Category: Network Media Devices

Pro-Ject T2W Wi-Fi turntable – an example of a turntable with a digital output

The recent vinyl revival has been driven not just by the hipsters who saw the vinyl record as an ironic statement but also by people who grew up through most of the late 20th century where these records were the main music distribution format.

Some of these people even kept a music system that can play vinyl records along with a sizeable record collection, and kept putting these records on even when there was an expectation in the 90s and 2000s to move away from that format. In some cases, these people kept vinyl records that wouldn’t be reissued on any newer media. This is in addition to DJs who worked with vinyl records and, in some cases, used the turntable as a musical instrument.

As well, the turntable and a collection of classic-rock records by talent like the Beatles, Pink Floyd or Fleetwood Mac recently became an alternative to the motorcycle or sports car as a “mid-life crisis” symbol for men. This is because of these men were teenagers or young adults through the 1960s and 1970s where this kind of music was played on vinyl records using a reasonably-priced but good-sounding hi-fi system.

What are these turntables that have digital outputs

VinylPlay – an integrated-phono-stage turntable that raises the bar for this class of turntable

As part of the vinyl revival, nearly all turntable or record-player manufacturers are offering at least one turntable or record player with a digital output of some sort like Bluetooth, Wi-Fi or USB or a digital recording subsystem.

Nearly all of this equipment has the customary “from-the-cartridge” analogue output that can be a raw phono-grade signal for use by amplifiers with a PHONO input, or an amplified line-level signal for equipment that only has a line-level input. This would be in addition to the digital sound path mentioned above and would permit, in the case of a Bluetooth turntable that you used with a Bluetooth speaker, you to upgrade towards a better hi-fi setup with an integrated amplifier and pair of speakers.

There are some record players that use digital inputs like Bluetooth or USB as an “external-equipment” programme source for their onboard amplifier which amplifies the sound for integrated or connected speakers. But the turntables are their to work with a separate amplifier or sound system.

Why do these turntables and record players exist

A few reasons these turntables and record players have appeared include people dabbling in vinyl for the first time and using Bluetooth headphones or speakers as their initial audio setup. Or your audio system uses am amplifier that omits a tape loop connection to connect a recording device to but you want to record your vinyl records to your computer for mobile use or to salvage them.

The audio signal path in these turntables

The signal path from the moving-magnet cartridge that follows your record’s grooves is sent via a preamplifier that brings the music signal to a stronger line-level signal, then to the analogue-digital conversion circuitry which converts the analogue signal to a digital signal for the digital use case. This is similar to a regular turntable that is connected to an amplifier that implements digital signal processing or “digital-to-the-speaker” amplification like some new Technics amplifiers do.

The digital use cases that come about for these turntables are:

• Bluetooth audio source which works wirelessly with Bluetooth speakers or headphones
• Wi-Fi or Ethernet home network connection to work with a network-based multiroom audio setup or DLNA-compliant audio setup
• USB Audio Device class source connection so you can plug the turntable in to your computer to record that LP using digital-audio-workstation software
• Digital recorder subsystem to record that LP to a USB memory stick or similar storage device

These will still play your records properly

All of these turntables are engineered in a similar way to most of the other well-bred turntables that exist out there. Typically this is because these turntables are part of a series of products offered by a manufacturer that share a common design and are offered as an “extra feature” model in the series. The moving-magnet pick-up cartridges used on these turntables are of the same expectation for something that would be on the end of a decent turntable’s tonearm.

As well, they still maintain that traditional record-playing experience with most offering a fully-manual operation approach. Or some units have some form of automatic operation such as for themselves to lift the tonearm off the record at the end of the side or to have you press a button or move a lever to have the tonearm move to the start of the record and commence playing then park itself at the end of the record. Of course, the tonearm on these turntables is equipped with a cueing lever to protect the stylus when you lift the arm on to the record.

Analogue purists will not like the idea of these digital-output turntables because they expect the audio signal to travel from the pickup cartridge to the speakers via amplification that is purely analogue in nature. This is the same group who will not like analogue-digital-analogue amplification approaches that Technics, JBL and a few other names have been dabbling in. It is although these turntables offer the analogue audio output whether as a line-level output or as a “phono-level” output for external phono preamplifiers or amplifiers with their own phono-stage circuitry. As well, some of these turntables have a switch to turn off the power to the digital-audio circuitry which will benefit those who want that pure analogue sound that isn’t tarnished by any digital circuitry.

Some extra compromises may appear with this digital-audio approach. This can be where the analogue-to-digital circuitry may be sub-par or Bluetooth applications may limit the codec to SBC which is not really fit for hi-fi. Units that implement an on-board USB recorder function can be limited by the inability to select high-grade lossless audio filetypes like WAV or FLAC for recording.

