Connecting Grea t Performance with Grea t Value™

Whole House Wiring Basics

Brought to you by Impact Acoustics™
“Music is a discipline, and a mistress of order and good manners, she makes the people milder and gentler, more moral
and more reasonable.”
- Martin Luther

One of the hottest business sectors associated with consumer electronics today is the distribution of audio, video and
control signals throughout the home or office. Multi-room multi-zone is a mantra that is heard from the architect’s
offices to the builder’s model, from electricians to data network specialists. As with so much in life, there are several
levels of distribution from “bare bones” functional to extravagant touch-panel control, from background music to
multi-room discrete surround sound. What you want in your home will be strictly controlled by the infrastructure you
install. Get the wiring right and the rest is easy.

Music Distribution
It can’t get much easier than distributing sound, can it? It’s just speakers, right? Oh, if life were so easy… For just
two conductors covering a distance of a few feet to a few yards there is much that can go wrong. Fortunately for us,
getting this part right is both inexpensive and easy to accomplish.

Most folks want background music distribution to be relatively inconspicuous. A common desire is to install in-wall
or in-ceiling speakers in one or more rooms, and have the speakers driven from the “B” speaker port on an
audio/video receiver. The first concern is the in-wall wiring. The National
Electrical Code (NEC) prescribes the properties of the wire to be used as it
43083 relates to the primary goals of the NEC, which are:

• Reduce the spread of fire and smoke.

• Prevent shock
• Comply with other requirements of the NEC

All wiring used behind walls, under floors or otherwise installed as a structural component of the building must be
properly rated. Speaker wires used for this type of installation are rated as either Class 2 or Class 3. The only differ-
ence between classes is that Class 3 rated wiring is rated for a maximum of 300 volts and Class 2 has no such volt-
age rating. Is this important? An audio amplifier driving a pair of 8-ohm speakers, and delivering 300 volts peak-to-
peak will provide an incredible 26 amperes (I=E/R) of current for a total RMS power delivery of something like 5600
watts (P=I2R). Since it is HIGHLY unlikely that you will be driving in-wall speakers with 5 Kilowatts of power you
probably don’t need to be concerned with Class 3 ratings!

Now that we know we don’t need to shell out extra money for Class 3 wiring, we still need to decide on wire gauge
and conductor count. How do we know what’s right for the job? Distance and anticipated performance are the criti-
cal factors. Let’s examine each in turn.

The distance from the audio amplifier to the anticipated speaker location is a major factor in decid-
ing which in-wall wire is the right one for the installation. Every foot of speaker wire adds a bit
more resistance, capacitance and inductance to the performance equation. While these
parameters by themselves have minor sonic effects, the total impedance of the
wiring network has a larger effect – especially on the amplifier. The trick is
43085
to minimize the effects of the wiring, so here’s a good rule of thumb:

• For less than 50 feet to the speakers or volume control, 16AWG is fine
• From 50 feet to 100 feet use 14AWG
• For 100 feet or more use 12AWG

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Don’t’ forget to account for the expected bass response and volume at which the speakers will be played. For pri-
mary sound where dynamic range is at a premium and full range sound is desired, use more copper. For back-
ground sound you can drop copper. In other words, you are unlikely to compromise the performance of a pair of 5-
inch coaxial in-ceiling speakers placed in the master bathroom by using 16AWG, even if the run is 100 feet. On the
other hand you may want to use 12AWG if you’re wiring your main theater speakers - even if the run is only 30 feet.

In addition to considering the gauge of the wire used, it is also wise to consider the conductor count. Each and every
room should have the ability to support a local volume control. This control is best placed somewhere near the main
lighting controls for that room. A 4-conductor cable should be strung from the equipment closet to the volume con-
trol location. A single 4-conductor cable is much easier to run – and less expensive – than two 2-conductor cables.
2-conductor cable should then be run from the volume control location to each speaker location.

