over a cable run that wasn’t fully protected).

Topology-wise, a star configuration from a central network switch (or a couple of core switches) out to various areas is common and simple. For instance, you have a core switch at FOH, and you run one cable to stage left switch, one to stage right switch, one to the video control area, etc. Everything routes via the core. This centralizes control and can be easier to manage. The core should be high-bandwidth since it handles aggregate traffic. Alternatively, a ring or mesh can provide redundancy (e.g., Stage -> FOH -> Amp Rack -> back to Stage forming a loop), but you must ensure protocols like Spanning Tree are configured to block loops, or use a vendor ring protocol. Many avoid rings unless using switches that support precise ring failover, because if configured incorrectly, loops will cause network meltdowns by endlessly replicating packets.

For most event needs, a hierarchical star is effective: have a robust core/distribution switch (or a couple for backup) and smaller edge switches at remote ends (like stage boxes or media tables) if needed, connecting devices locally. Keep the number of switch hops minimal from any source to destination to minimize latency and points of failure. Often it’s just two hops: device -> edge switch -> core switch -> other device. That’s actually one hop logically, since it passes through two switches. This works well.

Another consideration: network segmentation. While not physically topology, logically you should organize with VLANs if running multiple kinds of traffic. For example, you might have an “Audio VLAN”, a “Video VLAN”, a “Lighting & production VLAN”, etc., all on the same hardware. This contains broadcast domains and keeps, say, a rogue video device from overwhelming the audio devices with irrelevant traffic. In the Ticket Fairy blog’s security guide, it’s noted that segmenting networks to isolate critical systems is one of the most effective strategies for safety and performance. You can still route or bridge between VLANs if needed with proper control (like allowing a recording PC to listen to both audio and video VLAN if it needs both). The segmentation also adds a layer of security – someone plugging into a guest port won’t end up on the critical AV control network, for instance.

Quality of Service and Traffic Management

As mentioned, configuring Quality of Service (QoS) on your network is highly recommended for AV. QoS is basically telling the network: “if there’s congestion, make sure these packets go first.” Dante audio, for example, marks clock sync packets with a high priority (typically DSCP 56) and audio packets with a slightly lower high priority (DSCP 46 for audio, if I recall correctly), while leaving generic traffic as default (DSCP 0). A properly configured switch will see those tags and put the packets in priority queues. If at any point there’s a backlog (say a port is receiving more data than it can transmit at a given moment), the high priority queue is emptied first. This prevents, say, a big file transfer from introducing jitter or delay in your audio stream.

On many pro AV switches, profiles exist that you can apply – e.g., “Dante Optimized” – which ensures QoS is set accordingly. If configuring manually, follow the protocol documentation. For instance, set PTP events (used in Dante, AVB) to highest priority, then audio/video streams next, and general traffic normal. Also, ensure the switch is set to strict priority or appropriate queuing mechanism that truly prioritizes (some cheap switches say they have QoS but still can get bogged down). Testing is again wise: simulate some heavy non-AV traffic and see if it impacts your AV streams.

Traffic management goes beyond QoS. It includes making sure broadcast or multicast traffic doesn’t clog the network. We touched on IGMP Snooping – that’s crucial for managing multicast elegantly. Another aspect is simply limiting unnecessary chatter: disable any unused services on the switch (like energy-efficient Ethernet modes that can disrupt steady streams, or STP on edge ports where it’s not needed – many put edge ports in “fast” mode or RSTP if no loop is expected, to avoid connection delays). If using Wi-Fi in the mix (for maybe wireless NDI transmission or control apps), be mindful that wireless networks have lower capacity and higher variability – avoid sending huge multicast streams over Wi-Fi as they don’t handle it efficiently (multicast over Wi-Fi tends to drop data rate to lowest basic rate). One trick if needed is multicast-to-unicast conversion for any wireless hops, or better, keep critical AV off Wi-Fi.

Another tool is VLANs and access control – not just for security but to ensure that only the traffic that needs to be on a segment is present. For example, you might isolate lighting network traffic (like Art-Net) to its own VLAN so it doesn’t eat into audio/video bandwidth. Lighting protocols can broadcast a lot (all those DMX universes) and could saturate slower links or cause processing overhead on devices. By isolating them, your audio equipment never even sees that traffic.

In a large production, network engineers may implement rate limiting on certain ports (for instance, if you have a port that goes to a crew Wi-Fi access point or a production office, you might cap it so they can never consume more than X Mbps, preserving headroom for show data). They might also use features like LACP (link aggregation) to combine links for more throughput between core switches – if one link isn’t enough, two or four can be bonded. This adds both capacity and redundancy (if one cable of the bundle breaks, the other still carries traffic).

One more advanced concept is using a separate clock domain or network for PTP if mixing protocols. PTP (Precision Time Protocol) is used by Dante (profiled as IEEE1588-2002) and by AVB/2110 (IEEE1588-2008). If you run both on one network, they might fight for master clock status because they aren’t aware of each other. In such cases, you can either let one be grandmaster and the other accept external clock (like Dante can use an external clock and maybe you feed it the AVB clock via an adapter device, or vice versa), or segregate them via VLANs where each keeps its own PTP domain. Keeping clock sync stable is part of traffic management in a sense – you don’t want dueling clocks.

Lastly, consider using monitoring tools for traffic. Managed switches often allow SNMP monitoring or have a web interface showing port statistics and errors. Regularly check these during rehearsals or the event: if you start seeing packet drops on a port, that’s a red flag you’re overrunning something or maybe a QoS misconfig. There are also software like Audinate’s Dante Domain Manager (for Dante networks) which can give more insight, or generic network monitors that can alert if traffic spikes or if a device goes offline. In mission-critical shows, having someone keeping an eye on network health (even as simple as pinging key devices and checking latency) is a good practice so you can react before a problem escalates.

Redundancy and Fail-Safes

Live events are unforgiving – if the audio or video fails, even for a minute, the audience will notice and your client will certainly not be happy. Therefore, building in redundancy is a must for any system carrying the show’s primary AV. There are a few levels to consider:

Redundant Network Links: Many AV devices and protocols support a secondary network. Dante is a prime example: every Dante device can have a Primary and Secondary port, sending duplicate audio streams down two isolated networks. If one network or switch fails, the audio keeps flowing on the other with no interruption. Implement this wherever possible for critical paths. It means running two sets of cables and switches, but it’s cheap insurance. Some events keep the secondary network completely separate (physically and even on battery backup power) to avoid a single point of failure anywhere. For video, true seamless network redundancy is trickier, but some systems like ST 2110 use SMPTE 2022-7 seamless protection switching (two streams sent, the receiver picks the best). NDI doesn’t natively have a seamless redundancy, but you can rig something like two parallel NDI encoders and a receiver that fails over. At the very least, you might have a backup video path (even if not frame-sync seamless) – e.g., a secondary output from a media server going direct to screen as backup if the networked path fails.

Backup Equipment and Paths: Think in terms of backup sources/destinations too. For instance, if your main media server feeding an LED wall is over IP and it crashes, do you have a second machine ready to take over? Often the solution is an automatic failover or hot spare. On audio, a digital mixer might have a secondary engine or you might have an analog backup feed for critical announcements. I’ve seen festivals run a simple analog “emergency announce” mic line to all delay stacks as a fallback in case the fancy network fails – a low-tech backup that bypasses everything for safety messages. The key is identifying what could be a single point of failure and providing an alternate. In network terms, that could mean two core switches with rapid failover, or at least a spare on hand to swap quickly. Some events go as far as having two completely separate networks (two sets of gear) running in parallel – that’s expensive but for broadcasts or super high-profile gigs it’s done. For most, having dual links and a few spare switches/routers is enough.

Power and Path Redundancy: Ensure your network devices are on reliable power (UPS for the core switches, so a power glitch doesn’t reboot the whole network). Use separate power circuits for primary and secondary network gear if possible – so if one breaker trips, it only takes out one network. Same logic as sound systems: separate phase power for left vs right PA in case one phase dies. Similarly, run secondary cables via a different route (if primary fiber goes stage left, maybe run secondary stage right, so one accidental cut doesn’t sever both). Geography matters – don’t put primary and backup switches in the same rack if that rack could overheat or get knocked over.

Monitoring and Fast Response: Redundancy isn’t just hardware – it’s also having the team and tools ready to jump in. Set alerts for any unusual network behavior (some systems can email or text on failure, or simpler, have a laptop with a dashboard of device statuses). If a primary link goes down and things switch to backup, you want to know immediately so you can fix the primary before the backup has an issue, too. It’s like driving on a spare tire – it’ll keep you going, but you should repair the main tire ASAP. Experienced crews conduct “failover drills” during rehearsal: they’ll yank a cable or power down a switch to see if audio and video keep flowing on the backup. If not, back to the drawing board before the show.

In critical shows, it’s smart to document the failover plan. Everyone should know, “If the network stream to screen X fails, we switch to input 2, which has a direct feed; if the primary audio console goes down, the secondary console is prepped to take over via the network.” Such planning might seem excessive – until the day it saves the event. As a 2026 guide on backup plans for event tech notes, having these contingencies can be the difference between a brief hiccup and a show-stopping disaster in front of thousands.