You may also find that it may be difficult to set up the digital functionality in some of these turntables. For example, pairing a set of Bluetooth headphones to a Bluetooth turntable may be difficult, or the recording procedure may be difficult for a unit that implements its own USB recorder.

My comments about these digital-output turntables

Personally I would see the purchase of a turntable with digital output as being something that suits your particular needs. This could range from something that can facilitate salvaging cherished or way-out-of-print records using your computer, to use with your network-based multiroom audio system or to use with Bluetooth headphones or speakers.

Here, the purchasing of these turntables is made easier because you can refer to the “baseline” model of the same series to see whether they are something you would like to play your records on. On the other hand, if you are satisfied with your turntable and amplifier, you may not need to buy any of these turntables that have digital outputs.

It is more so where your amplifier has a line-level output independent of the volume control like a “tape output” typically used for cassette decks or other recording devices. In this case, you could connect up a USB sound module, Bluetooth transmit adaptor, network multiroom audio “on-ramp” adaptor or similar device to the amplifier to suit your digital audio needs. Some of you who own a record player or vinyl-capable three-piece music system may find that your equipment may have one of these line-level outputs.

These turntables don’t diminish the analogue character of vinyl records but are able to extend them to particular use cases such as to provide elementary private listening through Bluetooth headsets or salvaging them. Here, it is about choosing the right turntable for your needs but making sure you are getting a good-quality unit that you can trust with your vinyl records,

Article

Marantz’s new streaming CD player and stereo amplifier are TV and turntable-friendly | What Hi-Fi? (whathifi.com)

From the horse’s mouth

Marantz

CD-50n Network CD player (Product Page)

My Comments

The last decade has seen the traditional vinyl record gaining a revival as a preferred physical medium to collect recorded music on. But the CD, which has just turned 40 this year, has been simmering along as a collectable music format over this same period and is gaining a similar kind of recognition and acceptability to vinyl.

Some of us still use CD as our preferred physical music medium due to it being cheap on the new or secondhand market or easy to have in a mobile or portable form such as through ripping to hard disk and syncing to our smartphones. As well, the small size of these discs appeals to those of us who want to build or maintain large collections without it taking up much space. Even the record labels have exploited this further by justifying CD as a medium to offer collectable album editions that hold more musical content than the standard album editions, perhaps due to a disc holding extra material or multi-disc compilations stored in a case that is the same size as the standard CD jewel case.

Are we still playing CDs nowadays

This has been more so due to CDs being a cheaper format to replicate and sell than vinyl although able to yield a very-high-quality sound. As well, more of the premium hi-fi brands of respect are giving CD as much developmental and promotional space as vinyl, with this manifesting in component-type CD players that you connect to your hi-fi system appearing in more audio product lineups. Even Yamaha has reintroduced the 5-disc CD changer where all the discs are loaded on to a carousel that is part of a large drawer, in the form of the CD-C603 changer. As well, some consumer-electronics manufacturers are still persisting with CD receivers or stereo systems that play CDs with the former being a component that has radio, CD and, perhaps, network / Internet audio sources which you just connect to a set of speakers of your choice.

I have covered on this site some of the “network CD players” that Yamaha, Marantz and Technics have launched over the years. These combine a CD player and a network-audio streamer in one box, only requiring you to use one input on your amplifier or receiver to play CDs or content held on online sources or your home network.

Marantz have solidified  their position in the network-CD-player space in two ways. Firstly they have released a network SACD player in the form of the SACD-30n with similar features but omitting the HDMI ARC connection. But this time they have released the CD-50n network CD player which follows on from the ND-8006 network CD player that I covered previously.

The Marantz  CD-50n is a CD player with the expectations of a current premium full-width component-type CD player. This includes a mechanism and signal path that is engineered for high-quality CD reproduction and the same kind of advanced CD play functions associated with that format for a long time.

This unit even underscores the “single input on the amplifier” advantage associated with network CD players further by being equipped with an HDMI-ARC connection for TV audio. Here, you would connect the Marantz CD-50n to your TV’s HDMI-ARC connection so you can have the TV’s sound play through your hi-fi system.

Of course, there are the coaxial and optical SP/DIF inputs and outputs that make this unit work as a digital-analogue converter for TVs, MiniDisc decks or other digital-audio equipment; or pass the sound in a digital-audio manner to a digital amplifier or DAC. You can use this network CD player to stream audio content from smartphones and similar Bluetooth-capable devices through it to the connected sound system.

The Marantz CD-50n works as a sound card for computers that are connected to it via USB but some Windows computers will need to run a Marantz-supplied driver to work properly with it. As well, there is a USB Type-A connection for a Mass-Storage device that is full of music held in the common audio file formats.

