Audio media audio consoles guide 2013

1 AUDIOCONSOLES

2013

THE INTERNATIONALBUYER’S GUIDEA S P E C I A L P R O M O T I O N A L P U B L I C AT I O N

F R O M T H E N E W B AY M E D I A G R O U P

AUDIO MEDIAPRODUCED BY

In association with:

I N T E R N AT I O N A L E D I T I O N

2RADIORADIO

T H E I N T E L L I G E N T N E T W O R K

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3 4 Creative Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8 Due Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10 Console Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12 Allen & Heath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14 AMS Neve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16 Avid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18 Cadac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

20 Calrec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22 DHD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24 DiGiCo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28 Lawo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

30 Mandozzi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

32 Midas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34 PreSonus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37 Sonifex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

38 Soundcraft Studer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

40 SSL (Solid State Logic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

42 Stagetec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

44 Wheatstone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

46 Yamaha. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

48 Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

c o n t e n t s Welcome to the updated Audio Consoles Buyer’s

Guide 2013, an exposé of the finest the audio

console market has to offer. Whether you’re in

recording, post production, broadcast, or sound

reinforcement, we’re sure there’s a selection of

products here for you.

This magazine is a collection of promotional articles looking at 17 of the world’s leading console manufacturers and their product ranges. Inside you’ll find the stories behind the gear – the ethos’ and design ethics that go into producing one of the core components in audio production – and details of the products themselves.

The hands-on approach to audio mixing has not yet been beaten. It’s an art form in itself and a skill that sonic operatives treasure. Every console on the market offers something different to complement both the work at hand and the preferences of the operator, so sometimes it’s difficult to narrow down the wide choice on offer to those products that are best suited to your needs. There’s also new technology to consider – are you surround-sound ready? Has your current console got the extra horsepower or capacity needed to cope with modern production demands? Do you need a step up in signal intergrity and product pedigree? Could a more versatile board work harder for you or do you need a more specialist tool for a specialist job? Everybody needs to address at least a few of these issues, and probably more besides.

That’s where this guide comes in. This, and the other Buyers Guides in the series (Monitors & Headphones, Microphones, Recorders, Live Sound Technology, Live Sound Applications, and DAWs) are Audio Media projects, designed to help you find your way though the information explosion and find the product that suits your needs. Audio Media is an internationally distributed magazine that deals with professional audio production in film, TV, radio, music, games, and on stage. It’s available in both print and digital editions. For more details, go to www.audiomedia.com.

Paul Mac, Editor.

Sales ManagerGraham [email protected]

Editor In ChiefPaul [email protected]

Editorial Manager (Europe)Lanna [email protected]

Design & Production ManagerJohn-Paul [email protected]

AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1354 669960 - Fax: +44 (0)1354 669965

The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether

mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure

accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or

any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers

accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork.

© 2013 NewBay Media. All rights reserved.

www.nbmedia.com

AUDIOCONSOLES

2013






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2013






4 Calrec’s Senior Design and Development Engineer, Graham Milnes, says the main thing is to make sure all customer requirements are met, though interestingly, some of those requirements might not immediately be known to the customer.

“Ultimately, the customer just wants everything to work, of course,” he says, “but in the real world, we supply a lot of kit for outside broadcast and one of the most important things is protection on the input; when there are nearby electrical storms going on and you have very long cable runs, you have got to protect those inputs so they won’t pack up. Barring a direct hit, we’re able to do that.”

Milnes says that having to comply with EMC directives has most certainly affected the way that manufacturers approach designing their inputs.

“Years ago, before EMC compliance came into play, we had quite excessive RF fi ltering to take out the Long Wave, Short Wave, and Medium Wave transmissions, be it a radio, a taxi, whatever; that was a big nuisance in the 70s, 80s, and 90s, and it’s so important to get that stuff out of there, as we do have to comply with all of these [EMC] directives,” he explains. “If you think about the traditional XLR input, people used to talk about the classic pin one problem whereby pin one of the XLR wasn’t bonded correctly to the chassis and would often go down onto the circuit board; these days, mainly

to do with EMC compliance, pin one is hard-connected to the chassis, which negates the need for ground lifting and everything is much safer. Some people may disagree, but that’s our philosophy, certainly.”

Calrec hasn’t used transformers on mic inputs since the 90s; instead, everything is electronically balanced. Milnes says this is due to size, weight, and cost; and technically, better performance is achievable electronically. Headroom is also a massive factor, he says, even in user control.

“When it comes to digital processing, it’s all 24-bit resolution audio, but without giving too much away, it’s important we have more bit resolution than 24-bit audio so you can have yourself more head and tail room,” he reveals. “It might sound strange, but if you just think of EQ these days, which is typically four-band, each of those four bands will often be capable of adding 20dB of gain, and you can very quickly get some very high signals; if you don’t have some extra bits to handle that then you’re in trouble. We have a vast amount of headroom in our system, some in the user control too: we have the front end screen where the end user can see how much headroom they’ve got up

to the fader, so if things get loud and out of control, the operator can pull the fader down and everything still sounds clean. The end user can select the input headroom anywhere between 18 and 36dB, which is quite a lot.”

The Calrec inputs are unique in that they accommodate mic

and line inputs, which Milnes says is particularly convenient for the end user.

“Because one input can be used for mic or line, we have a gain range that goes up to 78dB maximum and at the other end of the scale it will attenuate at up to 18dB,” he explains. “For many years we’ve tended to have the universal input, though it complicates the design for the pre-amp somewhat as it needs to handle a very high signal.”

Although all I/O is analogue, everything else is digital, and Calrec stopped making analogue consoles more than three years ago. Milnes insists, however, that in some ways, analogue is still going very strong.

“When it comes to the operational amplifi er, which is the heart of the circuitry really, the good old 5532 is still a hard act to follow. It has been bettered, but these newer offerings will cost signifi cantly more, and whether they make that much of a difference or not is open to some debate,” he says. “Certain amps have improved and if you compare specs, there will be better noise performance, better THD, slightly lower power consumption, and higher drive current. The maximum level you will fi nd in broadcast is supposedly +24dBu, but there are many devices where internally the power rails will generate above and beyond that; all our inputs will handle at least +27dBU, which is very high, and when the end user turns the gain down on the mic pre-amp, the signal will stay absolutely clean.”

The Dallis DynastyLawo’s latest input board is the eight-channel Dallis mic/line in, which is balanced, fl oating, and

Paul Watson talks to three of the leading broadcast manufacturers about their approaches and philosophies towards the design of the input stages of their consoles, and asks the question: “Is analogue design still improving, or have we now exhausted what’s possible?”

4 CREATIVE INPUT

Creative Input

consoles 2013consoles 2013

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6 features galvanic separation.“We don’t use audio transformers when

doing galvanic separation; instead, it is realised in the digital domain,” says Martin Werwein, of Lawo’s R&D department. “This structure eliminates the drawbacks of such transformers, and as a result, we can offer excellent distortion performance, common mode rejection even at high frequencies, low crosstalk, and a much higher density.”

Lawo also uses discrete Class-A pre-amps, which, it claims, provides ultra-low equivalent input noise even at moderate gains as well as a fl at frequency response.

“Our mic-pres are extremely high quality because we built them in a very modern discrete design that provides an excellent overall performance, as well as the very best distortion performance even at high gains,” Werwein adds. “Then in terms of amplifi cation, our variable gain amplifi er is working with a full digital gain stage and two noise scaling amplifi ers – one analogue, one digital. The analogue noise scaling amplifi er together with its digital counterpart is used to run the analogue gain stage, which guarantees the best noise performance, and using this structure allows end users to change the gain settings in the digital domain without any audible clicks.”

Although the gain reduction of Lawo’s PAD is 20dB, the maximum input level is limited to +24dBu, though the maximum input level without the PAD is +8dBu. This structure, Werwein claims, makes it possible to run the PAD stage with a better noise performance.

Lawo also believes that it is ahead of the game in terms of fi ltering design for A/D conversion, insisting that its modifi ed FIR fi lter architecture minimises latency whilst maintaining an excellent linear phase response.

“With a single sampling rate, a little

aliasing above 20kHz is unavoidable for maintaining acceptable latency, whereas with a double sampling rate, an aliasing-free operation is possible without an extended group delay,” Werwein explains. “However, we have implemented a second FIR fi lter implementation, optimised fordouble-speed mode, and this is not realised in common designs; it allows for a complete

aliasing-free operation and maintains ultra-low latency.

“With the latest generation of high-quality audio interfaces, Lawo has reached an audio quality that can hardly be improved. The quality regarding distortion and noise is so high that one needn’t pay attention to it in most cases; and although this may also be true of products from other manufacturers, our equipment is absolutely failsafe under even the most problematic environmental conditions, which certainly gives us an edge over the competition.”

Studer-MakerStuder’s Product Manager, Andrew Hills, says the most important area of a mixing console design is the initial analogue circuitry followed by the A/D converter, as once the signal is captured into the digital domain poorly, it cannot be repaired.