Fail-safes can also include offline modes: e.g., local playback at a projector if it loses signal (some media servers can push a standby image to displays to show if feed is lost). Or utilizing the fact that an IP network can support rapid re-routing – if one path fails, the team might quickly route an alternate feed. For instance, if a camera’s IP feed goes out, you could quickly substitute with a wireless camera feed on the network to keep the screens live, by just patching it virtually to the output.

In essence, design your AV-over-IP system with the same redundancy mindset as you would for traditional “mission-critical” components like mains power or headline microphones. Use the network’s flexibility to create multiple pathways where there used to be one. The audience should never be aware of any failure behind the scenes – they might later hear how “the network switch died but the show never stopped,” which is the mark of a resilient production.

Deploying Networked Audio Systems

Replacing the Analog Snake: Stage-to-FOH Audio Networking

In the audio world, one of the most liberating changes with AV-over-IP is eliminating the legendary analog snake between the stage and front-of-house (FOH) mix position. Those large multi-core cables (sometimes as thick as an arm) carried dozens of analog lines from stage microphones to the FOH console and back to amps or speaker processors. They were heavy, expensive, and a single physical point of failure (if a connector broke or the cable got cut, many channels could go down). With networked audio, you replace that entire snake with typically one or two Ethernet or fiber cables plus stage boxes and consoles that speak the same digital language (often Dante or another AoIP protocol).

Here’s how a typical setup works now: On stage, instead of a big analog split snake, you have one or more digital stage boxes. These are essentially rack units with lots of mic preamps that convert analog mic inputs to digital audio and send it out over the network. Popular digital stage boxes (like Yamaha R-series, Avid Stage 64, Allen & Heath DX boxes, etc.) often support network outputs – many come Dante-enabled from the factory or via an option card. You connect that stage box to a rugged Ethernet switch on stage. That switch might also connect monitors world (monitor console) and any other networked audio gear on stage (wireless mic receivers with Dante outputs, for example, or an amp rack if it’s networked). Then a single (or dual for redundancy) network cable runs from that stage switch to the FOH position, where the FOH mixing console is also on the network. The console receives all those channels as digital data – you patch them in the console’s interface (no physically moving XLR patches). Likewise, the console’s outputs (left-right mix, matrix sends, etc.) can be sent back to the stage over the same cable to feed the speaker system processors or amplifiers.

The benefits are immediate: no heavy snake to deploy (just one cable), and potentially improved audio quality since the analog run is super short (mic into stage box A/D, then digital the rest of the way). There’s less analog noise and signal loss. And because it’s digital, you can often send more channels than an analog snake without size or weight changes – if you need 64 channels instead of 48, it’s just a software config and maybe a license, rather than pulling a whole extra 16-pair cable. One fiber line can carry hundreds of channels if needed.

Another advantage is the ease of splitting and sharing channels. In an analog world, sharing a mic between FOH and Monitor mix required a transformer isolated split or Y-cable at the stage. Now, digital stage boxes can multicast the signal to multiple consoles on the network. FOH and Monitor consoles can both subscribe to the same channel from the stage box, each getting an identical digital copy. Some systems even allow a broadcast or recording mixer to simultaneously tap the streams. Everyone is hearing the same signal at the preamp’s digital output, and usually you can even control the mic pre gain remotely from each console (with one console assigned as the “gain master” to avoid fights – or use gain compensation features if both need independent trim). This was doable with earlier digital snakes via proprietary means, but AoIP makes it more standard and flexible. For example, a Dante stage box could feed a Yamaha FOH console and a DiGiCo monitor console at the same time, which in the past those brands would never directly talk – you’d need an analog split or MADI bridge. AoIP is bridging those divides.

From an implementation perspective, you’ll want robust switches at the stage and FOH to handle real-time audio. Some productions use an integrated network approach – one big network for both audio and other data – while others have a strictly dedicated audio network. Either way, ensure that the stage switch is ideally the only network hop between stage and FOH (to keep latency minuscule). Often FOH itself can connect directly to the same switch via a long cable – effectively FOH is just a long “spoke” off the stage network switch. If FOH is far (say >100m), that’s where fiber is used: a fiber link with media converters or fiber-capable switches connects FOH and stage.

Anecdote: In one 50,000-capacity outdoor festival deployment, switching to a Dante stage-to-FOH system allowed the crew to set up all audio lines in under a day, versus the two days it previously took to run and solder multi-pin analog snakes across the field. The Dante network carried over 64 channels from stage, and they even tied in a visiting DJ mixer via a Dante interface with no special cabling. When a last-minute guest artist showed up, the engineers simply plugged their microphone into the stage box and routed it over the network to both mix positions – no scrambling to repatch a split or run an extra cable. This flexibility was a huge relief under time pressure.

For smaller events or venues, you might not even need a separate stage box and console – some digital mixers (rack-mounted ones or “digital stage mixers”) are basically a stage box with an integrated mixer you remote control via iPad. These devices often speak Dante or AVB to network with additional I/O or records. The key point is, regardless of scale, replacing analog snakes with network links simplifies audio distribution tremendously.

Multi-Zone Audio Distribution and Zoning

Events frequently have multiple audio zones: main PA, delay speakers, VIP areas, overflow rooms, press feeds, etc. Networked audio makes managing these zones far easier and more precise. Instead of having to physically split or run separate mixes via multiple outputs of the console, you can create dozens of unique audio feeds and route them to wherever needed over the network.

For example, imagine a large convention center with a keynote hall and several satellite viewing areas. With AoIP, the keynote audio can be sent to all rooms via the network. But you could also send a separate simultaneous translation feed (if doing multi-language) to just certain areas (like a Spanish audio feed to a translation booth or a separate headphone system). Without obtrusive cabling, the network becomes an audio matrix routing any source to any zone. This is basically how modern installed sound systems work in theme parks or malls – and events can tap that too.

Delays and fills: As used in large concerts and festivals, multiple delay speaker towers can be synchronized over the network. Engineers can tweak each tower’s delay timing and EQ individually from FOH via control software, and the audio is delivered via the same network carrying everything else. All delay amplifiers might just connect to an on-stage network switch and subscribe to a specific Dante feed (say “Delay Left” and “Delay Right”). If the layout changes or you add another tower, just drop in another Dante-enabled amp and subscribe it to the feed – no need to run a new cable from FOH or find an extra output.

VIP and broadcast feeds: AoIP shines when you need special mixes. Perhaps your VIP lounge wants a slightly lower volume or a different music-only mix. With a network, you can set up an aux mix on the console and patch it over the network to only the amp or speaker in the VIP area. Coachella’s Dante system, for instance, routed a dedicated VIP mix to certain zones. Broadcast trucks or live stream mixers can pick off any channels or submixes they need from the Dante network without affecting what’s going to the audience. This kind of signal sharing used to involve complex splitters and isolators, now it’s virtually a checkbox in software.

A practical tip: label your streams clearly in the network controller software. Dante allows naming each transmitted channel (e.g. “Main_L”, “Main_R”, “VIP_feed”, “StageAnnounce”, etc.). Good naming and discipline prevents accidentally sending the wrong audio to a zone (imagine sending the backstage chat feed to the main PA – oops!). Many AoIP users create a channel naming scheme as part of their setup SOP.

Case in point: At a multi-stage music festival, the production used a shared Dante network for all stages’ audio distribution. They had a “Guest Audio” transmit channel at each stage that could be subscribed to from any other stage’s PA. So if a performer ran late on one stage, the MC could patch the audio from the main stage (where something was still going on) to fill the delay, audible on the waiting stage’s PA. This on-the-fly patch would have been impossible with analog without physically cross-connecting snakes – but with the network, it was a quick fix that kept the crowd energy up. The festival also fed a press tent with a program mix over the same network – no bespoke cables needed. This sort of multi-zone agility is a hallmark of networked audio.

Integrating Wireless Audio (Mics, IEMs) and Monitoring

Wireless microphones and in-ear monitors (IEMs) are staples of events, and they too are benefiting from network integration. Top-end wireless mic systems from brands like Shure, Sennheiser, etc., now often come with Dante outputs right on their receiver racks. That means the mic audio hits the receiver and is immediately available on the network to route to any console or recorder. No need to run XLRs from the wireless rack to the mixing board. This reduces analog patch points (one less A/D conversion too, since it can stay digital from the receiver to console). For monitor engineers, if the wireless IEM transmitter rack is also Dante-enabled, the monitor console can send the mixes via network directly into the transmitters. Again, fewer cables and less chance of someone mis-patching an aux send.

Even if your wireless gear isn’t natively networked, there are small stageboxes or converters to get them on the network. For instance, you could connect analog outputs of wireless receivers into a small analog-to-Dante interface box, which then sources those to the Dante network. This is useful if you have lots of wireless across different stages – you could centralize the RF gear in one location if needed and then deliver the audio to wherever it’s needed via the network (though in practice, most keep wireless racks on their stage to have antennas nearby). Still, having wireless on the network means any console can pick up any mic if necessary. If a presenter from Room A walks into Room B with their wireless mic still on, the tech in Room B could subscribe to that mic’s channel on the network and get the audio. This kind of flexibility is helpful in conferences or multi-zone events.