As mentioned previously, this Marantz network CD player can connect to a digital amplifier or DAC via an SP/DIF optical or coaxial connection. There are two line-level outputs, represented as two sets of RCA sockets on the back. One of these is a fixed-level output typically used with most stereo systems where you have an amplifier that you regulate the sound level with while the other is a variable-level output that can he used with a power amplifier or active speakers. This also comes in to its own in other use cases where you expect the Marantz unit and its remote to be the point of control for the sound level.

There is a built-in headphone amplifier so you can connect a pair of wired headphones to the Marantz CD-50n. But it can serve as a Bluetooth source device where you use a pair of Bluetooth headphones or a Bluetooth speaker as the audio output device. In this case, you have to use the Bluetooth device’s volume control to adjust the sound volume to your tastes. The Bluetooth functionality for both source and target device roles works according to the Bluetooth Classic specification.

As far as your home network is concerned, you can connected to it via Ethernet or Wi-Fi. This leads you to it being part of the DLNA Home Media Network where you can play content held on a media server or NAS. Or through the Denon/Marantz HEOS platform, you can stream a variety of online services like Spotify, Deezer or Tidal, managing them from your smartphone with the HEOS app. For Internet radio, the HEOS platform has support for the TuneIn Internet radio platform so you can listen to a wide range of radio stations including from overseas through the Marantz CD-50n.

Being part of the Denon/Marantz HEOS ecosystem also means that the Marantz CD-50n can work as part of a network multiroom system using other HEOS-capable wireless speakers or hi-fi / AV components made by brands in the Denon-Marantz group. As well, it can be part of the Apple AirPlay 2 or Roon network-audio ecosystems, especially the latter which is seen as the “audiophile network multiroom audio” standard.

If you have a recent Marantz amplifier with the appropriate connections, the CD-50n can be connected using Marantz’s proprietary inter-component control arrangement. This will open up the possibility of single-remote-control operation, one-touch start-up and one-touch shut-down operation.

This player costs AUD$3200 in Australia, but you have a highly-strung CD player and network-audio streamer in one box which may seem to justify the price when you are in to premium hi-fi. Personally, I would like to see more hi-fi companies keep at least one of these network CD players in their product range for those of us who want that single-box solution to a digital audio source in our audio systems.

SBS – the first broadcaster to provide English-subtitled foreign-language content on broadcast TV and also providing such content through video-on-demand.

An issue that will crop up with foreign-language video content providers who operate in a particular language is market pressures to offer English-subtitled versions of their content that they offer.

Popularity of English-subtitled foreign language content

There is a significant interest in English-subtitled foreign-language video content especially amongst discerning cinema and TV viewers.

This kind of foreign-language content was initially facilitated in Australia since the 1980s by SBS as part of that broadcaster’s initial multicultural remit. But there has been recent interest in the UK in this content thanks to the arrival of BBC4 who took on a high-brow content approach similar to SBS or HBO. In the USA, a significant number of premium cable-TV channels have been offering this kind of content because such content is similar in calibre to what the likes of HBO and Showtime are offering which appeals to discerning viewers.

Video-on-demand, still seen as a way to deliver premium TV content, is being used to bring more foreign-language TV content to many homes. This is more so with Netflix and similar premium subscription services but could also apply to transactional or advertising-driven services. FAST (Free Ad-Supported Streaming TV) services are also appearing that bring in this kind of foreign-language TV content.

It isn’t just the multicultural communities who are interested in film and TV content produced by their homelands or in their native tongues. But an increasing number of English-language viewers want to view the cultures that exist beyond their country’s borders or beyond the Anglosphere’s realms. This is more so where these countries exhibit different social norms to what is expected in the Anglo-American culture. Let’s not forget that an array of non-Anglophone countries are seeing their culture as part of their soft power that is to be promoted and exploited such as with the “Cool Japan” effort.

The video-on-demand sphere also exposed a significant number of providers offering this kind of content such as SBS on Demand, Walter Presents, and Netflix. In the case of viewing foreign-language content on Netflix, there is the option to select an English-dubbed soundtrack or an original soundtrack with English or original-language subtitles.

In a significant number of cases, foreign TV producers are aspiring to offer shows in a similar calibre to the English-language fare offered on the BBC, HBO or Netflix and are vying for their position in the “premium TV” landscape. This kind of content is best described as high-quality content that has a strong appeal with discerning audiences. That is while foreign-language cinema is perceived to maintains that independent artsy non-Hollywood vibe.

Add to this an increase in co-production efforts by non-English-speaking foreign TV producers / broadcasters with English-language TV producers / broadcasters who appeal to discerning audiences. An example of this that I saw for myself is the Norwegian crime drama Lilyhammer which was a co-production effort between Netflix and Norway’s public-service broadcaster NRK, but was shown on SBS in Australia before Netflix set up shop there.