Control Systems
In addition to a volume control, which can be mechanical or electrical, each remote location should provide the infra-
structure to support infrared remote control or keypad remote control. There are many control solutions from
manufacturers including Xantech, Niles, Sonance, Crestron, AMX and others. Some of these are extremely
sophisticated and require professional installation and proprietary wiring. Most, however, will work
well with simple uninsulated twisted pair wiring (UTP). A great solution is to use
CAT5e wiring for the control system.
43079
Composite cables are cable assemblies blending two or more different cable types.
One good composite to use for audio distribution is 14/4 & CAT5e composite. This gives
you control capability and speaker level audio distribution in one easy-to-pull cable. You can
also get 14/4 & Dual Cat5e for more sophisticated systems or in instances where you want to distribute Telco as well
as IR and speaker level audio.

Some systems will benefit from the installation of IR targets or IR repeaters. These devices allow you to aim your
infrared remote controls at a small IR window built into a cabinet, speaker grill or wall box to relay those commands
to the equipment closet. A single CAT5e run is more than sufficient for most contemporary IR management
systems. Keep in mind that even if you don’t plan on installing keypads or IR control systems right
away it is important to include the wiring in your installation. You will not have
a chance to remove the drywall and insulation to do it later!
43075
RF, Antenna and Satellite Distribution
Sending music from room to room isn’t enough for most of us. We live in a world of sound and
image. Contemporary systems require audio, control and video distribution of some sort. There are
four variations of video distribution and most systems will use at least one – often two or more – to
fulfill expectations. Let’s start with the simplest first.

RF distribution refers to the availability of antenna, CATV, satellite and local modulated video content
in various rooms and areas throughout the house. RF distribution takes place on coaxial cable. RG-
6u is best, though RG-59u is acceptable. The primary difference between the two is the high fre-
quency attenuation, as related to the length of the run, and the quality of the shielding. A good quad-
shield RG-6u is the very best choice for RF distribution.
43060
There are two ways to handle a simple MATV or CATV distribution system – tapped or home run. Tapped systems
have a single trunk line with 75-ohm drops used for each antenna feed location. Taps have a feed-through port and
a drop that costs about 3.5 decibels of signal strength (in this case the signal is voltage dependent and not power
dependent – in voltage dependent systems the total voltage is halved when the signal drops 6dB). Taps are easy to
install and will service most simple antenna needs.

Home run systems require that a coaxial cable be run from each antenna location to the equipment closet. This can
be a more flexible system in that IR controls, satellite IF and other signals can be “piggy backed” on the RF signal.
Also, specific sources can be modulated and delivered to only certain locations. The disadvantages of a home run
are the additional wiring and labor costs – as well as the need for distribution amplification. The use of RF amplifica-
tion is a subject fit for an article in and of itself and is a topic we will explore in a future column.

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 DBS distribution is a bit trickier as it requires sweep-tested components capable of passing a full
3GHz bandwidth – with bidirectional capability. If you plan on installing a DBS satellite dish make
sure you run a MINIMUM of two coaxial cables to the dish location from the equipment closet. In
this way you can utilize a dual-feed LNB system with a phased array reflector for reception of sig-
nals from multiple satellite orbital locations. This is critical to getting the full measure of local-
into-local or HDTV broadcast programming.

Our next column will explore the basics of composite video, S-video and component video distribu-
tion, line-level audio distribution, and digital signal distribution.

43066

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 Connecting Grea t Performance with Grea t Value™

Whole House Wiring Basics Part 2

Brought to you by Impact Acoustics™
“Imagination is the beginning of creation. You imagine what you desire, you will what you imagine and at last you create
what you will.
- George Bernard Shaw

In our last installment of Whole House Wiring Basics we explored the hottest business sector in entertainment elec-
tronics today: the implementation of multi-room and/or multi-zone media functionality in the home or office. What is
multi-room? Simply put, it is a system that can deliver one source to multiple locations simultaneously. In contrast,
then, a multi-zone installation is a system that can deliver more than one source simultaneously to multiple locations.
Depending upon your budget, your living arrangements, and your media system’s capabilities, you will likely realize a
hybrid of the two. Regardless of how ambitious your A/V desires are, you’ll certainly need to distribute a low-level
signal to make your system perform. We hope that this article will help you understand and overcome the challenges
of distributing low-level audio and video signals.