From a monitoring perspective, networked audio also allows comprehensive listen-in and control from anywhere. For example, the FOH engineer could solo a monitor mix from the FOH console if needed, because all monitor desk outputs could be shared on the network. Or a tech carrying a tablet with a Dante headphone adapter can walk around and tune zones by soloing different signals without being tied to a console. Some productions set up a dedicated “Network QC” station – a computer with Dante Virtual Soundcard and a pair of headphones that can subscribe to any channel on the fly to check its content. It’s like a master listening station for all audio streams.

There’s also the matter of audio monitoring and analysis. Tools like SMAART (for sound analysis) or multi-track recorders can subscribe to network channels without disturbing the main flow. Imagine calibrating the PA – the engineer can take any mic feed from the stage (like measurement mics or even vocal mics) into analysis software via Dante to see frequency response, without unplugging anything or needing special splits. Or they can record all channels for a virtual soundcheck later just by arming a recording on a laptop connected to the network. Indeed, virtual soundcheck (playing back last night’s multi-track recording through the console to fine-tune mixes) has become much easier with AoIP, since you can route a computer’s outputs as sources to the console channels with a couple of clicks.

One caveat: clocking and reliability with wireless. When you integrate analog wireless gear via network, ensure your A/D interface for those is in sync with the master clock (Dante or otherwise), to avoid pops or drifts. Most Dante devices auto-sync to the network master via PTP. Also, keep an eye on network latency for things like IEMs – any added delay affects performers directly. Typically, the network part is negligible relative to the IEM’s own RF latency, but if you accidentally had a high buffer setting, it could make IEM feel slightly delayed. It’s always wise to test the full chain (mic -> console -> IEM) for latency; in fully digital networks it’s usually around 4-8 ms total which is fine, but double-check if multiple conversions are involved.

Sound Quality and Calibration in IP Audio

A big question: does moving to networked audio affect the sound quality? In general, the answer is that modern AoIP is transparent – the audio is transmitted as uncompressed PCM, so there’s no generational loss. In fact, it can improve quality by eliminating long analog runs that could introduce noise or high-frequency roll-off. Many engineers report cleaner sound after moving to digital stage snakes, as the audio stays in the digital domain and is less susceptible to external interference. The bit depth and sample rate are high (typically 24-bit, 48 kHz or higher), matching or exceeding what analog systems effectively delivered in terms of dynamic range and frequency response.

One thing to consider is gain structure: With digital networks, proper setting of mic preamps and gain staging is more important than ever to use the full resolution and avoid clipping – because a digital clip is nasty and doesn’t gracefully saturate like analog might. But that’s more of a console/technique thing than the network itself. The network will happily carry whatever you feed it. Just ensure each device is configured for the same reference level if applicable (some devices can switch between pro audio +4 dBu and consumer -10, etc., in how they interpret 0 dBFS). Generally, keep levels healthy but with headroom, and you’ll get great sound.

Calibration of delays and EQ in an IP system remains as crucial as before. You might have more power to do it centrally. For example, networked system processors can be adjusted via software across the network, so the FOH engineer can tweak the EQ of far delays from their laptop at FOH rather than running to each delay tower’s processor. And because all signals are timed via the network, once you align them, they stay locked unless network latency changes (which in a stable network it won’t, aside from any intentional adjustments). Some advanced systems even use the precision time protocol to phase-align everything sample-accurately (useful in immersive audio systems with many speakers, for example). For most events, you’ll still use a measuring tool and ears to align speakers as usual; the network doesn’t change acoustic physics, just gives you a convenient way to distribute the signals.

When it comes to achieving great sound, don’t forget the basics: speaker placement, room acoustics, tuning filters. The network is just the delivery method. An interesting perspective from venue professionals is that tech like networked audio should be paired with attention to acoustic design and tuning to really shine. For instance, achieving great sound in any venue still requires proper acoustic treatment and system design. Networked audio gives you precision tools (like being able to EQ each zone separately or time-align precisely), but using those tools effectively is an artistry. A poorly tuned system will sound poor whether analog or digital. Conversely, an IP system that’s calibrated well can leverage its consistency and control to maintain sweet sound across an entire venue.

One final note on sound quality: maintaining high resolution end-to-end is easier with networked audio. You’re not subjecting audio to multiple D/A and A/D conversions through analog splits and long cables. From mic to PA, you could conceivably keep it digital until the final D/A at the amplifier. This means less noise and almost no hum/buzz issues (since ground loops are eliminated between networked devices – they’re galvanically isolated at the Ethernet ports typically). If you’ve ever chased a hum in an analog multicore at 2am, you’ll appreciate that benefit!

In short, networked audio systems, properly set up, not only preserve sound quality – they often improve the overall fidelity and consistency of the sound across an event. The audience will experience clear, well-synced, and impactful audio, and they’ll likely never realize that it was an IP network silently orchestrating it all behind the scenes.

Deploying Networked Video Systems

IP Video for IMAG, Streaming, and Signage

Networked video enables a unified approach to all the visual outputs of an event – from the big IMAG screens by the stage to the live stream going to audiences at home, even the digital signage around the venue. By handling video over IP, you can feed multiple needs from the same sources in parallel.

Take a typical concert: you have cameras capturing the performance for the IMAG (Image Magnification) screens so the back of the crowd can see the artist up close. Traditionally, those camera feeds run via SDI cables to a switcher, and the switcher outputs to the LED wall processors via more SDI or fiber extenders. If you add streaming into the mix, you might have had to take a copy of that feed into a separate streaming encoder setup. And if the concourse TVs or sponsor displays want video, that’s yet another split or system. With AV-over-IP, you can much more easily send the camera feeds and program feed wherever they need to go. For instance, use NDI or ST 2110: cameras send into the network, a vision mixer pulls them in to cut the IMAG program, and that program feed (now an IP stream itself) can be simultaneously picked up by a streaming encoder system, by a record server, and by small NDI decoders attached to the TVs in the lobby or VIP areas. Essentially, the network acts like a flexible routing matrix – very similar to how broadcast master control works, but scaled to events.

One of the exciting aspects is how hybrid events (with both in-person and remote audiences) benefit. If your event is doing a big live stream, you can produce that stream using the same camera shots and graphics that you use in-venue, simply by sharing them on the network with the streaming production team. Many conferences in 2026, for example, do a “live mixed” IMAG for the room and a slightly different mix for the stream (maybe with more tight slides, etc.). If all sources are on IP, two directors (or an automated system) can each take what they need without extra hardware splits. This was exemplified by a global virtual festival that connected 26 countries, where over 200 NDI video signals were deployed across their network to feed multiple live channels, using tools like the Atomos Shogun & Ninjas to ensure no disruption to the live event. They essentially created a content pool on the network that various outputs could draw from, showing how flexible IP workflows can handle complex multi-channel shows.

Digital signage and sponsor content around venues also integrate well. Rather than sneaker-netting video files or setting up separate DVD players for each screen, an IP distribution means you can centrally playout content (like sponsor loops, schedules, emergency messages). Using multicast streaming or a tool like IPTV distribution, the same network carrying your live feeds can carry signage content that smart displays or small decode boxes subscribe to. Many modern venues have an IPTV system exactly for this – events can plug into it to show their content on all house screens easily.

One thing to manage is format compatibility – IMAG screens may be fine with a slight delay, but if a presenter is looking at a confidence monitor (a screen facing them showing slides or camera), that needs minimal latency or it’s disorienting. You might feed the confidence monitor via a direct output or a low-latency feed, while the main screens might get the fancy processed feed. IP systems can handle this by either offering a low-latency mode for those specific monitors or running a separate path (maybe the confidence monitors are fed directly from the switcher local output, since that one doesn’t need to route widely). The key is you have the choice once your building blocks are IP-enabled.

Streaming protocols come into play as well: while NDI is great internally on a LAN, to get out to the internet for virtual attendees, you’ll encode to something like RTMP (for platforms like YouTube, Facebook) or SRT for direct point-to-point low-latency links. Many hardware or software encoders can take an NDI input or a network stream directly. So again, no extra capture cards needed if done right. There are even dedicated “NDI to Web” services emerging that let an event easily publish NDI sources to remote viewers with minimal fuss. The overarching concept is reusing the same production elements for multiple outputs by leveraging the network.

A balanced approach is important: don’t put all eggs in one basket without ensuring the network can handle it. If everything (IMAG, stream, signage) is running through one network and it fails, you lose everything at once. Some designs keep critical IMAG separate or have a backup feed. But generally, having one integrated system is more efficient as long as it’s robust.

Replacing Matrix Switchers and Video Cabling

Large events or venues often had a central video matrix router – a big box where every source (cameras, media servers, playback decks) and every destination (LED walls, projectors, overflow screens) all plug in, and you electronically patch crosspoints. These are expensive and fixed in size (e.g., a 32×32 SDI router). AV-over-IP essentially dissolves the matrix into the network. Your Ethernet switches become the matrix, and your routing is defined by software. This not only is more flexible (you’re not limited to a set number of ins/outs, just limited by overall bandwidth and switch port count which is expandable), but it can be more cost-effective, especially as you scale. For the cost of a one large hardware router, you might outfit your event with network switches that handle both audio and video and more.

From a practical standpoint, when replacing video cabling, you’ll likely use encoders and decoders for sources and displays. For instance, if you have a laptop that needs to send its screen content to various projectors, you could attach a small encoder box (or even use software if the laptop can output NDI itself). Each projector could have a decoder (if it’s not already an IP-enabled projector). These boxes take the place of what would be long HDMI cables or SDI fiber extenders. On the network, they advertise their streams or listen for streams. You then route centrally. Many such units support 4K now and HDCP if needed (for protected content), making them pretty direct replacements for matrix switching in corporate events or permanent installs.