Language-specific content hubs

The French language is being represented in some foreign-language-specific content hubs

But an increasing number of language-specific content hubs are setting up shop in their home markets and primarily delivering video-on-demand content produced in the languages supported by that hub.

The first kind of this content-hub class are niche content providers or broadcasters operating in the language’s home country or a country that has a significant diaspora who speak the language. This could include a pay-TV operator in the language’s home country who wants to create their language-specific content hub based on their original content. On the other hand, the second kind of content hub represents an alliance of public-service and/or private commercial free-to-air TV broadcasters in the country or countries that speak the hub’s languages.

Examples of the former type include Univision who offer Latin-American-Spanish content to the US’s Hispanic community, and France Channel who offer French-language content. It can extend to Canal+ setting up international operations in order to offer their original French-language content. Examples of the latter type include LOVETv which is a European-Spanish-speaking alliance comprising of Aresmedia, RTVE and Mediaset Espana; Salto who is a French-speaking alliance of France’s free-to-air TV providers; and Joyn who is a German-speaking alliance of Germany’s free-to-air TV stations and the ViacomCBS platform’s German-language outposts.

More of these content hubs would start to surface and refine their offerings; especially if they or their partner broadcasters are producing a significant amount of original content. These providers could realise that there is an international market for their content especially if there are overseas viewers out there who are interested in their offerings. This can range from expats and migrants who have the language as their native tongue or those of us who have some familiarity with the language and its associated culture.

Localising to the English language

The question for these foreign-language content hubs is whether they need to offer English-language localisations of their content and what method. These services could implement at least subtitling as a way to localise to the English language, although a dubbed English-language soundtrack option can work for children’s content or animated shows.

An English-speaking person who is familiar with the hub’s indigenous language may still need to benefit from having the content localised to English. This is due to different areas of the countries speaking that language using dialects and accents local to particular regions that they aren’t familiar with. Add to this the use of new words, colloquialisms and slang in film and TV that is something you wouldn’t learn from most language courses or textbooks, something that will impact people who have learnt the foreign language but are out of practice.

A lot of these shows that are shown in to English-language countries will already have been localised to that language, typically through the use of subtitles.  This can be shows that SBS, BBC4 or a premium cable-TV channel in the USA had run at some time. Or the foreign-language content producer offers International-English or American-English localisation as part of the package when they offer shows to TV channels or VoD services.

But there is a lot more content that hasn’t been localised to the English language but could appeal to the viewership. There would be the question about whether it is worth localising the rest of this content especially if it does reflect the country and its culture. Here, this may be assessed based on the kind of content that is being viewed on these language-specific content hubs.

Deep localisation

An issue that can crop up as far as localisation is concerned is whether to engage in what I call “deep localisation”. That is to use terminology and slang peculiar to a particular market in the subtitles such as referring to public services using the same names as what would be used there.

An example I had seen for myself was SBS’s effort to localise earlier episodes of Inspector Rex (Kommissar Rex) to the English language. Here, they localised the earlier episodes of the series for the Australian audience by using Australian-English subtitles. For example, an episode that involved a panel beater (car body shop) referred to the passenger-car-based pickup truck used by that workshop as a ute in the subtitles. Some other episodes referred to the Austrian public health insurance as “Medicare” to be equivalent to the same public health insurance operating in Australia.

Most likely this was because there wasn’t much activity going on in the Anglosphere with respect to English-subtitled foreign-language TV content at the time SBS acquired the broadcasting rights to that show. But the Austrian produces of this show ended up taking on the job of localising Inspector Rex to English due to this show gaining popularity in more of the Anglosphere thanks to cable TV and video-on-demand offering this kind of content.

Popular and light entertainment content

There are some content types that are not likely to be of interest to English-native viewers that look for foreign-language content. These are things like soap-operas, reality-TV, romantic-fiction or simple police-procedural dramas which may be frowned upon by viewers who have discerning tastes. It is more so where the content mirrors story-lines used in Anglophone popular content without conveying the colour of the show’s native culture.

But some people may find that viewing popular entertainment content produced in the other country, having the mix of foreign language dialogue and English subtitles may give that series an air of perceived legitimacy. This is similar to the use of an e-reader or tablet to read romance fiction and similar guilty pleasures in order avoid being scoffed at by others.

There are two good examples of this. One is “Gran Hotel”, a Spanish-language TV series ran on Netflix which has the style of a telenovela or soap opera but is set in an early time period. Another is “112 Sie Retten Dein Lieben” which is a simple fire/emergency procedural drama created by RTL and set in Dusseldorf that has some soap-opera-style melodrama in it. Here, SBS localised this German-language show with English subtitles and ran it on their relatively-new SBS 2 digital sub-channel as “112 Emergency” in 2009. Even the aforementioned Kommissar Rex (Inspector Rex) would have fallen in to this class of content due to a simple police-procedural storyline and featuring a hero dog.