Line Level Audio Distribution

Line level audio signals are very low voltage and very delicate. Typically under 2 volts peak-to-peak, this analog
waveform’s soul resides in the low level details, which may be measured in millivolts or even microvolts! It should
not be surprising that, with these extremely low level and delicate signals, shielding is a key attribute of proper
cabling. This shielding must be carried through any distribution amplifiers used in the installation. Note: distribution
amplifiers are only needed if a single output is split to several locations, or if a single output is run an exceptionally
long distance (greater than 100 feet).

Line level audio cables are typically a shielded twisted-pair assembly with one conductor carrying the hot lead, one
carrying the ground connection, and the outer shield tied to ground at one or both ends of the cable assembly. It’s
important to know that an audio cable certainly doesn’t have to be a shielded twisted-pair. A coaxial cable of proper
pedigree will work just fine. Impedances within distributed audio systems can vary greatly, with typical source-to-
load ratios ranging from 10:1 to 1000:1. Using a 110-ohm audio interconnect is probably not worth the effort for
most consumer level installations. Because of this, 75-ohm coaxial cable is suitable for line level feeds.

However, balanced line-level audio distribution within a studio environment is a different matter entirely. Low imped-
ance 600-ohm distribution relies upon careful implementation of transmission-line principles to ensure each piece of
gear receives tightly controlled signal voltages.

Typical applications of line level audio distribution within a home system are to route subwoofer signals to remotely
placed active subwoofers, and to route key source signals such as the audio output of a satellite receiver to a sec-
ondary zone installation.

Let’s examine some best practices for this type of common installation. First, select a quality coaxial cable with a
braided shield to run inside the walls. Of course, this wire will be appropriately certified as Class 2 compliant for low
voltage applications as specified by the National Electrical Code. We use a 75-ohm RG-59 with a 90% copper braid
and stranded copper center for two reasons: 1) The braided shield won’t be compromised by tight bends the way a
spiral shield will be, and 2) the stranded center will make for a flexible, easy pull.

When planning the wiring run (always have a wiring strategy!), make sure that
your not running this cable parallel to any AC power cables. If you must run
parallel for some short distance, try to maximize the separation of the two
cables. Remember, electromagnetic interference and radio frequency interfer-
ence both diminish as a function of the square of the distance separating the
assemblies. The potential for induced noise is 144 times lower one foot away
from an AC cable than it is one inch from that same cable!

As you pull this cable you may find that you need to cross some AC wires run-
37062
ning up and down the height of the wall. When doing this, ensure maximize

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separation where possible, as above. Also, route the run in such a way as to cross the power cable at a right angle
to the direction of its run. This will also help to minimize induced electromagnetic interference.

At each end of the run, terminate this cable in a plastic junction box and use an appropriate wall plate to make a
neat, attractive finished connection. With only a few dollars spent and a little bit of effort involved, you can run an
in-wall solution to subwoofer or second zone audio distribution!

Composite Video Distribution

Composite video distribution is normally associated with closed circuit security camera equipment rack to a remote
television in a master bedroom or den. This type of distribution is similar to distribution of MATC and CATV antenna
signals because you’ll utilize a 75-ohm RF coaxial cable. Unlike audio distribution, video distribution is susceptible to
impedance mismatches.

Like the line-level audio example above, use a properly designed class 2 low voltage cables to meet the require-
ments of the NEC. You could use the same stranded RG-59 described above, but it is easier to terminate a video
cable that uses a solid center conductor. For distribution of composite and component video, use a quad shield
RG-6u with a bonded foil and braided shield. This cable design is the most impervious to RFI and EMI, yet it is
relatively inexpensive.