“Analogue consoles had mic inputs and line inputs, the reason being there were only two types of device you wanted to connect to an analogue console: a microphone or an active device like a tape machine or playback device,” he says. “As the move has gone from transmitting audio between regions from analogue to digital, the number and variety of digital has grown exponentially as well; things started with a single AES interface, then there was an SPDIF digital interface, then various multi-channel audio ones like MADI and ADAT. What Studer has chosen to do to is provide as many interfaces on standard cards so customers can connect whatever equipment they like directly to the console without any additional blue boxes or conversion interfaces.”

The Studer cards include a 64-in 64-out MADI card, 16-in 16-out ADAT and AES cards, an eigh- in eight-out analogue card, and mic cards with just four channels. What is particularly signifi cant is the amount of money Studer is investing to make a high-quality mic interface.

“We are basically putting in eight times the amount of money it costs to make a multi-channel digital interface to make a high-quality mic interface, because we regard that initial conversion as so very important,” Hill insists. “It is the only way of getting the initial capture of the audio into the digital domain in the absolute best possible way.”

Another element of Studer’s input stage design involves moving the mic amplifi er away from the mixing console, Hill says: “Whereas in a traditional analogue console the mic channels were in the channel strips in the console, nowadays we make stage boxes where the mic amps are placed down by the stage or by the mic so that the cable from the mic to the amplifi er and its converter is very short; at that point, the signal is converted to digital and transmitted up to the mixing console as a multi-channel digital format which then suffers no further degradation in signal.”

Across the board, it is clear that manufacturers see the input stage as the most important of all when designing broadcast consoles. As with many areas of the audio industry, digital is now clearly the norm, and has led to a number of signifi cant enhancements, though analogue remains king when it comes to I/O. Headroom is also crucial, particularly in live broadcast applications, where there is literally no room for error.

www.calrec.com

www.lawo.de

www.studer.ch

6 PROMOTIONAL FEATURE


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8 “We write all our own effects algorithms, because all of our digital consoles operate an automatic latency management routine,” explains Brand Development Manager at Midas, Richard Ferriday. “It’s very important that however the operator deploys those effects processors, the console is able to manage the resulting latencies and make sure that the audio is always in phase, right down to single sample accuracy, whenever they sum that audio together at any point.”

The company philosophy in terms of its effects and processing, Ferriday says, is to continually improve them: after purchasing a console, any new effects that are built into the software are always released to the customer at no extra cost.

“If you take our latest Generation II software as an example, which we released at ProLight + Sound earlier this year, that added lots of new functionality into our entire console range,” he continues. “We added an additional fi ve reverbs, a dynamic EQ, a matrix mixer, several additional modulation effects, and a new tap-delay.”

Because Midas’s digital consoles all boast identical effects and processing options, from the Pro 1 all the way up to the XL8, the manufacturer can provide full compatibility across the board, so to speak.

“Uniquely, you can take a show fi le from any one of our consoles with a certain effects rack as a component in that show fi le and it

will load onto any of our other consoles, and run perfectly,” Ferriday states. “Although we’ll always continue to develop our palette of effects units, we also appreciate that there’ll always be something that someone is going to want that we won’t be able to provide – an effect that perhaps 99 per cent of our customers will never use – so we have made it easy to interface our consoles with external DSP resources so users can run an effect on a laptop and interface it specifi cally with the console whenever they need to.”

DiGiCo One manufacturer that uses more than just DSP is DiGiCo: unlike any other brand, it uses Super Field Programmable Gate Array (Super FPGA) for all its audio path.

“DSP is certainly powerful, but nowhere near as powerful as Super FPGA,” claims DiGiCo’s marketing director, David Webster. “What that means is, when you’re dealing with something that needs a lot of arithmetic calculations, like a reverb, you can get a much higher quality out of Super FPGA. In the old days, for your house vocal, you’d have either your Lexicon 224 or 480,

or your Yamaha SPX 90 – now when you look at that, they’re both reverbs, but I know which one I’d want! Plenty of manufacturers can deliver quality similar to something like the SPX 90, but using Super FPGA, we can provide the quality of the

Lexicon – and you can really hear the difference.”Something else that DiGiCo doesn’t need to

worry about, Webster says, is clogging up the I/O on the console with effects returns.

“With an SD7, because of the Super FPGA and the DSP together, we can do up to 48 stereo effects – just returns on a console you’d need 96 inputs for that,” he smiles. “And that’s excluding any of the compressors, dynamic EQs and gates, because they’re on every channel and every bus of our consoles anyway.”

Webster stresses that although all DiGiCo customers are happy with the internal effects and processing available in its consoles, the manufacturer realises that people will always have their personal preferences in the way something should sound, therefore offers plug-in capability, via Waves.

“Is it the Waves DSP add-on? Yes and no, really. It is, but anyone else that can interact with Waves has an Ethernet connector to a SoundGrid server, whereas we offer that capability via a 2U rack-mount [SoundGrid] server, and everything else is then incorporated into the console as standard,” Webster explains. “Using DiGiCo, you can have up to 32 stereo racks from Waves – that’s 64 channels. Most other people aren’t able to do that... We are the only manufacturer that allows that 64 I/O on top of any I/O we have in any of our consoles.”

DiGiCo also offers control of Waves via its consoles’ touch-screens, which eliminates the need for an additional PC.

“Instead of a running a separate laptop,

Paul Watson talks to four of the many manufacturers now putting their internal effects forward as a one of the big reasons to buy. What philosophies populate this hard-fought piece of ground?

8 DUE PROCESS

Due Process:Effects Processing Inside The Console

rack as a component in that show fi le and it vocal, you’d have either your Lexicon 224 or 480,

9 you’re basically running a separate server for audio only, and it uniquely saves that within a session. The only thing that’s happening is its number-crunching and the audio I/O is going in and out of the 2U box; everything else all happens within the console,” Webb reveals. “It’s then saved as a Waves live session fi le with a DiGiCo session fi le – the two are married. So, for example, say Eric Clapton’s using a particular effect and you change it for his guitar solo in Layla, that’s there, even though it’s in Waves; the console knows it, and it tells the Waves box what it wants, then you see it on the screen on the console. It’s totally integrated, whereas everybody else has to run it as if it’s a separate piece of outboard gear.”

SoundcraftOne of the benefi ts of being part of the

Harman Group, says Soundcraft’s Head of Digital Console Strategy, Andy Brown, is being able to utilise the best of all of its brands, which has had a positive impact on the effects and processing that’s gone into Soundcraft’s Vi and Si ranges of digital consoles.

“We are in a very good position as we have access to lots of well known and well-respected brands, going from the Lexicon reverbs to the dynamic stuff like BSS graphics and dbx processing,” he says. “Our general philosophy is to try and get those brands into our consoles, and although we have certainly done that in our current offering, there’s a lot we’d like to do on that side of things. What’s also really cool is that these fellow-Harman brands also happen to be industry standard – brands that engineers would have on their wish-list when speaking to any digital console manufacturer. That’s a big bonus for us.”

Using Lexicon, Brown says, was “a complete no-brainer”:

“Being such a super-respected brand – probably the leading brand in the industry at one time – meant we had to put it into our Vi and Si consoles; we got a very positive reaction from engineers and I think it made people remember just how well made those original Lexicon algorithms were; they were developed by real academics, which made Lexicon the force it was in the 70s and 80s. We provide eight totally integrated stereo Lexicon FX engines from a single card installed in the rack, all controlled directly through the Vistonics II user interface, with a host of patching and control options.”

All of Soundcraft’s Vi consoles boast BSS graphic EQs, which can be deployed on all buss outputs (providing 35 x 30-band graphic EQs

with no loss of effects or processing power) and engaging any graphic brings band control onto the channel faders. The channel FaderGlow turns red to show graphic mode, and the band frequency is shown above each fader in the LCD display. The current channel-strip dynamics on Soundcraft’s consoles originated with Studer, and because the audio quality was so high, the manufacturer says it saw no reason to change them.

“The EQs and dynamics are currently Studer algorithms, developed for both live and broadcast applications, and there’s actually a plan in development to offer more choice of those algorithms,” he says. “At the moment we have a Vi dynamic strip, but it would be nice to have the option of putting a dbx 160 in there too, and a BSS DPR901 – these are classic bits of kit and obvious targets for us to incorporate in the future.”

YamahaYamaha’s latest line of digital consoles is the CL Series (CL1, 3 and 5), all of which include high quality Portico 5033/5043 EQ and compressor devices. The company’s current philosophy in terms of effects and processing, according to R&D product specialist, Chris Angel, is three-fold, and right in line with the Yamaha’s basic philosophy when it comes to designing and building digital consoles.

“First and foremost, our customers always expect 100 per cent reliability from our products, so processing reliability is completely key,” he insists. “Secondly, it’s about quality: we and our customers have always demanded the best, so we need to make sure that the audio quality we generate will always be excellent; and thirdly, we insist on a seamless user-interface: everything needs to be built-in, so the user has no need to administrate third-party solutions.”