One network vs separate distribution: Some might ask, why not just stick with HDMI splitters and extenders? For one, those don’t scale well beyond a handful of outputs and are typically one-direction (one source to many outputs). If you need many-to-many routing, IP is superior. It also cuts down on specialized gear – instead of HDMI over CAT extenders (which often are basically one-to-one proprietary network links), you use a standard network that can be repurposed for other uses when needed. We’ve seen venues that had miles of SDI coax and separate CAT5 for analog VGA extenders, etc., rip a lot of that out and put in a robust fiber/IP system that handles everything with off-the-shelf switches and SFP modules.

For events, ease of reconfiguration is a winner. Say on Day 2 of a conference, they decide Session Hall B now also needs to show the keynote feed. With an IP-based setup, no problem – just route the keynote video source to Hall B’s projector via software. Presto. With older methods, you’d scramble to find an extra DA or run a new line from a splitter (hoping you have an output free) while possibly crawling through ceilings – not fun and error-prone.

Another nice aspect: less signal degradation and timing issues. In analog days, running video too far resulted in image ghosting or noise. In digital HDMI/SDI, too far gives you nothing (snow or drop out). With IP distribution, as long as the network link is intact, you get the full quality or nothing, and you can go far (with fiber, basically arbitrarily far). This makes it simpler to guarantee an image will arrive where it needs to. Also, matrix switchers sometimes had issues with EDID management (getting source and display to agree on resolution) or HDCP (content protection). Many AV-over-IP solutions have gotten better at handling EDID and even HDCP in the matrix context – for instance, an SDVoE system can pass HDCP-encrypted content as long as all end devices support it, similarly some NDI-based pro systems have workarounds. It’s important if you have sources like Blu-ray or certain presentations.

One caution: when replacing a matrix with a network, make sure to systematically manage signal routing. It’s easy in software to accidentally route the wrong source to a screen (like showing the wrong video to the wrong room) if you’re not careful. Good controller interfaces or even an event control system (like using a production control software that has a UI for preset routes) is helpful. You might have a central touch panel or computer where the tech chooses “Send camera 1 to Lobby TVs” and it executes the proper route, rather than manually selecting multicast addresses each time. It’s wise to invest a bit in the control layer to avoid on-the-fly confusion.

In summary, matrix switching through IP is a paradigm shift that frees you from fixed hardware constraints. It puts more planning and responsibility into the network design, but it pays off in versatility. Most events that switch don’t look back – once you see that you can patch any video to any destination mid-show without plugging cables, you don’t want to return to the old way. Just remember that with great power comes great responsibility: double-check your routes and monitor the outputs to ensure the right content is showing.

IP Cameras, Projectors, and LED Walls

An increasing number of professional cameras now offer direct IP outputs or modular IP backends. In live broadcasts, it’s common to see camera chains running entirely over fiber IP networks rather than traditional triax or SDI. For event producers, this means your cameras can potentially tie directly into the network (especially useful for remote or PTZ cameras). For example, a PTZ camera might support NDI output – you just plug its network cable in and it’s immediately available to your production system; plus you can control it over the same cable. Even some high-end studio cameras have optional ST 2110 interfaces or similar, allowing them to output full quality feeds directly onto an IP switch which then feeds into your vision mixer. This reduces the need for base stations or capture cards, simplifying setup.

Projectors and LED wall processors are also joining the IP party. While most projectors still primarily take HDMI/SDI or DisplayPort, a few now come with HDBaseT or even network streaming capabilities built-in (for instance, some newer models can accept a stream over IP from the media server). LED wall systems often have a sending unit that takes inputs – there are now versions where that sending unit can accept an IP stream input or sits on a network. Some advanced media server workflows treat the LED wall like an endpoint and drive content via IP protocols (especially in permanent installations). On large tours, it’s still common to use robust point-to-point links (like fiber DVI/SDI) for primary LED feeds, but IP is creeping in for flexibility, especially for secondary content or when screens are far apart in different areas.

One great advantage is multi-view and monitoring over IP. Traditionally, to see all cameras or content, you’d use a multiviewer fed by SDI. Now you can have a laptop or a tablet showing various camera feeds via NDI – useful for directors or technical directors who need mobility. I’ve seen directors at large conventions carry an iPad showing a grid of NDI feeds (via an app) so they can keep an eye on different rooms’ cameras while roaming. This is minor but boosts operational awareness.

IP-based media servers (for visuals for LED and projection) are also notable. Systems like Resolume, Disguise, etc., can output NDI or other streams in addition to physical outputs. This means if you have a last-minute request to display that feed on an extra screen, you could just catch it via network, no extra GPU output needed (assuming modest resolution). Conversely, in systems like project mapping, multiple servers need to sync and share content – doing so over IP networks (with protocols for sync like NTP or PTP) is how they achieve frame-accurate blending across many projectors. A well-configured IP network ensures all projectors get the right frame at the right time, making large canvas projection mapping possible where old analog methods would drift or be impractical.

Another interesting development is Timecode and sync over IP. For example, if you’re running a timecode for lighting or pyrotechnics in sync with video, you can send that as IP data (e.g., LTC converted to IP or using PTP as a common clock source). When all devices – media servers, lighting consoles, etc. – are on one network, synchronization signals can be distributed precisely and uniformly. This can replace long coax runs of timecode distribution or MIDI cables with just network messages.

It’s important, though, to ensure compatibility and fallback. Not every camera and display at events in 2026 will be IP-ready. You’ll likely have a mix: some IP cameras, some only SDI; some smart projectors, some old ones. This means you’ll use gateway devices. For instance, an SDI camera can be connected via an IP encoder. Conversely, if you have an IP source but an SDI-only screen (like a satellite truck input), you might use a decoder with SDI out. Plan those adapters into your system design and have a few spares. They are the equivalent of different cable adapters in the old analog world. The fewer needed, the better, but inevitably some bridging is necessary in transitional times.

On LED walls specifically, test IP distribution carefully—visual glitches are obvious to the audience. Some LED processors prefer genlocked sources (synchronized timing). If feeding them via IP, ensure the sources are genlocked or use a protocol that preserves sync. SMPTE 2110 does that well; NDI can, if all sources share a clock. If not, you might get tearing or frame drops. Often, using the media server as the main synchronizer and feeding that directly to LED is safest for main screens, with IP more for supporting content and monitoring. But this is changing as gear improves.

In short, cameras to screens, the whole chain is moving to IP piece by piece. As an event producer, you don’t necessarily need every component to be IP-native on day one, but you should be prepared to integrate them as they come. And when procuring new gear, consider IP capability as a strong plus – it might slightly cost more now, but it will pay off in simplifying the cable runs and integration tomorrow.

Latency and Live Video Considerations

We touched on latency in the networking section, but let’s delve specifically into how it impacts live video implementations at events. The tolerances for latency vary by application:

• IMAG (Image Magnification): very low tolerance. If the giant LED wall behind a speaker is even 3-4 frames behind the live action, audiences see lip sync issues or a noticeable lag between motion on stage vs. on screen. The goal is usually <2 frames difference. Achieving this means your camera->switcher->screen pipeline must be ultra-fast. Many IP video setups for IMAG either use uncompressed or lightly compressed links (like SDI or ST 2110 or SDVoE) to keep latency ~1 frame or better. If using NDI or similar, one has to measure if it’s acceptable – sometimes it is, sometimes not, depending on the total chain. Some events purposely delay the audio a tiny bit to match slower video processing, because our ears are more forgiving than our eyes for minor delays. For instance, if a video system introduces 50 ms delay, they might add 50 ms audio delay to the PA, so at least audio and video are in sync (though both late compared to live sight, but 50 ms is usually not perceivable as lip off-sync). This is a common trick: treat the whole AV as one system and align the slowest element.
• Remote streaming and recording: moderate tolerance. If you’re streaming online, a delay of several seconds is normal (due to buffers and protocol). That doesn’t affect the live audience, only remote viewers who don’t know the difference. So you can allow latency to ensure reliability. Similarly a recording doesn’t mind a delay. So here you can use heavy compression or multi-hop processing that might add a few seconds – it won’t hurt the final product, as long as you maintain sync internally (i.e., the recorded audio and video line up with each other).
• Interactive elements: If you have a live Q&A with people across different rooms or a remote link (like linking two venues via video conference), latency is very crucial for interaction. Large latency makes conversation awkward. Ideally, keep round-trip below 150 ms for it to feel natural (though up to 300-400 ms is often used in video conferencing – beyond that, people talk over each other). Using efficient protocols (like WebRTC or low-latency tuned streams, or dedicated links) is key. Within one site, latency is usually negligible, but between cities, the speed of light becomes a factor.

One must also consider processing latency in displays. For example, some LED processors or projectors have a “low-latency mode” that cuts some internal frame buffering. When doing IP, you might need to enable those modes to shave off a frame here or there. Also, be mindful when mixing technologies: maybe your side screens are running via IP and a scaler, but your center screen is direct from switcher. If one path has more delay, the images might be out of sync between screens – very noticeable if they are adjacent. You might have to add a touch of delay to the faster path for uniformity. Commonly, production teams align all outputs so that if multiple screens show the same content, they are synced to the frame. IP tech can sync frames if configured (unlike analog where two projectors might have slight differences). Using genlock or PTP across the system ensures frames are in step, which is especially crucial for multi-screen blends or 3D/stereoscopic setups.