Video signals are 1 volt peak-to-peak, but are several hundred times higher in frequency than anything an audio
component would ever experience. Because of this, it is important to maintain the characteristic impedance of the
system. Since video output or input is 75-ohms, the characteristic impedance of the interconnect must also be 75-
ohms. The impedance of a coaxial cable is set by the geometric relationship of its center conductor to the cable’s
dielectric. Changing that geometric relationship can alter the impedance. This, in turn, causes internal reflections or
attenuations of the signal, and thus compromises the ultimate picture quality. You must be careful not to crimp, kink
or deform the coaxial cable as you place the run.

For this example, assume you are distributing the output of a

satellite receiver to several monitors in your home. You have
a single output and it needs to go to four separate inputs.
This will require a distribution amplifier such as the one
shown. A good distribution amplifier offers at least 10MHz of
bandwidth, unity gain, and excellent isolation between ports.
41066

Place the distribution amplifier as closely to the source component as possible to avoid degradation before distribu-
tion. The signal you end up with at each location can only be as good as the signal you start out with. Because the
distribution amplifier will require a source of power, your installation must have access to AC. Also, you should select
a location that has stable temperature, humidity and clean environment. Remember, a distribution amplifier is a deli-
cate component and it should be properly protected.

Run two runs of your copper RG59 to carry audio from the distribution amplifier to each remote zone. We’ll also run
a single RG6u Quad Shield coax for video from the distribution amplifier to each remote zone. Compression
style RCA connectors will make secure, quality terminations for the wire runs. As with the audio runs
detailed above, make sure to avoid running your cables parallel to AC power cables. Where
you have to cross over AC cables, do so at a right angle.

Connection of the output from the source component to the input of the distribution
amplifier can use a custom built cable, or pre-terminated interconnect assembly. 41116

Feel free to mix and match, performance of the system won’t be affected.
Conversely you could use wall-plate terminations and interconnect cables from the wall plates to the actual compo-
nents if that makes for a more attractive and flexible installation. Remember that you should design your system to
have the minimal amount of breaks in the cabling path, guaranteeing maximum performance and system integrity.
Every connector is a possible source of error!

Using a distribution amplifier and quality coaxial cable as described above will allow installation of runs up to 150
feet or more. Additionally, you can “daisy chain” two or more amplifiers if you need to distribute a single signal to
more than four locations – a sports bar would be a good example of this requirement.

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S-Video Distribution
S-Video sends an analog video signal on two 75-ohm coaxial cables. One conductor carries a luminance signal,
which is a black and white wide-bandwidth television signal. The other conductor carries a chrominance (color) sig-
nal. In a way, S-Video is a form of component video because we are sending “components” of the complete video
signal along discrete signal paths.

You distribute S-Video signals for much the same reasons you distribute composite video signals. For source materi-
als that originate in a digital domain, such as DVD, S-VHS tapes, DBS satellite transmissions and ATSC off-air trans-
missions; you can realize a significant performance advantage by selecting S-Video over composite video.

It should come as no surprise that there are S-Video distribution amplifiers and that they are used similarly to com-
posite distribution amplifiers. A single input to four output configuration is particularly popular.

Now you could try to purchase S-video cable of the right length for each custom application, but this may be expen-
sive and/or impractical. Plus, Class 2 rated bulk S-Video cable is expensive and hard to find. There is an easier way.
S-Video cables consist of two parallel 75-ohm coaxial cables. You can
distribute S-Video using the very same Quad Shield RG-6u coaxial
cable as used for composite video cables. The only difference is that
you’ll need two runs to handle the separate luminance and chromi-
nance signals. To connect the two separate coaxial cables to the mini-
Din S-Video connector on the component or distribution amplifier, use
an S-Video separator cable.

An S-Video Separator is a simple cable that takes the connections of

an S-Video mini-DIN connector and “breaks” them out to dual coaxial 41064
cables. You can easily connect any S-Video source to a dual run of
RG-6u using this adapter cable without having to solder small pins in a very tight connector!