Angel says processing and effects expectations have increased massively in recent years, and as a result, Yamaha has chosen to collaborate with a small and select number of processing partners.

“Our main partner is Rupert Neve Designs; both through Yamaha and our sister company, Steinberg, we have been able to provide these plug-ins, and

in the future we certainly hope to expand upon that,” he adds. “Everything is based around our Virtual Circuitry Modelling technology, of course, and we also have many classic pieces of in-house hardware we are able to model digitally: a number of classic reverbs, EQs, and compressors, for example.”

Angel reiterates that above all, it’s about quality, not quantity:

“We are not going to go for a complete plug-in system – that brings problems, which we have seen in several competing manufacturers; we may have a slightly ‘closed-garden’ approach, but anything that isn’t completely solid is not acceptable to us as a Yamaha solution.”

Shut DownOverall, quality is clearly paramount for all of these manufacturers, be it through reviving the old analogue sounds of yesteryear through plug-ins or using other new technologies; in fact, it’s the one thing that does seems constant: people still want to recreate the classic processing of the 60s and 70s, and it doesn’t look like that is going to change any time soon.

Midas Consoles

www.midasconsoles.com

DiGiCo

www.digico.biz

Soundcraft

www.soundcraft.com

Yamaha

www.yamahacommercialaudio.com


THE INTERNATIONAL CONSOLE BUYER’S GUIDE 9

10 Surprise SurpriseWhen working on an unfamiliar console (analogue, digital, clockwork), get to know how the mute system works including any groups or master assigns. Then clear it all and create your own set-up. The same thing goes then for VCA/DCA groups and mix bussing. That way you wont be caught out by a baddose of soundperson’s surprise!

Leon Phillips, Allen + Heath

Sequential SoloMy secret at the beginning of a mix is to solo one channel after another to hear all 30 tracks in about two minutes, but without the distractions of lots of keystrokes or mouse moves by just keeping my fi nger on one of the faders on the console as I slide along the Smart AV console ‘Arc’, which pops each channel into that fader, soloing just the one at a time. I love this part because it neatly programs my mind so I can hear exactly what everyone is doing and how effi cient they are voltage wise because I am metering it on a VU meter at the same time. That global prospective gives me such a head start over what is needed with this mix.

Michael Stavrou, C/O Smart AV

Live: Cue One ReadySet up your system fi rst – make sure that the sound at the mixing desk is representative of the sound in the rest of the room. There is no point busting your gut to get the vocals sounding right at the console only to discover they sound rubbish everywhere else.

Gareth Owen, Theatrical Sound Designer

Supreme SnareIf you need a quick fi x for mid-rangey snare drums that lack punch and dynamics,try this: Multiply the original snare track, sending the original signal through your best gate and then back on to the console, and send the second signal to another channel of the gate. With the second channel, use the gate to create a very staccato signal by setting the attack and release times very fast.

Also, with this channel you can set the key fi lter on your gate less conservatively as we will want none of the cymbals to pass through

and we are not going to actually use the gated signal itself in our mix. The next step is to fi nd a suitable speaker in your tracking room to send the staccato signal to. Take the speaker and place it upside down on top of a nicely tuned snare drum. If you use an NS-10 or similar speaker with a slippery fi nish, you may need to place the edges on some foam so that it doesn’t move during the procedure.

Now place a microphone about two-inches from the side of the drum, and return the microphone signal to the console, mixing it with your original gated snare signal, down a mono buss, where you can EQ the result of your submix, and into your stereo mix. We use the CharterOak S600 as it has a big sound with an open bottom end and a gentle roll off starting at about 13kHz.

Michael Deming, President of CharterOak Acoustics

Gain Vs. TrimWhen using a digital console and wanting some of that warm colouration, turn up the analogue gain, and back off the digital trim to retain a useable gain structure through the console

Richard Ferriday, Midas and Klark Teknik

ADDA BitWhen using external analogue inserts on the input channels of a digital mixer, set the console’s delay management system to apply the additional latency of a second AD-DA conversion to all of the other input channels – this keeps all the audio perfectly in phase

Richard Ferriday, Midas and Klark Teknik

The Phantom TweakNo one’s ears are as golden as one might like to think. It’s easy to fool yourself. Here’s an example I have lived: mixing a tune, the producer suggests a little more top on the vocal. The engineer agrees, and reaches up to the EQ knob on the channel strip. He moves it up a click, the producer and the engineer listen a moment,and then nod: good change. Then the engineer notices his hand is on the wrong channel strip.

David Mathew, Audio Precision

Good Gain, Good GainMaintain good gain structure throughout the mix. Good gain structure is essentially about leaving enough headroom on each individual channel so that tracks aren’t fi ghting to be heard. The results are that each individual sound has the “space” that’s so important and that the essential headroom for mastering remains.

Rebecca Wolf, HHB Communications

A Gang Of EQIn a festival situation or where microphones are being moved around a lot, gang the graphic equalisers across the front line stage mixes (using the digital console). This way, any problematic frequencies are dealt with simultaneously in one fi re-fi ghting action!

Leon Phillips, Allen + Heath

Group HugIf you have the kit available, bounce the performer vocals through different group EQs. Try to have a different group EQ for girls, boys, handhelds, etc. You will fi nd that many of the offending frequencies in a vocal sound are common across all twenty girls. These can be notched out in the group, leaving channel EQ for dealing with specifi c individual problems. Also consider that the frequency you are hearing could be common across the system and you just didn’t notice it during band sound check. The system EQ should be your port of call here.


Keep It RealMake sure you are EQ’ing the right thing. Before sound check, make sure any channel or group dynamics processors are switched off, particularly any dynamic EQ or compression. Once you have a vocal sound that works tonally, then you can add compression and dynamic EQ to move it from good to great.


A selection of console-related tips for audio professionals everywhere…

10 CONSOLE TIPS

Console Tips


11Soundcraft T: +44 (0)1707 665000 E: [email protected] Soundcraft US T: 888-251-8352 E: [email protected]

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soundcraft.com

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Allen & Heath started out providing mixing consoles for the bands Genesis, The Who, and Pink Floyd. Its current portfolio covers a broad spectrum of the industry, with recent users including Adele, Morrissey, XFM, Capital Radio, Richie Hawtin, and Paul van Dyk.

Products include the iLive digital mixing family,GLD digital mixing system, iDR digital installation series, Xone DJ range, ZED compact mixers, XB series of dedicated broadcast consoles, GS-R24 and ZED-R16 recording mixers, and the GL, MixWizard, and PA analogue Series.

GLD Live Digital Mixing SystemThe new GLD mixer is a user-friendly, cost effective and scalable live digital mixing system,

conceptually based on the hugely successful iLive series. A standard GLD 32 input system offers 28 XLR mic inputs with plug n’ play I/O expanders allowing easy expansion up to 48 inputs (44 XLR mic inputs), providing a complete digital mixing system.

At the heart of the system is the GLD-80 mixer, which boasts analogue-style controls and an intuitive touchscreen interface. The layout and appearance of the GLD-80 can be customised quickly and easily, and GLD delivers outstanding audio performance, with a new high-end mic pre-amp,

low latency, and the DSP muscle to provide full processing without compromise. GLD-80’s FX engines are taken directly from the iLive system and feature beautifully crafted emulations of industry classics.

The dSNAKE Cat5 digital multicore together with plug ‘n’ play audio racks and expanders

make it simple and affordable to build the system as needs grow. Networking cards allow the user to link

GLD systems, make multi-track recordings, or connect

with other systems. Plus, an AviomTM compatible Monitor port allows connection to personal monitoring systems.

For over 40 years, Allen & Heath has been at the forefront of professional sound. Renowned internationally for its British-designed, high quality products, the company has set many benchmarks in sound technology, developing industry standard products for the DJ, PA, and House of Worship markets, and becoming an early pioneer of distributed digital mixing systems.

Over 40 Years Of Audio Excellence And Innovation

inputs (44 XLR mic inputs), providing a complete

The layout and appearance of the GLD-80 can be customised quickly and

industry classics.The dSNAKE Cat5 digital multicore together

with plug ‘n’ play audio racks and expanders make it simple and affordable to

build the system as needs grow. Networking cards allow the user to link

GLD systems, make multi-track recordings, or connect

with other systems. Plus, an AviomTM

Adele, iLive Digital Mixing System.

LIMITED+ + + + MANDOZZI+ + + + MANDOZZI+ + + + MANDOZZI+ + + +

13 THE INTERNATIONAL CONSOLE BUYER’S GUIDE 13

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iLive Digital Mixing SystemHaving just released V1.9 fi rmware, featuring a range of enhancements including new GEQ, Dynamic EQ, and Multi-Band compressor emulations, Allen & Heath’s iLive digital mixing systems have built a strong reputation for audio quality and ease of use.