It could be found that the foreign language in the dialogue uttered by original speakers with the English-language subtitles on the screen and, perhaps, an unseemly English-localised show title may work as a means to obfuscate the fact that the content has that popular-entertainment feel about it. That means that the show may earn a level of respect in some societal circles.

It is although the show may convey societal attitudes that are very endemic in its home culture and work differently to what is expected in Anglo-American cultures. This can be through interpersonal relationships or workplace dynamics that are woven through the show’s plot thanks to it being written for its home market.

This is more demonstrable with content produced in European countries where social issues are effectively woven in to the show and examined from the European country’s point of view. In this example, this concept is seen as being of value with those Anglosphere societies who align with Continental-European values.

For example, a German TV drama will underscore the strong separation of work and personal life that is part of German culture such as the importance of “Feierabend” when work ceases. Or a significant amount of German and Scandinavian police dramas have been known to give significant space to social issues rather than focusing on the “whodunnit” or “goodies vs baddies” aspect.

Conclusion

If there is a significant and continual interest within the Anglosphere for foreign-language content that has English-language subtitles, there will be an interest in offering to localise such content that way. These foreign-language content hubs that operate on the Internet to offer linear broadcast or video-on-demand could then offer to fill that niche.

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A party mode comes to Spotify so you can pool your music with your friends at that party

Spotify Intros ‘Jam’ for Sharing Music Experiences With Friends (droid-life.com)

From the horse’s mouth

Spotify

Spotify Unveils Jam, a New, Personalized Way to Listen With Your Entire Squad

My Comments

Spotify has introduced a jukebox-style party playlist function for their Premium users. This feature, known as Spotify Jam, allows other people that the user invites to contribute songs to a “master playlist” from the other Spotify users’ own accounts.

The host account has to be a Spotify Premium user but the participants can use any Spotify account class.

The host sets up a Jam playlist by either tapping on the “speaker” icon at the bottom of the screen of the three-dot option menu within their favourite currently-playing playlist or song. They are then given the option to “Start a Jam” and determine which Spotify endpoint they have the music coming through, including audio devices that are Spotify Connect endpoints.

If you are on the same logical small network as a device that is running a Spotify Jam session and you start Spotify, you will be invited to join that Spotify Jam playlist. You can use a Bluetooth link to invite other Spotify users by tapping their devices together with the host device. There is also the ability for the host device’s user to show a QR code that users scan to join the Spotify Jam. There is even the ability to send a link via email, instant messaging, SMS or a social network’s in-platform messaging to invite people to the Spotify Jam.

Everyone connected to the same local logical small network can participate in the Spotify Jam no matter the account class. But Spotify Premium users can join from other networks, which may apply to setups involving mobile broadband networks, public access networks or the like.

The Spotify Jam feature is effectively a party-wide song queue where each participant adds songs to that queue. They can also see who added a song to the queue as well as contribute a song themselves. They are also exposed to a song-recommendation list that is generated by Spotify’s content-recommendation engine based on what is already in the list.

The host can also see the active participant list for the current Jam session queue list. But they can delete tracks or change the track sequence which can be handy for changing the party mood. For example, you may want to run with slower music at the early stages of the party then, perhaps play some upbeat floor-filler dance tracks after dinner when it’s time to dance, then subsequently run with more slower music towards the end of the party as the guests leave.

It may be desirable for Spotify Jam hosts to convert the queue list in to a playlist so as to have something that reminds them of the party. But could I see the Spotify Jam party-music playlist functionality appear on other online music-streaming services like Tidal, Apple Music, Deezer or Qobuz?

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This is about bringing the vinyl record to the UPnP AV / DLNA Home Media Network

The Pro-Ject T2 W wireless turntable looks to accelerate the vinyl resurgence | T3

From the horse’s mouth

Pro-Ject

Pro-Ject T2W Wi-Fi turntable

Product Page (English, Deutsch)

My Comments

The vinyl revival is upon us whether you are a young person who didn’t grow up with playing records or an older person who habitually played records on that stereogram or hi-fi system and maintained that record collection. But a significant number of turntable manufacturers have moved away from the purely-analogue “back-to-basics” approach to the classic LP record by bridging digital technologies with that classic music medium.

In a lot of cases, turntable manufacturers have issued at least one turntable model in their range that uses Bluetooth to stream audio from that record to Bluetooth speakers or headphones. Yamaha recently issued the MusicCast VinylPlay 500 turntable that streams the record you are playing through your home network to their MusicCast speakers and amplifiers or plays online sources using a MusicCast app.