Component Video Distribution

40023
By now you shouldn’t be surprised that component video can also be easily dis-
tributed using Quad Shield RG-6u and appropriate amplification devices. As
with S-Video and Composite video, you must avoid introducing noise into the
system. Do this by keeping runs of coaxial cable as far as possible away from
the power cable. Where the coax will cross the power cable, it should do so at
a right angle. And like Composite and S-Video, it is very important to maintain
the characteristic impedance of the cable assembly by ensuring that the cable is
not kinked, crimped, bent or otherwise deformed.

Component video distribution amplifiers often have provisions for left and right audio channels and S/PDIF digital
audio. Most HDTV and DVD sources feature multi-channel digital audio soundtracks. If you are distribute the signal
from an HDTV DBS Satellite receiver to multiple rooms or multiple locations, for instance, you’d certainly want to be
able to send that impressive digital audio soundtrack along with the HDTV image.

Digital Audio Distribution

Treat digital audio distribution exactly like composite video distribution.
That is, it can be admirably handled by a Quad Shield RG-6u, has a band-
width somewhat less than that of composite video, operates in a 75-ohm
characteristic impedance environment, and delivers about 1 volt peak-to-
peak. To distribute progressive-scan extended definition video from a
multi-DVD changer to systems located in various rooms of the house, you
should simply add a fourth RG-6u for the S/PDIF signal!

In our next article - Digital Video Distribution… 41105

We would like to thank Impact Acoustics for allowing us to reprint this informative article.

1501 Webster St. • Dayton, OH 45404 • Toll Free 877.AV.EXPERT • www.impactacoustics.com

 Connecting Grea t Performance with Grea t Value™

Whole House Wiring Basics Part 3

Mysteries of Digital Video Distribution
By Joseph D. Cornwall,
Business Development Manager, Impact Acoustics™

All of the books in the world contain no more information than is broadcast as video in a single large American city in a
single year. Not all bits have equal value. – Carl Sagan (1934 - 1996)

In part one of Whole House Wiring Basics we explored various aspects of multi-room and/or multi-zone media design
and implementation. Part two expanded our examination to include quality transport of analog video signals such as
component, s-video and composite from point-to-point. There are three more disciplines we must master if we are
to be able to create a useful, high-performance audio/video installation; digital video distribution, control system
infrastructure and MATV/CATV design and installation. Let’s save the best for last, shall we? In this installment we’ll
focus on the burgeoning need for digital video signal distribution.

There aren’t a whole lot of digital video signals we need to

be concerned with. In fact, there are
only two. Of the two, both are such
close cousins that the same infra-
40285
structure can accommodate either.
With proper planning and forethought,
digital multi-media transportation can provide
40294 the cleanest, clearest, most impressive A/V
experience imaginable!

We are referring to DVI and HDMI, of course. Both are TMDS (Transmission Minimized Differential Signaling), a tech-
nology used for transmitting high-speed serial data. HDMI and single-link DVI deliver a bandwidth of more than 165
Megapixels per second (165MHz), which is capable of supporting 1080 X 1920 images at a 60Hz refresh rate
(1080p). A properly implemented digital distribution infrastructure will allow you to access this level of performance.
It will ensure compatibility with High-Bandwidth Digital Copy Protection (HDCP). It will handle a DVI-D single link or
HDMI interface with equal aplomb. A good digital video distribution system will be isolated from RFI and EMI, will
meet NEC code and will allow for future growth with minimal additional investment. Finally, the right digital video
distribution system is the one you can install now, because tomorrow it may be too late!

With today’s technology there are three ways to handle the distribution of digital video; UTP, copper, and fiber. Let’s
look at each in turn.