Allen & Heath’s iLive digital mixing systems have built a strong reputation for audio quality and ease of use. Featuring an extremely fl exible architecture with large-scale audio distribution and control, iLive is designed to bring an analogue feel to digital mixing and draws on the company’s extensive experience in live sound and digital technology.

There are several Control Surface and MixRack variants, which can be mixed and matched in any combination and share the same fi rmware, so that show fi les are transferable between systems via a USB key. They connect together with CAT5 cable and use the Ethernet protocol for control, such as Dante or Allen & Heath’s proprietary ACE (Audio Control over Ethernet) link, which allows cost effective long distance point to point control

and audio communication over a single CAT5 cable up to 120m in length by combining digital audio and Ethernet traffi c.

All MixRacks feature the same 64x32 RackExtra DSP mix engine architecture, providing processing for 64 channels, 32 mixes, and eight stereo FX processors. The latest dualcore DSP technology handles all the FX and mixing along with the full dynamics, EQ, and delay for all inputs and outputs simultaneously. iLive’s RackExtra FX suite includes a comprehensive range of classic emulations including reverb, delay, ADT, chorus, fl anger, hypabass, and gated verb.

The Port B option slot allows further audio networking possibilities, for example digital mic splitting and multi-track recording, with ACE, EtherSound, Dante, MADI, ADAT, WAVES, and Aviom™ interfaces available, while a built-in network switch and MIDI ports at each end allow remote control using laptops, touch tablets and MIDI devices. The racks are compatible with the Allen & Heath PL Series remote controllers and iLive Editor software, a user-friendly program that enables both offl ine set up and

online real time operation of the system with or without a Surface connected. Allen & Heath has also designed the iLive Tweak app for iPhone and the MixPad app for iPad, providing control of iLive’s essential functions for live mixing.

ZED SeriesThe ZED range of small format, USB-equipped mixers is designed to be fl exible and affordable for the modern working musician to use on the road or in the studio. The series comprises the ZED-10, ZED-14, ZED-18, and ZED-24 stereo mixers; the ZED-10FX, ZED60-10FX, ZED-12FX, ZED60-14FX, ZED-16FX, and ZED-22FX containing a comprehensive and beautifully-crafted set of in-house designed FX; the ZED 4-Bus range, designed for professional live sound applications that require more detailed EQ control, audio groups, and matrix outputs; and the ZED-R16 dedicated recording mixer, which combines Firewire with multi-mode MIDI/audio faders, MIDI controls and ‘home-studio’ routing, enabling the user to build tracks in the studio or record a live gig, mix-down and remix.

Allen & Heath Ltd. (HQ)t +44 (0)1326 372 070

e [email protected]

w www.allen-heath.com

American Music & Sound (USA Distributor)t +1 800 431 2609

w www.americanmusicandsound.com

e [email protected]

Audio-Technica Ltd. (UK Distributor)t +44 (0) 113 277 1441

e [email protected]

w www.eu.audio-technica.com/en/allenheath

Adele, iLive Digital Mixing System.

Morrissey, iLive Digital Mixing System.

XB Series

The ultra-compact XB-10 and the larger XB-14 broadcast mixers are designed for a range of applications from small radio or Internet broadcast studios, to college and university radios, podcasting, and content creation. Both mixers are equipped with a range of features specifi cally for broadcasters, including a telephone communication channel, mic channel on switch sensing, stereo channel start/cue outputs for CD deck transport control, and automatic muting of speaker outputs.

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and university radios, podcasting, and content creation. Both mixers are equipped with a range of features specifi cally for broadcasters, including a telephone communication channel, mic channel on switch sensing, stereo channel start/cue outputs for CD deck transport control, and automatic


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Whether it’s our fl agship analogue 88RS and digital DFC consoles, our classic outboard units, CineFile and AudioFile dubbers and editors, or the compact modular Genesys, the same values always apply: sonic excellence, handmade-in-Britain quality, and – just as important for an industry where time is money – workfl ow-enhancing ease of operation.

Genesys

A hand-built expandable analogue recording console with digital workstation control and a base confi guration starting at under GB£30,000, Genesys puts Neve quality within reach of the smaller studio. Building on 50 years of technical heritage, it includes our legendary mic pre-amplifi ers and highly revered analogue circuit design. But Genesys also accommodates the seismic changes in the methods of music recording, with extensive digital control and connectivity.

In its basic confi guration, Genesys offers 16 channels of mic/line pre-amps, 32-channel DAW monitoring, hands-on DAW control for Pro Tools, Logic, Nuendo and more, eight auxiliary buses, eight group busses, two main outputs, four effects returns, comprehensive metering, 5.1 monitoring and mixing, two cue mixes, and talkback services.

Genesys can be expanded to 64 channels in a straight or articulated frame, with options including motorised fader automation, Recall™,

mastering-grade 192kHz A/D and D/A converters with FireWire interface, digitally controlled EQ and dynamics, remote mic amp control, and much more.

In any confi guration, Genesys offers an excellent studio control surface with comprehensive monitoring and signal routing capabilities. This eliminates the typical mixture of awkwardly interfaced devices, and puts a proper console back in the heart of the studio.

As with all Neve products, Genesys offers sound and build quality beyond reproach.

88RS

With its unmistakeable Neve qualities of exquisite design, peerless craftsmanship, and legendary Neve sound, the 88RS continues the Neve bloodline of analogue consoles with a

remarkable advance on anything heard before. Professionals throughout the world have chosen the full clean sound of the 88RS console. Its high bandwidth, pure audio path, superior dynamics, greater dynamic range, and greater control make the 88RS the fi rst choice for recording and mixing the purest fi delity recordings.

Designed in consultation with top producers and recording engineers, it is equally at home on music sessions and (especially with the addition of the SP2 Scoring Panel) for recording fi lm scores, and it’s the unanimous choice of Hollywood’s big four scoring stages – Fox, Skywalker, Sony, and Warner.

Custom-crafted in Burnley UK, to an uncompromising British specifi cation and using only top quality components, AMS Neve’s mixing consoles – both analogue and digital – are the gold standard throughout the world. You’ll fi nd them in legendary music studios such as The Village, Ocean Way, British Grove, AIR, and Abbey Road, at every major Hollywood scoring stage, and in top post-production facilities in London, Hollywood, Bollywood, and beyond.

Neve – The Rolls Royce of Consoles

Genesys

• New ground-up Neve analogue design• Up to 64-faders/128 inputs• DAW control, 5.1 monitoring and mixing• Eight auxes, groups, two main outputs• Four effect returns, two cue mixes• 16-ch, eight-track and two-track metering• Optional Neve EQ & Dynamics and

transformer-coupled microphone pre-amp inputs

• Optional digital inputs and outputs with FireWire interface, motorised faders (with Encore automation software)

• Optional Total Recall™ software

88RS

• Designed for full surround from the ground up

• Motorised large and small faders• AFL surround solo monitor• Overpress PFL on each channel fader• Four main output faders, L/R, C, S, and

LS/RS• Acoustically optimised frame• Supplied with or without patch• Enhanced ‘S’ channel strip• Enhanced spectral Neve format

equalisation• Legendary Neve soft knee compression• Audio performance beyond 24/192

digital SP-2 option for enormous scoring power and fl exibility


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consoles 2013consoles 2013consoles 2013

CONTACT DETAILS

AMS NEVE LtdBillington Road, Burnley,

Lancashire BB11 5UB, UK

t +44 (0)1282 457 011

f +44 (0)1282 417 282

e [email protected]

w www.ams-neve.com

SP2 Scoring Panel for 88RS

A specially designed fi lm-scoring option for the 88RS, the SP2 Scoring Panel and stem-maker delivers an astonishing increase in fl exibility and productivity. When tracking it easily handles even the most complex scoring requirements including full orchestra in several sections plus pre-records and multiple reverbs. It speeds up the mixing process, too, delivering multiple 5.1 stems plus a full mix in a single pass.

When Abbey Road – one of Britain’s leading score-recording studios – specifi ed its new Neve 88RS for Studio Two (which has a fairly narrow control room), the engineers were asked to choose between a 72-fader console with no Scoring Panel or a 60-fader version including the SP2. No contest. They’d have liked the extra faders, but the SP2 was a must-have.

DFC Gemini

DFC Gemini is by far the most accomplished digital mixing console designed specifi cally for multi-format fi lm dubbing and post production.

With an unrivalled installation base, DFC is the standard among the world’s premier motion picture facilities.

From the outset, the DFC Gemini was designed for optimum mix performance. At the

heart of the DFC Gemini is USP, the world’s most powerful mix engine, capable of delivering the legendary Neve sound across 1,000 audio signal paths at 96kHz 24-bit in a single, high-resolution, DFC signal processing tower.

AMS Neve’s wealth of experience in ergonomic design has created the most fl exible surface in the industry designed to maximise both controllability and feedback to the user.