But Pro-Ject have come forward with a network turntable that uses UPnP / DLNA to stream the music off that record you have put on to a wide range of network audio equipment using your home network.

Pro-Ject have had a significant hand with the vinyl revival. This is with designing and releasing a value-for-money manual turntable that answers the expectations of “born-again” vinyl enthusiasts and participating in the Australian edition of Record Store Day which celebrates independent “bricks-and-mortar” record stores.

The Pro-Ject T2W Wi-Fi turntable is a belt-drive manual-operation turntable that works with 33rpm and 45rpm records. Records are placed on a glass platter rather than a plastic or lightweight-metal platter, which does a better job of absorbing unwanted vibrations. The tonearm is equipped with a Sumiko Rainier moving-magnet cartridge most likely

But this turntable streams the music content over your Ethernet or Wi-Fi home network to any UPnP / DLNA network audio endpoints with it supporting a best-case FLAC lossless audio stream. The Wi-Fi wireless network connection works best case to Wi-Fi 6.

You have to use the Pro- Ject Control App on your smartphone or tablet to set the T2W up for your home network. But this also works as a UPnP / DLNA Media Controller, allowing you to “push” the music stream from your currently-playing LP to a DLNA audio endpoint. The turntable also has a button to “push” the music stream to the last-connected DLNA endpoint so you don’t have to get out your smartphone to do this before you lift the arm on to that album. The Pro-Ject Control App also can allow you to use Sonos or Apple AirPlay 2 compatible equipment to hear that album.

Between the moving-magnet phono cartridge and the Wi-Fi streaming subsystem exists a high-quality analogue split-passive phono preamp which also yields the sound from that album to a line-level input on an amplifier. This would come in handy with music systems that don’t have a phono input that you would typically connect a turntable to. I have done further research and there doesn’t seem to be the ability to run the audio signal to an external phono preamp such as the one built in to that 70s-era hi-fi receiver.

Pro-Ject recommends that you use the control app associated with a UPnP / DLNA capable network multiroom setup to discover the turntable and push its output across the speakers in that setup. This is to assure proper synchronous sound output because one device would be used to “collect” the signal and synchronise it across the different member endpoints in that setup. Pro-Ject doesn’t assure that the T2W’s UPnP setup will lead to proper sync across different devices due to differing buffering capabilities.

This may appeal to people who have an Internet-capable audio system that uses UPnP / DLNA and want to play records through that system via the home network without it being necessarily close to the turntable. But I would like to see Pro-Ject or another company offer similar functionality in a standalone box that can be connected to existing hi-fi equipment.

But I see Pro-Ject’s effort with the T2W as linking the vinyl revival with the home network using standards-based technologies like DLNA. Time to put that record on through the home network!

The Ten Network offers some FAST-TV channels through its TenPlay platform

FAST streaming TV is a new way of offering TV services via the Internet. FAST stands for Free Ad-supported Streaming TV; implying that the service is dependent on advertising for its income like a commercial free-to-air TV station. Personally, I would prefer to refer to these services as FST services to encompass public-service broadcasters or community broadcasters who run a business model that eschews advertising or subscriptions, such as the BBC in the UK or ABC in Australia.

But this is about offering a linear TV service via the Internet without having it appear on an RF-based carrier like terrestrial (aerial), cable or satellite. This is in contrast to free-to-air and subscription TV operators who run their linear TV services using Internet means in addition to RF (terrestrial, cable or satellite) means. There is also the ability to offer interactive and personalised advertising which may appeal to advertisers and viewers.

The two main approaches

FAST services are being offered under two different approaches. One is via a broadcaster or other content provider who already has significant presence within its market including offering their own content on their own service. This approach is being taken by most of the commercial free-to-air TV stations in Australia and could work for established broadcasters or the “basic cable” content providers moving themselves off cable to over-the-top Internet delivery. This is in addition to offering the channels distributed normally through RF means being offered using Internet means and, in some cases, providing editorial content for areas different to what is received locally via terrestrial or cable using an Internet stream.

Some TV providers like Australia’s public-service and commercial free-to-air TV networks use FAST-equivalent Internet-delivered TV streams as a way to allow viewers to “jump” editorial borders and, perhaps, watch an interstate news bulletin. We experienced this by accident once when we couldn’t find the TV’s remote control and used our Apple TV and its remote control to control our TV via HDMI-CEC.

Here, we used the ABC iView app to watch the ABC TV stream but accepted the default setup which provided us with the Sydney feed rather than the Melbourne feed which was relevant to us. The news bulletin was full of Sydney-based news including NRL rugby-league and the NSW weather report rather than the Melbourne-based news with AFL Australian-rules football and Victorian weather report. This kind of viewing could be seen as of relevance to, for example, people travelling to another district and wanting to know what the weather will be like at their destination.