Troubleshooting latency becomes a new skill: instead of just blaming the cable length, you sometimes have to identify which device or software buffer is adding an extra frame. Tools for measuring latency include high-speed cameras or LED timers that flash so you can see delay between input and output. But practically, the best test is the eye/ear test with a live source and some claps or motions as reference.

Another consideration is network jitter – variability in packet arrival – which can cause latency to fluctuate if buffers aren’t enough. That’s why, again, a well-managed network (with QoS and minimal congestion) is vital. You don’t want your video to stutter or momentarily freeze because network queues filled up. Using dedicated AV networks or VLANs and monitoring usage prevents surprises.

In summary, always design with the latency budget in mind. If you budget 1 frame for camera, 1 frame for switcher, 1 frame for LED wall processing, you have ~3 frames (~50 ms) total – likely okay. If your IP system adds another 2 frames compression, that’s 5 frames (~83 ms). At ~100 ms (6 frames) you’re really pushing it for IMAG being tight with live action on stage (especially if people can directly see the stage and screen at once). At that point, you must delay audio and it’s still not perfect for those close to stage who see direct sound vs. screen. So if you foresee >~50-60 ms video latencies, strongly consider equalizing by delaying other elements and testing audience perception. In many cases, one finds a compromise or uses hybrid routes: IP for distribution but a direct feed for the main screen, etc.

Fortunately, technology is improving. I anticipate by the late 2020s, we’ll see more IP gear that can truly do “zero-frame” latency through clever sync and partial processing. Already, some claim 1/4 frame etc. For now, it’s about smart design and knowing where you can trade delay for flexibility, and where you simply can’t compromise (like a drummer’s monitor video feed – give them the fastest possible!). Balancing these needs is part of the art of the systems engineer in modern event production.

Ensuring Security and Reliability in Networked AV

Network Segmentation and Access Control

With great connectivity comes great responsibility – moving your event’s AV onto network infrastructure means you must also think like a network administrator to protect and control it. Network segmentation is one of the best strategies to keep your AV systems secure and stable. This means dividing the network into zones or VLANs, each for specific purposes, so that unrelated traffic doesn’t interfere and unauthorized devices can’t access critical streams.

For example, you might set up separate VLANs for:

• Show-critical AV devices (consoles, stage boxes, media servers, decoders, etc.) – this is your “Production AV” network.
• Guest/artist Wi-Fi and internet access – separated, so if an artist connects their laptop, they can’t accidentally stream a Netflix video into your show network or start browsing the Dante devices.
• Administrative or less critical systems like maybe general event management PCs, or the “office” network in a backstage area.
• Services like lighting or RFID scanning – these could be another segment if they share infrastructure, just to isolate their traffic (lighting consoles spamming Art-Net broadcast have taken down poorly segmented networks before!).

By isolating networks, even if someone plugs in a device or there’s a malware threat on one side, it doesn’t cross into the show AV side easily. Access control can be layered on – for instance, using managed switch features or a router to only allow specific MAC or IP addresses on the AV VLAN, effectively preventing unknown gear from participating. Many events go simple: they don’t even give out the Wi-Fi password for the production network to anyone not on crew, and crew devices are pre-configured.

Another practice is implementing “switchport security” on edge ports – meaning if an unauthorized device tries to connect, the port either blocks it or puts it in a quarantine VLAN that has no access. Some high-end venues have Network Access Control (NAC) systems that do this with certificates or login, but that might be overkill for a temporary event. Simpler is to physically secure switches (keep them in locked cases or out of public reach) and not patch extra ports where people can get at them. For example, don’t leave an open Ethernet jack on stage that ties into your control network – someone might innocently plug their phone charger hub in and inadvertently bridging networks or cause a loop.

Wi-Fi caution: If you have to run AV over wireless (generally avoided for primary signals except in niche cases), secure those links. Use encrypted streams and closed networks. For instance, some events use a wireless NDI camera – they’ll isolate that on its own Wi-Fi network with no internet, using WPA2 encryption. The last thing you want is someone intercepting or injecting into your AV streams.

Segmentation also helps with performance. Think of it like a hotel with separate hallways for staff vs guests. Staff can go about quickly without bumping into guests. In network terms, if you keep, say, all the high-bitrate video streams in one VLAN, your office printer traffic in another, they won’t contend or see each other’s broadcast chatter. The Event Tech Security guide underscores that isolating critical systems is a core tactic: you don’t want your ticketing or AV gear on the same subnet as hundreds of attendee devices.

Physical access control matters too. Lock those racks! If someone can come and literally patch into a switch or unplug something, segmentation means nothing. At big festivals, network racks are often placed side-stage with covers, or FOH networks under the mix riser where only crew go. But I’ve seen curious folks in conference centers plug in a laptop to a convenient network jack not knowing it was for AV – causing an IP conflict that dropped audio. So keep a close handle on what’s connected.

Preventing Interference and Cyber Threats

Using standard networks means facing the same cyber threats any network does. While it’s unlikely hackers are trying to specifically target an event’s audio network, there have been incidents of vandalism (someone trying to hijack screens to display rogue content, etc.). At minimum, use strong passwords and update default credentials on any network gear or AV device with a control interface. Many AV devices have web or telnet interfaces – change those defaults so a person can’t just connect and, say, mute all Dante channels or switch video feeds as a prank.

If your gear supports encryption, enable it. Dante has an optional encryption for audio streams (Dante Domain Manager facilitates this), NDI has encryption as well. It might add slight complexity, but for high-profile events (imagine a political conference), you may want that so no one can just listen in by joining the network. Similarly, any management laptops or systems should have firewalls on and not be doing risky internet browsing during the show.

One real threat is malware or viruses on a laptop that’s connected to the AV network. If a crew member’s PC is infected and starts spewing traffic, it could overwhelm things or attempt to propagate. Encourage (or enforce) that any device joining the production network is scanned and up to date. Ideally, keep internet off the production network entirely; if a console or server needs an update, do it in a controlled way rather than leaving them online the whole time. Many networks at events are offline only – they do that by not routing those VLANs to the internet. This not only secures from remote hack attempts (someone can’t attack what they can’t reach) but ensures crew aren’t inadvertently downloading stuff on the show network.

Interference in a network sense can also come from poor configurations – like an IP address conflict can wreak havoc (two devices with same IP might knock each other out). To prevent this, use static IP planning or reliable DHCP ranges. Many production networks use static IPs for all key gear so it’s deterministic (e.g., FOH console is 192.168.1.100, stagebox .101, etc.), and they keep a spreadsheet or notes. Then they might run a DHCP server only for any dynamic connections (like a visiting OB van plugging in). That DHCP range is outside the static range to avoid collisions. It’s a small detail but saves headaches. There’s nothing worse than chasing why audio dropped out only to find two devices had a duplicate IP and one was randomly disconnecting.

Firmware updates: Outdated firmware can have vulnerabilities or bugs that cause reliability issues. Always update switches and AV devices to the latest stable firmware before an event (don’t do it mid-show obviously). Some updates specifically fix problems like multicast handling or clock sync stability. It’s part of cyber hygiene too – as older firmware might have known exploits.

Be aware of denial-of-service (DoS) conditions: This could be accidental or malicious. For instance, a misconfigured lighting console might flood the network with data; a malicious actor could run a tool to flood with random packets. Your defense is segmentation (so they can’t hit the AV VLAN easily) and rate limiting perhaps (some switches can auto-block a port that’s flooding beyond a threshold – enable storm control if available). In critical setups, you could also have an out-of-band control – like a separate tiny network or direct cable to key devices to reboot or reconfigure them if the main network is clogged. At the very least, a spare switch and cables should be on standby if you need to rebuild a part of the network quickly.

If connecting to venue networks or internet, use a firewall. For example, if streaming out, put a router that only allows the streaming traffic and nothing inbound (unless needed). This protects the internal AV network from external scans or attacks. Many production folks carry a small enterprise router for that boundary.

In essence, treating the AV network with the same care as an IT network – unique passwords, limited access, monitoring for unusual activity – will nip most issues in the bud. Event tech veterans often act as quasi-cybersecurity officers on show day without really thinking of it that way, by keeping things locked down and isolated. It’s an increasingly important part of the job as everything goes IP.

Redundancy Strategies and Monitoring

We talked about redundancy in the implementation section (dual networks, spare gear), so here let’s focus on operationalizing that and monitoring. It’s not enough to have redundant paths; you must actively ensure they’re functioning and ready.

Link monitoring: Use switch management to monitor link status. Most managed switches can send an SNMP trap or at least have an LED when a link fails. Keep an eye – if the secondary network link dropped its connection due to a bad cable, you’d want to know before the primary also fails. Some Dante systems can alert you if the secondary goes down. Use these features. During the show (if possible), have a status panel visible – maybe a laptop running a network monitoring dashboard, or at least the Dante Controller open showing all devices are green. Some modern audio consoles integrated with Dante can show network status on their screen too. Similarly for video, if using something like NDI, there are tools to monitor stream bandwidth and packet loss.