Neve – The Rolls Royce of Consoles

The control surface provides rapid access to every aspect of routing and monitoring no matter how complex the mix. Channel strips provide total control with the patented touch sensitive Logicator™ pots, giving instant visual reference to each knob setting. Enhanced visual feedback is provided by high res TFT monitors, powered by the AMS Neve proprietary ViewMix™ engine, allowing you, for the fi rst time, to see as well as hear and feel your mix. Through ease of use the DFC Gemini has arisen as the market leader in predominantly freelance markets.

Encore Automation

When you work on AMS Neve consoles, you don’t just get a better result, you also get a faster result. Top engineers are always pushing the envelope, and our R&D team works tirelessly to give them more fl exibility, more options, and increased throughput. AMS Neve’s proprietary Encore automation software is a case in point. The latest version – Encore:2 v7, for USP (Ultra Scale Processor) systems – not only adds several new ‘beyond 7.1’ 3D surround options, but delivers a massive hike in productivity. Increased bandwidth means that automation throughput is now three times greater than v6, with a theoretical maximum of fi ve million events per mix/pass (up from 1.5 million in v6).

The AMS Neve DFC Gemini at Alvernia Studios, Poland.

One of two Neve Genesys consoles in Tokyo’s Syn Studios, co-owned by Nick Wood and Simon Le Bon.

DFC GEMINI

• High resolution TFT channel display• Encore:2 automation system (compatible

with 1800 AMS Neve consoles)• Off-line edit options offering enormous

cost savings• Neve EQ, dynamics and fi lters• Expanded 12 Stem mixing• Complete integrated machine control• Optional Monitor Facilities Rack• WavTrakTM display providing the user

with level and dynamics metering, graphical EQ curve and audio waveform information on a path by path basis

• ‘SuperstemTM’ system allows easy, native mixing for Dolby Atmos and Barco Auro 3D fi lm sound formats

16+ + + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I


Mixing has changed signifi cantly from the days when tracks were recorded onto analogue or digital multi-track machines, and automated mixing only happened at the end with large consoles and outboard effects boxes. Today, with the evolution of powerful Pro Tools® automation, digital processing, and plug-ins, mixing begins the moment you record the fi rst tracks, evolving throughout as the project moves between studios and desktop systems. These advancements have enabled much more creativity and time to explore ideas without compromises or time limitations imposed by the traditional mixing process.

Avid® and Euphonix® were both groundbreakers in this evolution – Avid pioneering “mixing in the box” with highly integrated Pro Tools control surfaces, and Euphonix, as a leading large-format console manufacturer, developing EUCON to control multiple DAWs from its consoles. With Avid’s recent acquisition of Euphonix and the product developments that have resulted, Avid has emerged as the clear leader in providing mixing

solutions that integrate traditional mixing with powerful DAW control to address modern mixing workfl ows.

Whether you mix music, sound for fi lm or television, news, sports shows, or live broadcast events, we’ve got you covered with a wide range of customisable surfaces for every budget and application. Meet the Avid Pro Mixing family.

System 5 FamilyIn today’s ultra-demanding, content-hungry media world, you need an advanced audio mixing system that can deliver the performance required to take control of the biggest fi lms, television shows, and album projects. With the versatile System 5 family of digital consoles and control surfaces, you’re armed with the power and capabilities you need now – and in the future.

All System 5 consoles and control surfaces offer advanced automation, rich visual feedback,

and a high level of customisation that you won’t fi nd anywhere else, enabling you to scale and tailor the surface to your specifi c needs. Each modular surface offers a variety of options, from extra faders and joystick panners, to PEC/Direct panels and video displays. Plus, you can expand the surface to accommodate up to three operators to handle the largest, most complex projects.• System 5 – This scalable, large format console

offers a powerful, expandable DSP SuperCore engine (up to 450 audio channels), award-winning sound quality, an integrated router, and unmatched DAW control, addressing the needs of both traditional and ‘in the box’ music and post mixers.

• System 5-B – Geared for broadcast applications, this specialised System 5 console offers full redundancy across the system, an N-1 mix-minus buss, programmable events, and other features critical for mixing live news, TV, and sporting events.

• S5 Fusion – Get the goodness of the System 5 – expandable DSP SuperCore engine (up to 128 audio channels), full DAW control, and integrated router – in a more compact footprint for music and post.

• System 5-MC – For those who work strictly with Pro Tools, Logic, Nuendo, and other audio software, this specialised, customisable System 5-based control surface is designed for total DAW control, with programmable SmartSwitches, touchscreen navigation, and more.

ICON D-Control and D-CommandIf you’re strictly a Pro Tools user, ICON enables you to take unprecedented control over your

Designed for the modern mixer, Avid Pro Mixing digital consoles and control surfaces offer unprecedented control, unrivalled integration, and unmatched power to help you take on the most demanding productions and create better mixes faster. See how Avid Pro Mixing gives you the advantage.

Avid: A Revolution in Pro Mixing

unprecedented control, unrivalled integration, and unmatched power to help you take on the


Avid System 5-MC.

S5 Fusion.


+ + + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I D + + + + A V I



mixes in ways not possible with any other control surface. That’s because ICON is purpose-built to enhance and extend the functionality of Pro Tools|HD family systems, maximising your effi ciency so you have more time to try things and still turn around projects fast.

All ICON control surfaces offer unparalleled Pro Tools integration, motorised and touch-sensitive controls, full recall over every project parameter, central EQ and Dynamics sections, and extensive visual feedback, so you’re always in tune with your mix. In addition, you can customise the surface and controls for your comfort and needs, whether you mix music or sound for picture.• D-Control ES – For larger rooms, D-Control™ ES

offers the fastest, most creative way to work with bigger, more complex Pro Tools sessions, in up to 7.1 surround, with options that enable you to expand the surface up to 80 faders.

• D-Command ES – D-Command® ES enables you to take ICON-exclusive control over any size Pro Tools project, in up to 5.1 surround, using a more compact yet expandable surface (up to 40 faders) that fi ts nicely in any studio.

C|24Sleek and stylish, the C|24™ control surface enables you to take direct hands-on control of Pro Tools functions to greatly maximise your effi ciency. The surface includes a full complement of built-in analogue I/O, with 16 mic pres, a line submixer, and monitor section. You gain the speed, ease, and versatility you need to accelerate your music and post

workfl ows, all in a streamlined surface that’s aggressively priced.• Compact footprint and affordability make

C|24 an easy fi t in any professional studio.• Get fast access to Pro Tools recording, editing,

routing, and mixing functions from the surface.

• 24-fader surface with bankable channel strips and touch-sensitive, motorised faders.

• Built-in 8x2 stereo line submixer and integrated 5.1 analogue monitoring system can be used with Pro Tools or standalone.

MC ProTo handle today’s fast-paced editorial production schedules, MC Pro packs a huge amount of audio editing control into its compact surface to help you complete tasks fast. With the full complement of controls – from the touchscreen, faders (or joysticks), and soft knobs, to SmartSwitches, jog/shuttle wheel, and full-size keyboard – navigating and editing projects becomes easy.• Control tracks from up to four EUCON-enabled

DAWs simultaneously.• Program SmartSwitches to perform repetitive

tasks and complex functions easily.• Gain the precision you need to edit music and

audio tracks with ease.• Mix and monitor up to 5.1 surround channels.

Artist SeriesGet the deep DAW control made possible by EUCON in highly portable designs priced at a fraction of higher end consoles. The Artist Series of control surfaces packs serious, highly

responsive control into three compact designs for music and audio post. Mix and match them together to create a custom

slim-line surface that’ll free you from the tedium of working with a mouse and keyboard.• Artist Control – Perform a multitude of editing

and mixing tasks fast with this four-fader control surface, which features touch-sensitive rotary encoders, transport controls, soft keys, and a unique touchscreen with unlimited programmability.

• Artist Mix – Take mixing to a new level, with eight touch-sensitive, motorised faders and encoders providing fast and easy access to tracks, plug-ins, and more.

• Artist Transport – Take one-handed control over projects through the high-quality data wheel and shuttle ring, plus get editing capabilities and programmable Soft Keys.

Avid – US Headquarters 65-75 Network Drive, Burlington, MA 01803 USA

t +1 978 640 6789

f +1 978 640 3366

Avid – European Headquarters Pinewood Studios, Pinewood Road

Iver Heath, Bucks, SL0 0NH UK

t +44 (0) 1753 655999

Learn more at www.avid.com/promixing

Find your local reseller at: www.avid.com/fi nd-reseller


mixes in ways not possible with any other control surface. That’s because ICON is purpose-built to enhance and extend the functionality

maximising your effi ciency so you have

All ICON control surfaces offer unparalleled Pro Tools integration, motorised and touch-sensitive controls, full recall over every project

Get the deep DAW control made possible by EUCON in highly portable designs priced at a fraction of higher end consoles. The Artist Series of control surfaces packs serious, highly

slim-line surface that’ll free you from the tedium of working with a mouse and keyboard.• Artist Control – Perform a multitude of editing

and mixing tasks fast with this four-fader control surface, which features touch-sensitive

ICON D-Control ES

C|24.