HDMI/DVI-D over Cat5e

There is nothing especially new about transporting audio and video signals over a UTP cable. Companies like Gefen
and Intelix have manufactured solutions using this technology to transmit analog S-Video and Component Video for
nearly a decade. UTP stands for Unshielded Twisted Pair and is engineering “shorthand” for
Cat5E (amongst others). Signals run over UTP use a Balun (Balanced to Un-Balanced trans-
former loading) to create a differential signal. Due to the unique nature of a transformer, the
signal is induced on the secondary windings and completely isolates the conduction path from
the equipment at either end. This delivers an important benefit – freedom from ground loops. A
27351 second benefit can be extended length – transformers can easily increase voltage at the expense
of current. Since a signal is transmitted through the change in voltage, decreasing signal current is
seldom critical. This property of a Baluns makes them especially good for bandwidth limited low-
voltage AC signals. HDMI and DVI-D signals carried on UTP based infrastructure can often be run for
150 feet or more!

A digital video distribution system based on UTP technology has many advantages and attributes which
make such a design a popular solution. First, Cat5e cable is smaller than coaxial cables, making the

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cable runs easier to execute. Because a Balun driven system is, ultimately, a passive circuit, HDCP compliance is sel-
dom affected. The cable itself is often less expensive and in the context of a very large installation this can quickly
add up to hundreds of dollars just for the wire. Cat5e is easy to terminate; nearly any technician can masters the
intricacies of the punch-down block during their first weeks on the job. Cheaper, easier and it runs longer distances
without fear of ground-loops. And the UTP is inherently resistant to RFI common-mode noise. This sounds like a
great solution!

All is not rosy in the world of the Balun, however. Baluns are not the ideal solution for every application. The actual
resolution and in-use performance of an installation is directly proportional to the quality of the transformer used to
power the system. And good transformers can be expensive! HDMI-to-Cat5e and DVI-to-Cat5 systems typically sell
for $500 or more.

Balun-based systems also suffer length related degradation. For instance, one primary manufacturer of HDMI Balun
solutions specifies 1080i performance to 200 feet but cautions that 1080p performance is only attainable to 150 feet.
A further caveat states that performance may be compromised in facilities with excessive RF interference.
While twisted pair cables are easy to run, there are a lot of environmental issues that must be observed to ensure
proper operation. Twisted pair cabling carrying an audio-visual signal should not be run within one foot of fluores-
cent lights or more than three feet parallel to high voltage lines. Twisted pair cabling, such as Cat 5, carrying an
audio-visual signal should not be passively split or routed through a hub or switcher. Finally, you cannot transmit data
and digital A/V over the same length of Cat5e.

One final issue detracts from the Cat5e solution. Due to the extreme bandwidth requirements of HDMI and DVI digital
video these transformer-driven systems require two runs of Cat5e, one of which must be a shielded Cat5e. If the
project is taking place in a retrofit situation you cannot use a single run or an unshielded dual run. At least one cable
– the cable used for the actual image information – must be shielded. The chances of finding shielded Cat5e run in
a building are only slightly better than the odds of winning the Irish Sweepstakes! Still, Cat5e is small and easy to
route. And it is ultimately the least expensive solution if you must install a run of more than 100’.
An additional benefit of a Balun-based installation exists in commercial buildings where Plenum CMP-rated cabling is
demanded by the National Electrical Code. At this time there are no HDMI cables made that are CMP-rated. Plenum
Cat5e and Cat6, however, are readily available.

HDMI/DVI-D over Copper

HDMI LLC doesn’t specify any length limitations to an HDMI interconnect. Neither does the Digital
Display Working Group, the founders of the DVI-D standards. As with all cables, signal attenua-
tion becomes too high at a certain length. Instead, HDMI specifies a minimum per-
40320
formance standard. Any cable meeting that specification is compliant. Different
construction quality and materials will enable cables of different lengths to be
manufactured. In practice the maximum reliable length for a DVI-D or HDMI
connection running a 1080 X 1920 signal (1080p) is about 75 feet. The use of
active devices may extend that run to 100 feet or slightly more. Performance at these
lengths is directly proportional to the quality of the driving and receiving electronics in the
source and load components.