Periodic Redundancy Checks: Leading into critical moments (like before the headliner’s set), some crews do a quick redundancy check: e.g., confirm the secondary Dante is still clock synced, or unplug and replug a secondary cable during soundcheck to see that it fails over seamlessly. It’s a gutsy move but better than discovering at the moment of crisis that the backup wasn’t actually working. If you have a long event, maybe test redundancies during a break or opening act when stakes are lower.

Failover Procedures: Clearly assign who will do what if something fails. For example, “If main FOH console loses connection, monitor engineer will immediately route FOH mix from their console to PA (since all on network they could pick it up).” These kinds of plans need practice too. After setup, it’s not a bad idea to simulate a failure: kill the FOH console for 2 seconds, does the monitor console feed kick in? Or if primary switch reboots, does secondary network carry on? Practicing these scenarios makes the crew confident. It’s analogous to fire drills. The audience never knows, but you might end up using that plan someday.

Logging: Some switches can keep logs of events (like link flaps, errors). Check the logs after rehearsals – if you see a port that’s logging lots of errors, maybe that cable is flaky. Better to replace it proactively. Logging can catch subtle issues like a multicast group not registering properly (IGMP logs), or a device constantly connecting/disconnecting. All those could be early warnings of a failure waiting to happen.

UPS and Power: Ensure all network critical gear is on Uninterruptible Power Supplies, as mentioned. A momentary power drop can reboot a switch which might take 1-2 minutes to fully come back – an eternity in show time. A UPS with just a few minutes runtime is fine (you’re mostly covering generator changeovers or brief losses). Also, sequence the power: ideally, network gear on first, then devices. If something reboots out of sync, some AoIP nodes might not reconnect unless they see the master clock (which might live on the switch). Think about the power restore sequence if… say everything lost power and the generator kicked in. You want the network up before consoles finish booting so they attach properly. If not, you might need to have a manual step to re-sync or reboot devices.

Sparing: Have spare modules for potential points of failure: SFP fiber modules (they can burn out), a spare switch (maybe not identical capacity but at least something to re-patch critical paths), extra cables, a spare Dante interface or two for emergency reroutes. Essentially, a “crash kit” so if any one piece dies, you can patch around it. For example, if your console’s Dante card fails, do you have an analog backup plan? Maybe you could run analog left-right to amps in emergency (with lesser quality and no individual control but at least show continues). Some do that: keep a simple analog fall-back feed line ready that can be plugged if the network goes dark. Same for coms: maybe keep a wired backup comms if IP comms fails. These are not ideal but will save the show if worst happens.

Real-time Dashboards: In high-end setups, they’ll have a system like Q-SYS or custom software monitoring pings and stream health, showing green/red lights for each device or link. Even a DIY solution can work: one could use a scripting tool to continuously ping all devices and beep if any go offline. Seeing issues in real time allows quick intervention – maybe you’ll jiggle that cable at stage right before an artist goes on if you saw it went dark for a second.

All of this might sound paranoid, but live events are one-take only. The more of these safety nets you have, the more confident you can be that the amazing new networked system will be a hero, not a headache. And if something does hiccup, you’ll know instantly and have a plan to address it in seconds. That’s how you turn a potential show-stopper into a barely noticed blip.

Transitioning to AV-over-IP: Practical Steps

Assessing Current Infrastructure and Needs

Before diving headlong into an AV-over-IP overhaul, it’s crucial to take stock of what you have and what you actually need. Start with an audit of your current AV setup: how many audio channels typically? How many video sources/destinations and what resolutions? What pain points do you face (heavy cabling, limited routing, etc.) that you expect IP to solve? Also consider the venues you operate in – do they already have some networking capability (many modern venues have decent network backbones, which you might leverage) or will you be deploying temporary networks each time?

Identify the integration points. For example, maybe you already have a digital audio console that supports Dante – that could be your starting anchor for networked audio. Or you have projectors that accept HDBaseT (which is a form of network-like transport). Those are footholds to build on. By noting what equipment is IP-capable or has available network cards, you can plan upgrades strategically. At the same time, note legacy gear that would need adapters to work on an IP network (like old analog amplifiers or VGA-only screens) – you’ll need to budget for those adapters or plan to replace those units.

Understanding needs also means forecasting future events. If you expect to scale to larger events or add hybrid streaming components, design the network for that. It’s wise to consult with all stakeholders: production managers, sound engineers, video directors – get their input on what’s lacking and what’s desired. They might say “We wish we could easily send audio between Stage 1 and Stage 2” or “It’d be great if any camera could route to any screen.” Those become requirements for your IP solution.

From a technical perspective, evaluate your IT environment. If this is a fixed venue, what’s the IT policy? Maybe the venue’s IT department needs involvement (especially if you plan to use their existing switches or lines). Clarify that early to avoid turf wars or security conflicts. Many corporate venues for example have rules about what can be plugged into their network – you may need to arrange a separate VLAN or get permission to run your own cables.

Finally, consider compliance and standards. Are there industry standards or regulations you should align with (like AES67 interoperability if you do a lot of cross-rentals with broadcast, or InfoComm/Avixa guidelines)? Knowing these can refine your needs – e.g., if you expect often to tie in external broadcast trucks, ensuring standards-based streams might be high priority.

Document all this in a brief if possible: current state, target outcomes, must-haves (like “reduce setup time by 30%” or “enable multi-room video routing”). That will guide your choices and also help justify the investment to stakeholders by showing the clear benefits relative to needs.

Training the Team and Building Expertise

A technology is only as good as the people deploying and using it. Investing in training your team is arguably as important as buying the right gear. Thankfully, there are many resources by 2026. Audinate (Dante) offers a certification program (Level 1, 2, 3) which many audio engineers have found very useful. It covers real-world issues like latency settings, clocking, and troubleshooting. If you’re moving to Dante, get your audio crew Dante-certified – it’s often free or low-cost and online. The knowledge they gain (like understanding multicast vs unicast flows, etc.) will carry over to other network aspects too.

Similarly for video, NewTek/Vizrt had NDI trainings, and more general AV-over-IP courses are available through organizations like Avixa (InfoComm). Consider sending the video director or techs to a course on “IP for Live Video” which covers SMPTE standards and system design. The idea is to make IP part of the crew’s language, not a black box that only the “IT guy” knows.

Hands-on practice is key. Before a high-stakes event, do trial runs. Maybe set up a test network in the warehouse or shop with a small Dante setup and practice routing, failure recovery, etc. Or run a minor stage at a festival on the new system while keeping others on old tech as backup until after you prove it. This incremental approach builds confidence. Some event pros shadow other events that have done it – if you can, send someone to observe or assist on a show that’s using full AV-over-IP to see how they set up and manage it.

Also, cultivate an IT mindset within the team. It might involve learning some networking basics like IP addressing, using network admin tools (ping, traceroute, switch GUIs). There’s often initially a gap between AV folks and IT folks – try to bridge that by maybe having a joint workshop. If you have an IT department, bring them in to give a primer on managing switches, while you teach them what a stage box does – mutual understanding helps. In fact, the blog on AI-powered venue operations suggests cross-training staff in tech domains improves overall efficiency, because automation and IP systems blur the lines between traditional roles.

One effective method is doing a small pilot project specifically as a training exercise. For instance, host a small internal event (or even a pretend event scenario) where the team must set up an AV-over-IP system from scratch. Let them encounter issues in a low-pressure situation and learn how to solve them. Perhaps run the city’s next press conference or a local meeting fully networked as a test bed.

Encourage team members to subscribe to AV tech forums and communities (like r/LiveSound or manufacturer forums). Peers often share tips: e.g., someone might post “Hey, watch out, firmware X on this switch causes Dante issues” – valuable heads-up information. Building an internal knowledge base as you go (documenting configs that work, typical troubleshooting steps) is also wise. That way if a key engineer is out, others can refer to these notes.

Culture shift: help the team see this not as extra work, but as adding to their professional toolkit making them more versatile engineers. Many experienced hands become enthusiastic once they see the benefits and get comfortable – it’s often the fear of the unknown that holds back adoption. By demystifying the tech via training, you turn skeptics into champions. As an advisor, I’ve seen crews who were initially wary of “computer networks messing with my sound” become proud of their network chops and even suggest new uses like wireless mixing or remote monitoring, once they’re trained and confident.

Implementing in Phases (Pilot Projects to Full Deployment)

A phased transition is usually the safest route. Start small, prove the concept, then scale up. Perhaps Phase 1 is networked audio for one stage at an event, while video remains on traditional routing. Or you might do audio and keep a parallel analog backup snake in place the first few times, just in case. This way, if something goes awry, you can revert quickly and the show goes on, albeit without the new bells and whistles.

Learn from the pilot, tweak the design, then expand. Phase 2 could bring in video distribution at a conference but maybe just for breakout rooms distribution while main room still uses old-school cables to screens (with a fallback matrix if needed). Over time, as confidence grows, you retire the old gear and the IP becomes primary, with perhaps some emergency bypasses left as contingency.

Integration testing between phases is essential. When you add a new layer (say adding networked intercoms or lighting control via network), test them with the existing system thoroughly. It’s easier to catch issues in testing than mid-event. Maintain a staging environment if possible – a rack where you can hook up consoles, switches, a few fixtures or screens and try things out off-line.