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Cadac CDC Eight: Digital Live Console

The new Cadac fl agship digital live production

console, the CDC Eight. 128 channels with 256

assignable inputs and up to 48 output busses, it

is specifi ed for high-end sound touring and fi xed

installation applications. The console boasts a

unique ‘high agility’ user interface, accessed

via either a single or twin 24-inch 16:10 high

defi nition LCD touch screens; a further centrally

located six-inch LCD touch screen accesses the

system control and automation.

The high agility interface utilises a far less

menu-dependent operating system than

other consoles in the market with the interface

designed to be as intuitive and simple to operate

as possible. The displays show an overview of 16

channels at any one time on each screen with

simple touch operations to access/interrogate

each channel set-up and confi guration options.

To access further channels you can with a single

movement of the hand scroll the display left or

right, to make it even easier the faders follow the screen giving you full control on the channels displayed. Movement through all 128 channels becomes quick and simple.

Just like a fully featured analogue console, the input channels have all the features and capability you would expect and with the unique screen control, it is designed to give you, the user, the clearest interface to the comprehensive features available, including versatile gain set-up, and four-band parametric equaliser with additional high and low pass fi lters give you six bands to control. Dynamics include gate, limiters, and compression, all accessed by simple touch screen access.

The 48 output busses can be confi gured exactly how you want them, as auxiliaries for monitor mixing, or a combination of groups and matrix outputs. The CDC Eight system also features eight programmable mute groups, 16 internal VCA groups, and two grand master outputs.

I/O can be either onboard with the ability for up to 64 input/output confi gurations locally on the console rear panel, or via the high speed Cadac proprietary Megacomms digital interface system to connect to one or multiple stage racks giving access on stage to all input and output facilities.

The Cadac name is synonymous with top quality audio mixing consoles. From the earliest recording studio desks in the late 1960s, recording classic tracks for over a decade, through to our live sound reinforcement consoles used in all prestigious theatres, and now our latest digital live production consoles.

The Highest Quality Consoles For 45 Years

Cadac has earned itself an enviable reputation by delivering products that embody the company’s core tenets of providing sonic excellence, attention to end-user requirements, and a superb return on investment. Cadac is therefore recognised as an industry standard choice for leading musical productions, prestigious theatre installations, and the international touring circuit.

The Cadac CDC Eight.

19As with all Cadac desks, sound quality is

paramount. A wide dynamic range, with ultra low noise microphone pre-amplifi ers combined with specially developed EQ and dynamic algorithms set new standards and deliver the classic Cadac sound to rival any other console.

Cadac CDC Four: Compact Digital Live Console Bringing together the classic Cadac elements and producing a high quality Cadac sounding console has been achieved in the most compact digital console Cadac produces. The CDC Four, offering big mixer features in a small, easy to operate control surface.

Based on a proprietary DSP mix platform, the CDC Four is a fully featured digital console with the look, feel, and simplicity of using an analogue console. Featuring up to 56 channels of Cadac quality sound with 16 microphone channels and eight stereo channels on board as standard in the compact frame, a further 16 microphone channels can be added to the desk with the addition of the CDC Four I/O rack,

utilising the Cadac Megacomms digital interface system making it ideal for use as dedicated stage rack, or it can equally be located next to your desk making all input connections easily accessible.

Input channel features and controls of the CDC Four are accessed and adjusted using the clearly marked and analogue look and feel rotary encoders, with all parameters clearly displayed and able to be further interrogated via the central screen. The large seven-inch high resolution display allows direct adjustment of the channels, scene control, dynamics, graphic equalisers, and overall system and console set-up.

Just like the input channel, the outputs also have their own dedicated controls to adjust dynamics, equalisation, and levels. Just like an analogue console, but with the

technology and recall ability of digital.The console has 16 high speed premium

quality motorised faders, and switching between layers to control channels, groups, auxiliaries, VCAs, and outputs is easily achieved with a press of a button.


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Cadac Holdings LimitedOne New Street, Luton, Bedfordshire, LU1 5DX

t +44 (0) 1582 404202

f +44 (0) 1582 412799

e [email protected]

w www.cadac-sound.com


Make Your Investment Last

For any sound hire company or theatre, investing in a new console is a major step. Of vital importance is the console’s ability to deliver the range of functionality required both now and in the future – for each and every type of project. Flexibility is essential – enabling users to confi gure the desk to suit the job in hand, without compromise, and equally importantly, to combine this with intuitive operation during a performance. Sophisticated facilities need to be matched by exceptional reliability in the often hostile conditions that are typical of live sound applications. Cadac consoles have an impressive track record when it comes to delivering faultless performances night after night, year after year, on almost every imaginable type of production. The Cadac name signifi es top quality audio within a rugged, reliable package.

Analogue Still Going Strong

While console manufacturers are pushing the boundaries of digital mixing, affordability, simplicity, and reliability still play a major part in choosing the right console. High quality analogue consoles are still required, particularly for gigging bands, small clubs, event productions, houses of worship, and hire companies. The Cadac Live 1 and S-type consoles offer a superb high quality solution for these markets, and continue the famous Cadac sound and standards in 12 to 28 channel formats.

CDC Four are accessed and adjusted using the clearly marked and analogue look and feel rotary encoders, with all parameters clearly displayed and able to be further interrogated via the central screen. The large seven-inch high resolution display allows direct adjustment of the channels, scene control, dynamics, graphic equalisers, and overall system and console

also have their own dedicated controls to adjust dynamics, equalisation, and levels. Just like an analogue console, but with the

For any sound hire company or theatre, investing in a new console is a major step. Of vital

Cadac Live 1.

Cadac CDC Four.

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Broadcasters are increasingly demanding more versatility and integration from their audio equipment. In the current fast paced, technologically progressive era, TV companies want to ensure that their systems can produce programmes effi ciently and to the required specifi cations. For their audio systems to be able to achieve this, greater consideration has to be given to their networks as a whole and how effi ciently they can be controlled. Calrec has designed its range of consoles to meet these demands.

Ahead of the PackThroughout its history, Calrec’s team of innovators has anticipated major changes, and consistently provided superior products that have allowed forward-thinking broadcasters to remain one step ahead: Calrec introduced the world’s fi rst true stereo broadcast console and the fi rst point-source surround microphone in the 1970s, anticipating the growth of multi-channel broadcast audio. Calrec produced the world’s fi rst digitally controlled assignable broadcast console in the early 1980s, predicting

the separation of control surfaces from networked processing hardware. In 2007 Calrec launched Bluefi n, the world’s fi rst DSP processing

engine based on FPGA (Field Programmable Gate Array) technology, which enabled broadcast consoles to work effi ciently with true discrete-channel 5.1 surround for the fi rst time. Bluefi n2, the

next generation of Calrec’s FPGA technology, has been designed for surround operation from the outset. It utilises the powerful Hydra2 network to create multi-studio solutions allowing third party control using a variety of protocols.

The Next GenerationThe Apollo and Artemis consoles leverage the power of modern FPGA technology. These consoles provide more digital audio channels than any other and more assignable, more ergonomic control surfaces to deal with them. They are adaptable to accommodate the operator’s needs, while maintaining clear and unambiguous visual feedback. This enhanced fl exibility and control allows consoles with relatively few physical controls to drive a much greater number of signals.

As broadcast specialists for more than 40 years, Calrec is exclusively dedicated to excellence in audio mixing for on-air and live production. This understanding has helped Calrec develop a range of consoles relied on by the world’s most successful broadcasters.

Putting Sound In The Picture

Fully Integrated Third Party Protocols

The Calrec Serial Control Protocol offers mixer control to third party video switchers and automated production controller technology, which allows visibility into and control over a number of Calrec audio console settings such as fader position, PFL, and cut control for paths on faders, routing to auxes from faders, output level control for auxes, routing to mains from faders, main output level/fader control, and LB/RB input switching for paths on faders.

The SW-P-08 protocol allows router control from third party router panels. It enables remote control over input-to-output crosspoint patching. In addition to direct routing of physical inputs to outputs, it can also route to and from a console DSP via Calrec’s Hydra Patchbays.

EMBER protocol enables further system control including loading user defi ned memories, selecting I/O port alias fi les used by control surfaces, editing H2O I/O box and port labels, viewing the available metadata sets and selecting them for insertion into any Hydra2 SDI embedder output stream, and muting selected audio channels in an SDI embedder output stream.

broadcast console in the early 1980s, predicting launched Bluefi n, the world’s fi rst DSP processing


The Calrec Apollo.

21Solid Yet FlexibleDespite the shift towards networked audio solutions, some things never change. Calrec consoles have an excellent reputation for reliability and on-air stability. Calrec provides on-line redundant hardware for ALL critical systems as standard. Takeover is automatic and seamless, and all these elements are hot-pluggable for easy replacement. DSP, router, router expansion, processing, and PSU cards all have spares as standard, and are all contained within a single, lightweight,

space saving, energy conscious 8U rack. Multiple control surfaces can also be connected to the same rack to allow multiple operators access to the same processing resources. A separate submix can be created in another location, which feeds audio directly into the same buss output as the main mix without ever leaving the system. This gives broadcasters increased fl exibility without the need for additional hardware.