Copper HDMI and DVI-D cables are complex and expensive pieces of wire. An HDMI interconnect has 19 conductors
set in a specific geometric arrangement to hold the characteristic impedance stable. Setting cable impedance on a
twisted pair is a very difficult undertaking as the twists-per-inch and the diameter of the conductor and dielectric
work together to form this important electrical characteristic. Changing the shape of the cable through tight bends,
or changing the twists-per-inch through inadvertently stretching the cable under tension can easily and adversely
affect signal propagation. In short, HDMI and DVI cables are delicate!

Because of this complex construction, HDMI interconnects can be seen as an expensive solution when compared to a
Cat5e-based Balun solution. For instance, a quality 10 meter HDMI interconnect might have a retail point of $150.00
or more, compared with $12.00 for shielded Cat5e. If that is the only number one were to consider then there is no
competition. However, the HDMI interconnect is complete and ready to install. The Cat5e-based Balun solution
requires the transformers and short jumper cables to connect to the source and load components. A 10 meter Cat5e
solution really costs $12.00 (bulk Cat5e) + $500.00 (Baluns) + $50.00 (2each 1meter HDMI interconnects) =

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$562.00. Now the $150.00 cost of the manufactured HDMI interconnects look like a bargain!
If a copper based solution has a price advantage, it also has a performance advantage. While the frequency response
of any conductor will drop in direct proportion to the square of the length of the cable, the high frequency attenuation
in an HDMI environment doesn’t impinge on its ability to deliver a full 1080p image out to the maximum practical
length. For example, the RapidRun Digital system can support a 480p HDMI signal at 65 feet. It will also pass 720p,
1080i and 1080p at that same length.

HDMI copper has its drawbacks, too. HDMI interconnect technology is delicate and must be installed with care. Wire
runs should observe best installation practices and avoid sharp turns that will exceed the minimum bend radius of
the cable. Wire ties and cable stringers must not compress the diameter of the cable or otherwise disturb the geo-
metric relationship of the various conductors. Finally, this is a larger cable to pull. And HDMI connector will not fit
into a conduit smaller than 1.25-inches. A DVI connector requires at least 1.75-inches. And these diameters don’t
allow for tight bends, so no 90 degree elbows allowed! The RapidRun Digital system from Impact Acoustics allows a
run to be placed in a .75-inch with up to a 90 degree manufactured sweep. It is currently the most compact solution
available.

Copper HDMI and DVI solutions can also be difficult if compliance with NEC standards is imperative for the installa-
tion. Most manufacturers don’t make a CL2 rated HDMI or DVI interconnect (all Impact Acoustics SonicWave product
is CL2 rated for in-wall use). At this time no manufacturer is making a CMP rated HDMI interconnect. This means
that, even though these are low voltage solutions, they must be housed in conduit if they are installed in a plenum
air-space in a commercial installation. Further and unlike the Cat5e solution, HDMI and DVI-D interconnects are not
field-terminable. You cannot cut to fit! This requires careful planning before the components are placed and the
cable is pulled. Two-feet too long can be a challenge, and two-feet too short can be a nightmare!
Finally, copper-based solutions don’t do anything to address ground loops. This isn’t a huge problem in most quality
digital video installations, but it can be an issue if ceiling-mounted projectors or wall-mounted plasma displays are
powered from a different A/C mains circuit. Copper-based solutions ensure compliance with HDCP, though.
An important characteristic of longer length HDMI solutions is found in the wire gauge. The longer the cable, the
thicker the copper must be to ensure performance. The two variables of copper-based HDMI solutions are the quality
of the source and load electronics and the stability of the copper assembly in terms of impedance and resistance.
These can be calculated and compensated, but forethought is required.