During the phased approach, gather data: Did the network usage match expectation? Any latency complaints? Was setup actually faster? Use these to adjust. Maybe you found that using two smaller switches at stage and FOH was less stable than one big one – so next time you change that. Or you discovered the need for a better UI for routing video because doing it via IP addresses was too slow – so you invest in a control system in the next phase.

Make sure to keep stakeholders informed and on board. Client-side, they might not care how it works as long as it works, but if any hiccups happen during phasing in, proactively explain what’s being improved and how you’re addressing it. Internally, if one department (like video team) is fully on IP and audio is next, have the video folks share their success to reassure audio folks, etc.

One strategy is parallel runs: run the new system in parallel with old on a non-critical basis to soak-test it. For example, connect all your mics to a Dante stage box which feeds the console, but also have the analog snake connected (muted). If Dante glitch, you could fade up analog quickly. If after a few shows the analog never had to be used, you can decide to drop it. Similar in video: run an IP feed along with SDI feed to a projector, flip back and forth to gauge quality and reliability. This redundancy at early stages buys peace of mind.

Timeline example: Suppose it’s January now and by next New Year you want full AV-over-IP. Q1 you do research and small tests, Q2 you do your first partial live use at a minor event, Q3 you scale to medium events with backups in place, Q4 you go all-in for a major show. Meanwhile, gather all feedback and fine-tune plan after each phase. This way, come full deployment, it’s not a risky unknown – it’s the final step of a well-tested evolution.

Working with Vendors and Integrators

Unless you have a very large internal team, you may need to involve external vendors or integrators at some points – for system design, equipment sourcing, or on-site support. Choosing the right partners is important. Look for vendors who have experience with AV-over-IP in live environments, not just in theory or installation. Ask for references or case studies of events similar to yours where they provided networked AV solutions.

When evaluating products, involve the vendors in demoing them with your use-case in mind. For example, if you’re looking at a new network-driven audio console, see if the vendor can set up a trial where you patch it via Dante to your speakers, etc. Many vendors will loan demo gear or set up a proof-of-concept if they know you’re serious. Use that to test functionality in your environment (in your venue or with your crew’s typical setup).

Enterprise contracts: If investing big (say in a comprehensive Dante audio system or a suite of SDVoE video gear), negotiate support in the contract. E.g., a vendor might include a day of training for your staff, or on-call support during your first big event using it. I’ve known manufacturers to send a support engineer to a festival for the weekend at little cost, to ensure their system is implemented well – that’s worth a lot to de-risk. Don’t hesitate to request such terms, especially if it’s a flagship use of their tech.

When working with integrators (the folks who might physically install network gear or program the system), clearly convey the event demands – integrators used to fixed installs might not account for things like fast on-site troubleshooting or the need for ruggedizing. Make sure they design for portability and simplicity if you need to deploy repeatedly. Things like labeling cables, providing clear documentation, building road-worthy racks for switches with proper ventilation and patch panels, etc., are deliverables you want.

Also, consider renting certain high-cost items initially. For instance, rather than buying 10 fiber-capable switches at once, maybe rent for a couple events to ensure you chose the right model. Rental houses and event tech providers are increasingly stocking AV-over-IP gear (e.g., there are rental kits for NDI or Dante systems). This can be a cost-effective way to pilot with real gear without full commitment. Over time, you can then invest in owned equipment for what you consistently use.

Stay updated: vendors often release updates or improvements, keep a dialogue. Subscribe to their tech bulletins. For example, Audinate might release a firmware improving latency or adding features – you want to know and plan that upgrade with them. Good vendors will also appreciate feedback – if you encounter an issue, reporting it might lead to a fix that benefits you and others.

And throughout, remember you (the event producer/technologist) are orchestrating multiple vendor technologies now on a single network. So you might need to essentially play systems integrator yourself making sure Brand A’s video encoder works with Brand B’s decoder. When issues of compatibility arise, sometimes vendors may point fingers at each other – be ready to isolate the problem and get them to collaborate. Having support contracts or at least knowing who to call at each vendor speeds this up. In one scenario, I had a glitch between a console and a stage box from two manufacturers – by loop in both supports on an email chain, we quickly found a clock config issue and solved it. If I had only talked to one, they might have shrugged.

In summary, involve vendors as partners in your journey. Leverage their expertise and support, but don’t be afraid to push for what you need (like training or custom features). The right vendors should see your success as their success, especially as a reference for future projects, so they have incentive to go the extra mile.

Budgeting and ROI Justification

Transitioning to AV-over-IP can be a significant investment, so making a solid business case is key. Outline all expected costs: network switches, new interface cards for consoles, maybe new CAT6/fiber infrastructure, training costs, possibly higher-grade laptops or monitoring tools, and even the time cost of staff learning curve. Then outline the benefits in monetary or strategic terms: labor savings (X fewer hours on setup equals $Y saved, or fewer crew needed), equipment rental savings (no need to rent large analog snakes or video matrices, etc.), prevention of revenue loss (e.g., reducing risk of show failure avoids potential refunds or reputation damage), and new revenue opportunities (like being able to offer clients more services such as multi-language support or hybrid streaming easily, which could be monetized).

If possible, use numbers. For instance, “By cutting 1 day of setup from a major festival, we save $20,000 in labor and venue costs – over 5 festivals, that’s $100k annually.” Or, “We spent $15k last year on renting video distribution amplifiers and long SDI cables; investing in our own IP gear would pay off in 2 years.” Also, mention less tangible but important ROI like improved attendee experience (leading to repeat business) or the ability to take on more complex events (thus winning more contracts or larger clients).

One might consider a staged budget approach to match the phases. That way capital outlay is spread and you can often fund later phases with savings from early phases. For example, Phase 1 might require $30k to get Dante in place – which saves, say, $10k in crew cost that season. Phase 2 then uses that $10k plus another $20k to tackle video. etc. Executives and finance folks like to see a logical ramp rather than one big lump sum ask.

Don’t overlook maintenance costs: Factor in that some gear might need software licenses (Dante Domain Manager, for instance, has license costs), or periodic cable replacements, etc. But also factor reduced maintenance of old gear (no more repairing that analog snake that got crushed each tour). Insurance might be a consideration too – check if insuring costly network gear differs from insuring analog gear, usually similar, but high-value items might need listing.

Another ROI angle is future-proofing’s value. Yes, you spend now, but you potentially avoid having to completely revamp later at even higher cost when analog support fades. If you can say, “This investment extends our production capabilities 5-10 years into the future, accommodating 4K video and advanced audio, whereas sticking to old tech might require a forced upgrade later under duress,” that resonates with management preferring planned spending over emergency spending.

Also mention any green or efficiency benefits: less cabling and weight means lighter transport loads (fuel savings, lower carbon footprint), perhaps lower power consumption if using modern efficient network gear versus old racks of DA equipment. Many companies value the sustainability angle, and indeed reducing tons of copper and heavy gear per event is a win for environment (and bottom line when it comes to trucking costs).

It can help to reference industry moves: e.g., All major touring productions this year, including X and Y festivals, have adopted networked AV to reduce costs and improve reliability. To remain competitive and deliver the same cutting-edge experience, we need to follow suit.” This sort of benchmarking can strengthen the justification by implying, “if we don’t do it, we fall behind and might lose gigs.”

Finally, if you can, prepare a quick worst-case vs best-case scenario: what if you do nothing (maybe stagnating or increasing costs gradually due to inefficiencies), what if you implement (initial cost but then flatten or reduce long-term costs and increase capability). That contrast often makes the decision clear for budget holders.

Reporting back after initial phases to show realized savings also helps keep funding coming for later phases. If you promised shorter load-in and it happened, share that data. Build confidence that the ROI is real, not just projected.

Real-World Success Stories of AV-over-IP

Festival Case Study: Large-Scale Audio Networking at Coachella

One of the early adopters of large-scale networked audio in live events was the Coachella Valley Music and Arts Festival. Back in the mid-2010s, they faced the challenge of covering enormous festival grounds with sound for over 100,000 attendees. Traditional analog audio distribution to the far-flung delay speaker towers was cumbersome and prone to noise over long runs. In response, Coachella’s audio provider Rat Sound deployed a Dante audio network spanning the main stages, a move detailed in reports on how Rat Sound simplified the festival with Dante.

They set up Dante-enabled Yamaha digital mixers and Lake processors, using a network to send 3 channels of audio (Left, Right, and a VIP mix) from FOH to 21 delay towers spread across two stages. By terminating Cat5 cable runs to each delay zone and dropping in off-the-shelf switches, they created essentially an on-demand matrix: each delay speaker processor just subscribed to the channels it needed. The results were impressive:

• All those delay speakers were synchronized perfectly and could be fine-tuned from FOH. The engineers had time to walk the field and adjust delay timings and EQ knowing that any tweak was just a software change, not a physical re-patch.
• Setup was expedited: installing the network and delay amps took a single day, leaving extra time for soundchecks. In prior years, running copper cables and troubleshooting them was a much lengthier ordeal.
• The weight and complexity of massive analog snakes were eliminated. The team simply rolled out Cat5 where needed (with redundancy loops). One engineer noted that just not having to ship and deploy giant analog multicore snakes saved significant labor and shipping cost.
• Reliability improved: they ran a dual network for redundancy, but even the primary never hiccuped. Over three festival weekends (Coachella and Stagecoach), the Dante network delivered clean, drop-out-free audio despite heat and dust. Having a secondary path gave confidence, but it was never needed in show mode.
• An unforeseen benefit: flexibility to re-route on the fly. During one artist’s set, they requested a special stereo imaging for their sound that required reassigning how delays were fed. With Dante, the team reconfigured the routing in minutes, something practically impossible in analog without hours of repatching.