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Calrec AudioNutclough Mill, Hebden Bridge, HX7 8EZ

t +44 (0) 1422 842159

f +44 (0) 1422 842244

e [email protected]

w www.calrec.com

Hydra2: A Powerful Network for Tomorrow’s Production Needs

Hydra2 links the Apollo and Artemis consoles to their 8192² routers, and on to more complex networks if required. Offering up to 512 bidirectional channels of I/O per copper or fi bre connection, Hydra2 offers true ‘one-to-many’ routing and allows the construction of large-scale distributed mixing networks with multiple control surfaces and routers/processors. The Hydra2 control software makes connecting resources very straightforward. Audio interfaces and consoles may be added and removed without the need for manual intervention, making new resources available to console operators instantaneously.

Both fi xed and modular stageboxes are available, allowing fl exible confi guration of interfaces and extremely high port density. As with all Hydra2 interface units, the modular I/O box features dual redundant power supplies and Hydra2 connections. Modules include SDI, AES, and analogue inputs and outputs using various connectors.

The H2O Network Control Software is browser-based, allowing it to operate on any connected Windows, Mac OS X, or Linux computer. H2O provides a powerful and convenient method of monitoring and controlling a Hydra2 network without installing any extra software. Simply connect a computer to a console or standalone router and direct a browser to H2O.

Hydra Patchbays

Unlike physical I/O interfaces, Hydra Patchbays are virtual I/O within the Hydra2 domain that allow console operators to make chosen DSP outputs available to other users on the network, as well as allowing sources on mixing console inputs, and feeds to output ports to be changed remotely.

Console operators can patch their DSP outputs to Hydra Patchbays, and can patch Hydra Patchbays to their DSP channel inputs in the same way that they patch to/from physical I/O ports. Patching a console’s outputs to Hydra Patchbays makes them available to use as sources for other consoles on the network without using up physical I/O or requiring extra cabling.

H2O users and third party SW-P-08 controllers can also make patches to and from Hydra Patchbays, allowing them to route mixing console DSP outputs to physical output ports, and to be able to remotely change the audio sources feeding control surface channel inputs.

Hydra Patchbays are a powerful tool for control room and studio resource management, allowing network administrators to be able to put control rooms ‘on-air’ and to manage the sources available to them.


The Calrec Artemis.

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DHD Systems – Flexible and ModularOur philosophy is simple: “Make it powerful, but easy to use.” DHD products are a successful combination of rock-solid hardware and sophisticated software. All devices are based on the same hardware platform, and allow you to choose the matching modules for your specifi c application. Of course, you can easily adapt or extend your DHD systems in the future.

Our products consist of several compact modules for different tasks: Core Modules contain both audio signal processing and logic control – they are the heart of any DHD system. I/O Modules are responsible for getting signals in and out of the system – they are available in different versions to meet your requirements. For control, you can choose from several mixer consoles and single Control Modules. The dedicated hardware inside all modules uses very little power, there are no PCs and no hard disks inside.

RJ45 – Making the Net WorkAll modules of a DHD system are connected to each other with standard CAT cables. They carry audio and control signals, as well as PoE (Power over Ethernet) to power console modules – all in one cable. Audio signals are connected via analogue or AES inputs, MADI, or the 3G/HD SDI De-embedder. In networked installations, Core modules transport multi-channel audio (up to 512 audio channels) between each other over fi bre optics connected to special DHD Gigabit Audio Ports.

If you need Audio-Over-IP connectivity, we provide the 52/XC Dante IP Audio Interface. This module works as a bridge between any Dante enabled system (hardware or software) and DHD devices (see inset on next page).

There is also an Ethernet connection with TCP/IP available. This is typically used for

confi guration, remote control, and to connect special DHD software to the hardware

devices. To integrate other systems, you can use GPIO connections as well

as the open DHD Control Protocol on TCP/IP.

52/DX – Small Footprint Desktop MixerThe 52/DX can be used as a full, stand-alone four-fader mixer. It consists of the Desktop Control Unit, and both the XS DSP Core and the XS Multi I/O Module mounted together in a 1U rack case. This hardware bundle also includes the easy to use set-up software ‘DXConfi g’. The optional DHD products ‘DSP Control Software’ and ‘Remote Control PC Software’ work with the 52/DX, too.

However, if you want to integrate the 52/DX with other Series 52 set-ups or use Core and I/O modules from other DHD product lines, there is an upgrade available.

This software license enables enhanced custom confi guration of the 52/DX hardware with the ‘Toolbox5’ software used with the 52/MX system.

52/SX – Compact Console This compact console includes everything you need for building audio workstations, small to mid-sized On-Air studios or OB vans. Community and college radio stations can use the 52/SX as their main console, thanks to its attractive pricing. The 52/SX is a complete console, which needs very little space. It is a real turn-key system; but there are software options available to extend its functionality in larger set-ups.

The console desk consists of a central control module, up to 16 faders, and a seven-inch TFT Touch Display. You can mount the modules fl at within the furniture or put them in at a slight angle on a table. Fader modules can also be split-mounted.

A broadcast console is not ‘just the mixing desk’ any longer. In today’s studios, it is the main command centre not only for audio, but also for many other systems needed to run the show. With DHD systems, you are in control – always.

DHD – Broadcast Consoles for You

on the same hardware platform, and allow you to choose the matching modules for your specifi c application. Of course, you can easily adapt or extend your DHD systems in the future.

Our products consist of several compact modules for different tasks: Core Modules contain both audio signal processing and logic control – they are the heart of any DHD system. I/O Modules are responsible for getting signals in and out of the system – they are available in different versions to meet your requirements. For control, you can choose from several mixer consoles and single Control Modules. The dedicated hardware inside all modules uses very

TCP/IP available. This is typically used for confi guration, remote control, and to connect

special DHD software to the hardware devices. To integrate other systems, you

can use GPIO connections as well as the open DHD Control

Protocol on TCP/IP.

52/SX – Compact Console This compact console includes everything you need for building audio workstations, small to mid-sized On-Air studios or OB vans. Community and college radio stations can use the 52/SX as their main console, thanks to its attractive pricing. The 52/SX is a complete console, which needs very little space. It is a real turn-key system; but there are software options available to extend its functionality in larger set-ups.

module, up to 16 faders, and a seven-inch TFT Touch Display. You can mount the modules fl at within the furniture or put them in at a slight angle on a table. Fader modules can also be split-mounted.

52/DX. Small footprint.

52/SX. Compact

and good value.


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52/XC Dante™ IP Audio Interface

This audio interface connects DHD devices to digital audio networks powered by Audinate’s Dante™ technology. It supports up to 48 input and 48 output channels. These audio streams can be distributed over standard IT networks to other Dante compliant nodes in software (PC and Mac) and hardware, like other DHD Dante interfaces or third-party hardware.

Dante technology enables monitoring, talkback, and connection of remote facilities to the studio.

For redundancy, Dante devices provide two separate network interfaces. These allow you to easily create error-tolerant set-ups.


The signal processing modules of the 52/SX are just 1U high and provide inputs for microphones, headphones, analogue and digital signals. There are GPIO ports available, as well as two USB connectors that work as pro grade USB sound cards on your PC.

52/RX – Modular ConsoleThe modular 52/RX allows you to build consoles with up to 64 channels. Its fader modules are four faders wide and are available in different versions, including some with motor faders. Combine the fader modules of your choice with the central control module and TFT Touch Displays and you get a solid hardware base for your studio. If necessary, you can also integrate modules from the 52/MX system to build special talkback or control solutions.

The 52/RX is easy to integrate with other Series 52 devices. This works very well, because all systems are based on the same hardware platform and share the same software. That way, you can confi gure them within the same Toolbox 5 project. The 52/RX control modules are connected to the core modules with standard Cat5 cables and use power over Ethernet for their power supply. This makes it easy to use an existing cabling infrastructure.

52/MX – Fully Flexible ConsoleThe 52/MX is the fl agship console of the Series 52. Its design is fully modular – there are many specialised module ‘strips’ available. To build a studio, you choose the matching modules for your application. No matter if you need a small talkback box with a few buttons or a ‘big’ console with lots of faders, buttons, and TFT Touch Displays as fader over bridge – all modules will work smoothly together. There are many different mounting options available. You can also mount the 52/MX modules in rack or table top cases, and of course use TFT Touch Displays where necessary.

However, the real power comes with the Toolbox confi guration software. With this Windows application, you confi gure your DHD system exactly the way you want it. Signal fl ows, audio processing, control functions, GPIO functions, TFT views, and many things more are entirely defi ned in software. The initial set-up is easy, and future changes are often done with a few mouse clicks.

All 52/MX modules are connected with power over Ethernet on standard Cat5 cabling, enabling you to place them anywhere in your studio set-up.