HDMI/DVI-D over Fiber Optics

When maximum length runs are necessary, fiber fills the bill. There are two methods for using a fiber in an HDMI/DVI
environment. For runs up to 300-feet there are multi-mode fiber cables that incorporate fiber-optic
converters in each connector which convert HDMI signals into light pulses, and then back
again at the display. These cables use a plastic-clad glass fiber, which offers a high
degree of ruggedness and flexibility. A multi-mode fiber solution is available in
Plenum-rated CMP and in CL2 versions for residential installations. Using
fiber you will have no problems meeting electrical codes. Further, the
very nature of a fiber connection eliminates any possibility of a ground
loop, RFI or EMI. After all, the signal is light and it can’t be affected by
37216 magnetic interference or noisy light switches! Fiber is a powerful solution.

In digital signage there is sometimes a need for distances beyond 350-feet with
DVI-D and HDMI signals. In such applications a single-mode fiber solution can be used.
Single-mode fiber can deliver a 1080p signal up to 1500 feet without loss!

There is a cost to using fiber – maybe there are a few costs. First is the price… A 10 meter solution would not cost
the $150.00 of a copper-based interconnect as detailed above. And it won’t cost the $562.00 of the dual Cat5e solu-
tion. A typical fiber solution would have a price tag closer to $850 for a 10 meter run! Of course the price per foot
comes down as the length goes up. If copper costs $4 per foot (at its maximum run of 75 feet), and dual Cat5e
costs about $4 per foot at its maximum of 150 feet, fiber tips the scales at only $5 per foot for a 350 foot run. If you
use the technology at its maximum limitation, the prices are equitable. With the typical runs encountered in home
theater or presentation/conference room installations the difference in price becomes significant indeed. Often this
price differential doesn’t reflect a performance difference.

1501 Webster St. • Dayton, OH 45404 • Toll Free 877.AV.EXPERT • www.impactacoustics.com

Another cost of using a fiber solution is in the HDCP “handshake”. Bluntly put, fiber optic doesn’t shake hands!
Typically a separate Cat5e must be run to ensure compliance with HDCP protocols. Of course the minute you add
copper to a fiber-based system you re-introduce the possibility of a ground loop problem.

HDMI/DVI-D Splitters and Distribution Amps

We have already established that HDMI and DVI TMDS signals can’t be “amplified” in the traditional sense. They can
be conditioned to work in a specific environment through careful active control of impedance and frequency
response, however. Where the TMDS digital video signal really loses out to
40324 analog is in its ability to run to multiple locations. Unlike analog solutions,
digital distribution is always an active proposition that requires a care-
fully engineered component. And digital distribution is limited in the
typical installation. A single source can feed as many as four display
devices in the digital domain, but cheap and reliable analog distribu-
tion amplifiers allow a component signal from a single source to be
fed to 4, 8 or more display devices with virtually no penalty!

Another idiosyncrasy of the digital video domain is the necessity of the source and load to work as a system.
Because of this, digital video DVI-D and HDMI “splitters” always require a master, or primary, source to lock onto the
sync. This means that you can have two plasma displays hooked up to a single HDMI enabled device, but one of
those displays will always have to be in use. In other words, you can have TV1 on and TV2 off, or TV1 on and TV2 on.
But you can never have TV1 off and TV2 on!

Summary

When planning for, designing and installing a sophisticated media system it is vital to consider the environment and
distribution of signals. Music and antenna signals are easy to distribute with a little planning. Baseband video and
audio signals deliver a bigger challenge, but are still surmountable with careful analysis. Digital distribution makes
demands that challenge even the most experienced integration specialists. Yet even with their varying levels of chal-
lenge, it’s incredibly important to get the wiring right. With the right infrastructure you have options and opportunities
that might not be attainable once the drywall goes up and the first phase of the installation is done. Distributing
HDMI and DVI-D signals expands the efficacy of a high performance multimedia system investment. It’s a big chal-
lenge, but one that we can face if we take time to understand the technology.

In our next article – MATV, SATV and RF Infrastructure!

1501 Webster St. • Dayton, OH 45404 • Toll Free 877.AV.EXPERT • www.impactacoustics.com