The other approach is a company that hasn’t created its own content but simply redistributes channels, runs the user experience and sells advertising time. Such a company can be a TV or set-top device manufacturer like Samsung, a connected-TV platform developer like Roku or someone who just offers an app to many connected TV platforms. Here, content producers would offer TV channels via Internet or satellite means to one or more of these FAST TV services.

What is this leading to

Supplementary, niche and heritage content

Some of the traditional free-to-air broadcasters are using the FAST (FST) approach to offer extra content in an Internet-first means. This is seen as a low-risk means to offer supplementary content rather than having to engage in a high-risk approach of obtaining extra RF capacity or licences for a new service.

For example, TenPlay in Australia has been exploring this approach to offer supplementary content for sports events they have rights to and even brought the Pluto TV PAST service in to Australia. Or the Seven Network used 7Plus were providing “direct-to-sport” access for the Olympic Games where you could see the fixtures relating to a particular Olympics sport of your choice.

At the moment, traditional free-to-air TV broadcasters and channels who appeared in basic cable-TV tiers are showing interest in FAST services. For basic-cable-TV services like news services, it is seen as a way to become less dependent on cable and satellite TV networks leading to a way to reduce costs and assure some editorial independence. The traditional free-to-air broadcasters see this as a way to take their content further including to “take advantage of the moment”.

Here, a key advantage is to provide niche content whee it is not justifiable enough to acquire RF space like a satellite transponder or DVB-T multiplex bandwidth to serve that niche. It can also be seen as a way to try out particular geographic or, more so, demographic markets with content that appeals to them, also courting advertisers who offer products and services appealing to that demographic.

For example, the Seven Network have set up a FAST Bollywood channel through 7Plus to offer content that appeals to the Indian-subcontinent diaspora in Australia. Or the Ten Network have annexed the Pluto TV FAST service to Australia and offered it vla TenPlay with ad space for local businesses.

In addition, a broadcaster who has a lot of heritage built up in their intellectual property could run FAST channels based around that content. This is an approach that a lot of the free-to-air broadcasters and film studios are taking with FAST TV by offering channels celebrating this heritage.

FAST as another form of “cable TV”

In some countries like North America where the classic cable-TV business model has been valued, third-party companies like TV manufacturers or connected-TV-platform developers have simply ended up being FAST service providers. They simply ended up managing the end-user experience, partnering with channels and selling advertising time.

Here, this leads to the many-channels cable-TV experience in a new over-the-top Internet-driven package. It could especially allow the channels that were typically offered in a basic cable package to continue to exist as well as providing a platform for niche channels to exist.

There will be the “Netflix/YouTube” type of TV viewers who will have done away with linear TV in all its forms. This cohort would place emphasis on carefully choosing which shows to watch so as to avoid being seen as the couch-potatoes of yesteryear. This also includes binge-viewing of TV series that they show interest in by seeing a run of episodes in a single session.

Complementing video-on-demand and broadcast TV

FST TV complements AVOD (Advertising-supported Video On Demand) or BVOD (Broadcaster-provided Video On Demand) by allowing the same provider to offer streamed linear and on-demand content. That means that viewers who prefer the traditional discoverability of content offered by a linear service and those who prefer to view what they are interested in using an on-demand service.

A service provider can easily consider offering shows on FST and VOD under the same user interface. This could work in a similar way to the BVOD services offered by traditional broadcasters, where a viewer can see earlier episodes of a show they watched on a linear service. For example, it could be about catching up on a season of a show or watching a few prior episodes to justify whether to continue watching it.

Both these services will have various attributes in common such as to support interactive TV for editorial or advertising material from the get-go. This can appeal to both editorial content such as alternative angles or commentaries for sporting events; or advertising where you can follow through on advertised products or services that interest you.

Once DVB-I and similar integration technologies come in to play, it could be about the ability to channel-surf between FST channels and traditional TV channels. This could make FST platforms more appealing to those of us who like to continue watching TV on the big screen.

Key questions

Brand safety and social licence to operate

Most FST channels would implement production values similar to established public-service and private TV networks. As well, there would be an expectation by the FAST TV services to place ads beside appropriate content to assure brand safety and suitability.

But the Free Streaming TV ecosystem could become a breeding ground for services and channels that don’t have social licences to operate. This could be about news channels that engage in fake news and disinformation or channels running content that is socially questionable. Or there can be issues like when certain editorial and advertising content should be on air so as to make sure children aren’t seeing inappropriate material.

This could be facilitated by a FAST service that is laissez-faire about whom they partner with or what they offer. Or, like I have seen with various “free speech” social networks, it could be easy to set up a FAST service that offers controversial content because there isn’t the need to acquire a broadcast licence or agree to use cable or satellite capacity.