This deployment was a proof of concept to the festival world that AoIP can handle big outdoor, high-stakes shows. One of Coachella’s FOH engineers said they would never go back – the audio quality was pristine (no long analog runs picking up noise), the headroom and clarity at those far delay towers was the best they’d had, and issues like ground hum were gone. Coachella continues to refine and use networked audio, and many other festivals followed suit, citing Coachella’s success.

Conference Case Study: Multi-Room Video over IP at a Tech Summit

A major Tech Industry Summit in 2025 with around 5,000 attendees across a convention center illustrated the power of networked video. The event had a main keynote hall and 8 breakout rooms, plus a streaming component for remote viewers. Traditionally, they would use separate AV teams in each room and physically separate setups. But the summit’s production company decided to leverage AV-over-IP to create a more unified, efficient system.

They placed all cameras (mostly PTZ cameras) and presentation feeds on an NDI network. The keynote’s feed was made available to all other rooms via this network. So when the CEO’s opening talk happened in Hall A, every other room could choose to display it on screen if they wanted (essentially acting as overflow rooms) by just tuning into the NDI stream. Several did exactly that, since not everyone fit in the main hall. No need to run SDI cables hundreds of feet or rent a giant video router – the existing venue network fiber and some Netgear M4250 AV switches carried the load.

Furthermore, all presentation laptops in breakout rooms were configured to send their slides as NDI streams as well (using a software tool). This allowed the video team in a central control room to monitor any room’s slides and even record them centrally. When some presenters didn’t show up or sessions ended early, the organizers dynamically routed content from one room to another – for instance, a popular panel’s feed was sent to a nearby room’s projector to handle overflow audience. This was done on the fly by the director using a management software that controlled the NDI switching. Previously, that kind of ad hoc routing would have been impossible.

For the remote stream, they didn’t set up dedicated cameras – they simply took the NDI program feed from the main hall and fed it into a streaming encoder PC that was also on the network. It grabbed the feed as if it were a local source. They also had a second encoder grabbing a curated feed that switched between rooms (for an online “best of summit” channel). Essentially, the production created multiple virtual “channels” out of the event content, all using the same pool of AV sources networked together. 60,000 remote participants tuned in over the event, impressed by how it covered multiple stages – something made feasible by the IP workflow, as demonstrated in case studies on NDI for global event productions.

From an efficiency standpoint, they reduced about 30% of the hardware they used to deploy (fewer separate switchers, fewer recording devices – since one recorder could capture any stream over IP). Cabling was slashed by roughly 500 kg: they heavily utilized existing Cat6 runs and a few fiber backbones between floors, instead of long SDI runs and distribution amps. The crew reported setup was more about configuring networks and software, but physically much faster – what used to require running cables through halls now was done by patching into network closets.

One of the event’s technical directors commented that a big worry had been latency and sync, but in practice they kept latency low enough (<100ms) that even between rooms people didn’t feel a weird disconnect. And since all rooms’ displays got the exact same feed timing, when people moved between rooms they didn’t notice one room hearing something earlier than another.

This summit’s success has become a model for multi-room conferences. It demonstrated how developing a cohesive technology stack that connects all aspects of an event can unlock new levels of flexibility. The client was thrilled – they could offer attendees more content and fluid movement, and the production cost was actually lower than previous years thanks to less equipment rental and labor (they needed fewer dedicated camera ops and switcher ops; one centralized team managed a lot remotely). They’re committed to repeating this approach, having seen the ROI in action.

Venue Case Study: Permanent Upgrade to Networked AV Infrastructure

Consider the case of the University of Minnesota’s sports production facilities, which in 2024 underwent a full upgrade to an IP-based video and audio system for their arenas, adopting SMPTE ST 2110 for live production. While not a touring event, it’s a venue that hosts games, concerts, and events, so it’s instructive. They replaced old SDI routers and analog audio snakes in their control room with a SMPTE ST 2110 network. This meant all cameras around the stadium now connect via fiber to a network switch, and all audio (commentary mics, crowd mics, etc.) flows via Dante on the same network.

The result was a highly flexible production environment far beyond what they had. They can now route any camera to any display in the venue (like concourse TVs, jumbotron, locker room screens) with a few clicks. During live games, they feed the sports broadcast and in-house entertainment from the same set of sources, just managed virtually. They also found it easier to integrate third-party production teams – e.g., when a TV network comes in, they can give them direct access to the needed feeds via a simple network port, instead of tying into patch bays.

A key win was future expansion: after the upgrade, they planned to add an AR fan experience that utilizes the venue’s cameras. Because everything is on IP, the AR system could tap into the camera feeds without heavy wiring. They also added a remote production capability – sending feeds to a central studio across campus over the network, something that would have been nearly impossible with point-to-point cabling without spending on dedicated links.

From a reliability stance, the venue’s new system was built with full redundancy (dual-path networks, redundant control servers). In their first season using it, they reported zero downtime of any camera or audio path. If a device failed, the controllers auto switched to backup. They credit the network’s self-healing design for this; previously a single bad coax could black out a replay screen.

Financially, it was a big upfront cost, but they calculated long-term savings in maintenance (fewer physical routers and patch panels to service) and manpower (one operator can manage routing via a software panel that replaced tasks requiring multiple people physically repatching). They also generate new revenue by better use of their content (feeding highlight clips to social media in real-time, offering more sponsor visibility on screens – facilitated by the digital workflow).

This mirrors what many venues are doing: essentially building a digital backbone that all current and future tech can plug into. It’s the ultimate level of future-proofing and flexibility. An events venue that can quickly adapt technology is more attractive to event organizers. A promoter knows, for instance, that in a venue with networked AV, they can easily do a multi-camera stream to an overflow area or experiment with new tech like crowd engagement apps that sync with screens. It’s a selling point.

In conclusion, these case studies highlight that AV-over-IP is not just a theoretical buzzword; it’s delivering real improvements in flagship events and venues. From massive outdoor festivals to high-tech conferences and permanent installations, the common outcomes are increased flexibility, simpler operations, and capacity for innovation. Yes, there are challenges to manage (training, setup, etc.), but the payoff has been clearly demonstrated in the field. This kind of real-world proof helps any event producer make the case: networked AV is not an unproven gamble, it’s a road well-traveled by leading events by 2026 – and the road ahead is only going more in that direction.

Key Takeaways

• AV-over-IP brings scalability and flexibility that traditional cabling cannot match. It allows you to route any audio or video source to any destination over a common network, enabling multi-zone coverage, overflow rooms, and hybrid event streaming with ease.
• Upfront planning is crucial: audit your technical needs (channels, resolution, distances) and design a network with sufficient bandwidth, low latency, and redundancy. A well-architected network (with QoS, IGMP, VLANs) ensures rock-solid performance for live event demands.
• Start small and phase in the technology. Pilot test networked audio or video on a portion of your event, get your team trained up (Dante certification, etc.), and build confidence before fully relying on it. Use parallel backups (analog snakes, SDI lines) during transition phases as safety nets.
• Major benefits include shorter setup times, reduced cable bulk, and centralized control. Case studies show 20–40% faster load-ins, hundreds of pounds less cable to run, and the ability for one control room to manage multiple stages or rooms. This translates to labor savings and a cleaner production footprint.
• Real-time monitoring and redundancy are your friends. Leverage dual-network paths (especially for audio) and keep spares for critical devices. Monitor your network (packet loss, device status) during the show so you can catch issues early. A well-implemented backup plan can make failures invisible to the audience.
• Training and mindset shift are key to success. Invest in educating your crew on IP networking basics and protocol specifics. When your audio, video, and IT teams collaborate, you can avoid common pitfalls and troubleshoot swiftly. Over time, your team’s expertise becomes a competitive advantage.
• Security shouldn’t be overlooked. Segment the network to keep public or guest internet separate from show-critical AV traffic. Change default passwords, use encryption if available, and physically secure switches. Treat the AV network with the same vigilance as an IT system to prevent unwanted interference or breaches.
• Interoperability and future-proofing justify the investment. Choosing solutions that support standards (AES67, SMPTE 2110, IPMX) will extend the life of your system and let you integrate with visiting productions or new gear. An IP infrastructure can adapt to 4K/8K video, immersive audio, and whatever comes next, protecting your ROI in the long run.
• Tangible successes are happening now. From Coachella’s Dante-driven audio covering 100k+ crowds, to multi-room tech conferences using NDI for flexible content sharing, AV-over-IP has proven its worth on some of the world’s biggest stages. Learning from these real-world deployments can guide your implementation and reassure stakeholders that you’re adopting a field-tested innovation.

By embracing networked audio and video, event producers can upgrade their production capabilities for 2026 and beyond, delivering seamless experiences across sprawling venues and to remote audiences. The transition requires homework and upskilling, but the reward is a more resilient, efficient, and creative event technology ecosystem. In an industry where the only constant is change, building on the power of IP networks ensures your event production is ready for whatever the future holds.