But this issue could be answered with FAST services or trade association who resolve to vet channels that they want to partner with. Similarly app-driven platforms could exert a “gateway role” regarding apps for connected TV services. This is something that Apple, Google, Samsung, and the video-game console platforms have done successfully.

Or countries could apply the “rules of broadcast” to the FST TV ecosystem and have it subject to scrutiny by their broadcast and communications authority like Ofcom or ACMA. It is something that may be easier if the content services or distributors are founded in or have an office in their jurisdiction.

Simplifying the user experience

FST TV will need to permit simplified lean-back operation with the TV remote control if it is to be successful

FST TV will also need to permit a user experience similar to what has become customary for traditional RF-based broadcast TV. This is to provide for the ability to:

• channel-surf suing the typical up-down button on the remote control,
• view an electronic programme guide that shows what’s on across all channels and services;
• enter a channel number to gain direct access to a particular channel and
• use a “previous channel” button to switch between two different channels.

Here, this avoids a long-winded channel selection process where the viewer would be expected to go up to the FST service’s menu to select another channel or to the main “connected-TV” menu to switch between FST services.

This could be facilitated via DVB-I or similar technologies associated with TV content distribution. The TV sets and set-top boxes would then be required to create amalgamated channel lists and EPGs that are, perhaps, sorted by “channel numbers”, priority lists or service providers.

Conclusion

FAST TV / FST TV could act as an over-the-top Internet-delivered equivalent to terrestrial, cable or satellite TV in providing that linear discoverable viewing experience that we have loved for a long time.

Article

Facetime and other videoconferencing apps now feasible for Apple TV with your iPhone as a camera and microphone

You can now FaceTime from your Apple TV | ZDNET

Apple’s TVOS 17 Brings FaceTime to Apple TV, Find My Remote Functionality to Siri Remote – CNET

FaceTime is coming to Apple TV | Engadget

From the horse’s mouth

Apple

tvOS 17 brings FaceTime and video conferencing to Apple TV 4K (Press Release)

My Comments

A device class I always have wanted to see when it comes to videocalling and videoconferencing is a group videophone that connects to an ordinary large-screen TV set or monitor for its display and audio output. The idea behind this display concept for this use case is so that a group of people at one location can participate in a videocall. Example situations include a group of family members at the “family house” making a videocall to distant relatives during Christmas Day; or someone intent on buying a business, meeting with their lawyer at the lawyer’s office and talking with the vendor who is at another location.

A few companies are working on having their platform-based set-top boxes or streaming sticks serve this function by adding group videocall functionality to their set-top platform and it is something I was wanting to see Apple do with their Apple TV set-top box. This function works on Apple TV devices that run the next major version of tvOS i.e. tvOS 17.

As well, an iPhone or iPad running iOS/iPadOS 16 works as the camera and microphone for the Apple TV, thanks to Apple’s “Continuity Camera” functionality that was introduced to MacOS and now being “haked in” to tvOS. This is to be facilitated with a stand that Apple will supply as a first-party accessory so you can have the rear cameras facing you during the video call. The iOS device will link to the Apple TV via a Bluetooth link or the fact it is on the same logical small network thanks to Wi-Fi.

This functionality is to support Apple’s native FaceTime videoconferencing platform but Apple is to provide developer support for software developers who want to build or port desktop videoconferencing software to tvOS. Zoom and Webex will be the first two third-party videoconferencing platforms to have this tvOS support.

There is the ability to use the Apple TV’s Siri Remote to initiate a FaceTime call or you can transfer a FaceTime call you are engaging in to the Apple TV so that the other parties appear on the TV screen and you can hear them on your TV’s sound setup. Most likely third party applications will support a similar process.

In this setup, you will have to use the Apple TV’s Siri Remote to control the videocall such as to mute the iPhone’s camera or microphone, hand the call back to the iPhone to continue it privately or to end the call. If messages come in to the iPhone during the call, a simple notification not attributed to the message’s source will pop up so as to keep the message effectively private.

The SharePlay functionality, which allows you to share what you are currently watching from a video source hosted on your Apple TV will still operate so you can use Apple FaceTime to tantalise another person about that show.

There are still questions to answer regarding how the FaceTime facility will authenticate users who set it up to make or take calls using only the Apple TV Siri Remote, rather than using an iPhone and transferring where necessary. As well, would the ability to transfer a FaceTime call from your iPhone to the Apple TV be only limited to the Apple ID accounts that the Apple TV device is associated with? This can be an issue where the Apple TV device is bound to one Apple ID account to represent the whole household rather than each adult individual registering their Apple ID with the same Apple TV device.

At the moment, this functionality is part of a developer-only beta software package but is expected to be fully established as part of tvOS between September to November 2023.