52/XC and 52/XD Core – Mixing and Routing Made EasyThese core modules contain the processing power for all Series 52 devices. They have a small footprint (1U) and low power consumption. Still, together with console modules, they provide audio and control processing for any mixer set-up – from a small 52/DX Desktop Mixer up to a large 32 fader 52/MX console.

However, you can also use them stand-alone as routing matrix or processing devices. If used as an audio router, the core modules are not only able to switch audio signals, but can also fade and even apply DSP processing – like Gain, EQ, or Dynamics. The integrated control functions allow you to create complex On-Air switching systems or talkback applications.

For direct control, combine the 52/XC or 52/XD Cores with a great variety of DHD control modules, including fader modules, router control panels, and TFT Touch Displays. All control modules and TFT Touch Displays use standard CAT cables for communication with the cores.

52/RX. Fits your Furniture.

facilities to the studio. For redundancy, Dante devices

provide two separate network interfaces. These allow you to easily create error-tolerant set-ups.

system exactly the way you want it. Signal fl ows, audio processing, control functions, GPIO functions, TFT views, and many things more are entirely defi ned in software. The initial set-up is easy, and future changes are often done with a

All 52/MX modules are connected with power over Ethernet on standard Cat5

you to place them anywhere in your

52/XC and 52/XD Core – Mixing and Routing Made EasyThese core modules contain the processing power for all Series 52 devices. They have a small footprint (1U) and low power consumption.

52/XD Core.

DSP powerhouse in just 1U.

DHD Deubner Hoffmann Digital GmbHHaferkornstr. 5

04129 Leipzig, Germany

t +49 341 5897020

f +49 341 5897022

e [email protected]

Please fi nd our international sales contacts at

www.dhd-audio.com

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SD7 The SD7 is top of the range and the fi rst DiGiCo console to capture the power of Stealth Digital Processing™. Its footprint is smaller than other consoles in its class, yet it is vastly more powerful. The SD7 has two engines for full redundancy, as well as dual redundant power supplies. A 2GB optical system allows up to two optical loops, giving 14 racks per loop (a total of 28), each with 56 inputs and 56 outputs. Multiple touch screens mean that the SD7 can accommodate more than one operator, and the ability to have two expander units attached via CAT5E allows

for remote connection or simply additional operators.

The theatre and broadcast specifi c versions of the SD7 give feature sets that provide additions such as Delay on Matrix inputs per node and complete integration of Cue Editor for fast editing of VCA (SD7T); and complete 5.1 monitoring with a 48 by 6 source to speaker selection, multi-channel folding, user defi ned stem order, Mix Minus buss – one per channel – back stop PFL (over press) and Auto PFL, Audio Follow Video implementation for up to 32

cameras and Dual Solo busses for PFL and On Air soloing in Mono, Stereo, LCRS, or 5.1 (SD7B).

SD5The next model in the range, and replacing the industry standard D5 Live, the SD5 also comes with multiple touch screens, as well as interactive dynamic metering (IDM) and Hidden till lit (HTL) technology, developed and used on the SD7. It still has a huge input and buss count, although not quite as much as the SD7, and comes with a single engine and optic loop.

The use of Super FPGA technology in DiGiCo’s SD Range of consoles has revolutionised the design process of its audio engines. This allows the production of scalable solutions, without the need for massive design changes between products, and enhancements that ripple from product to product, across the entire range.

This approach has produced a collection of mixing tools, from the fl agship SD7 to the highly compact SD11, that can address the needs of just about every application and size of project you could think of...

DiGiCo


SD7

SD5


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SD10 This is the highest specifi ed single screen console in the SD Range. Its metering is integrated into the fader panels, allowing a better line of sight for critical monitor situations and venues such as performing arts centres where console locations can be awkward. As with all consoles in the SD Range, the SD10 is tailored to both Front Of House and monitor mixing.

The SD10B’s broadcast specifi c feature set includes innovations such as multi-channel ‘folding’ under a single fader, allowing users to confi gure stereo, LCR, 5.1, or up to 11 mono channels under a single fader strip.

The SD10-24 and SD10-24B are ideal for situations where space is at a premium. Both measure under a metre in width, but still benefi t from all the advanced features of the standard SD10 and fi les are fully compatible between both frame sizes.

SD8This was the fi rst of the SD Range to benefi t from Flexi Channels, allowing the creation of stereo channels without eating into the existing channel count. As with the SD10, the SD8 has the option of fi tting an optic loop but comes with MADI as standard, providing a cost effective, multi-channel digital interface.

The SD8 has a similar footprint from left to right as the SD7. In fact, the majority of DiGiCo consoles are the same width, which has been specifi cally set to make it easy to reach the faders at the extremes of either side without moving from a central position.

SD9Next in the range is the SD9, a powerful replacement for standard 48-channel digital or analogue consoles. Remote pre-amps, a digital multicore, and D-Rack digital stage interface via a CAT5E connection come as standard, but its sonic performance is identical to rest of the SD Range. This means the SD9 – and particularly the special Rack Pack confi guration – comes at a price that makes it ideal for applications where exceptional performance and fl exibility are needed on a tight budget.

SD11This compact, 19-inch rackmount or tabletop console comes with the same size touch screens as all other DiGiCo consoles. Despite its exceptionally small size, the SD11 has incredible power in terms of channel count and processing.

The SD11i gives more Flexi Channels (a full 32), more dynamic EQ, more FX processing, and the addition of DiGiTuBes and multi-channel inputs (previously only available on the SD7); the broadcast specifi c SD11B gives all this plus the addition of multi-channel folding and sets and can handle 5.1 surround, previously unheard of in a console of this size.

UB MADIUB MADI allows any computer – desktop or laptop – to instantly connect to MADI via the most standard connector of all, USB 2.0, letting you playback and record up to 48 tracks to any DAW on MAC or PC formats.

CONTACT DETAILS

DiGiCo UK Ltd.Unit 10, Silverglade Business Park

Leatherhead Road, Chessington

Surrey KT9 2QL

t +44 (0) 1372 845 600

f +44 (0) 1372 845 656

w www.digico.biz

e [email protected]

THE INTERNATIONAL CONSOLE BUYER’S GUIDE

CONTACT DETAILS

DiGiCo UK Ltd.Unit 10, Silverglade Business Park

Leatherhead Road, Chessington

Surrey KT9 2QL

t +44 (0) 1372 845 600

f +44 (0) 1372 845 656

w www.digico.bizwww.digico.biz

e [email protected]@digiconsoles.com

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Next in the range is the SD9, a powerful replacement for standard 48-channel

consoles. Remote pre-amps, a digital multicore, and D-Rack digital stage interface via a CAT5E connection come as standard, but its sonic performance is identical to rest of the SD Range. This means the SD9 – and particularly the special Rack Pack confi guration – comes at a price that makes it ideal for applications where exceptional

screens as all other DiGiCo consoles. Despite its exceptionally small size, the SD11 has incredible power in terms of channel count and processing.

The SD11i gives more Flexi Channels (a full 32), more dynamic EQ, more FX processing, and

SD10

SD9

SD11

SD8

UB MADI

26ProductComparison

SD11i SD9 Supercharged SD8 Overdrive II SD10 Nitrous SD5 SD7 MACH 3Max no of Input Processing Channels 32 Flexi* 48 Flexi* 60 Flexi* 96 channels, 12 Flexi* 124 253Maximum Buss Count 39*** 47*** 67*** 71*** 98*** 160**Max aux / sub-group busses 12 Flexi* (full processing**) 16 Flexi* (full processing**) 24 Flexi* (full processing**) 48 (full processing**) 56 (full processing**) 128 (full processing**) (inc 2x solo buss)Matrix (in addition to aux / sub - group) 8 x 8 (full processing**) 12 x 8 (full processing**) 16 x 12 (full processing**) 16 x 16 (full processing**) 24 x 24 (full processing**) 32 x 32 (full processing**)Solo busses 2 2 2 2 2 22Max no. of inputs - Non optic consoles 130 180 N/A N/A N/A N/AMax no. of inputs - 1 console on optic loop N/A N/A 576 576 632 696Max no. inputs - 2 consoles on optic loop N/A N/A 632 632 688 752Local I/O spec 16x mic/line inputs, 8x line

outputs, 2x AES/EBU I/O (mono streams)

8x mic/line, 8x line outputs , 4x AES/EBU I/O (mono streams)

8x mic/line, 8x line outputs, 8x AES/EBU I/O (mono streams)




Max no. of outputs 122 180 576 576 632 696Max no. of faders 12 24 37 37 37 52 (plus 48 if used with 2 x EX007)Screen 1x 15" touch 1x 15" touch 1 x 15" touch 1x 15" touch 3 x 15" touch 3 x 15" touchExt. overview screen Yes Yes Yes Yes Yes YesI/O expandability Yes Yes Yes Yes Yes YesInsert points / channel 1 1 2 2 2 2On Board FX 6 8 12 16 24 48Graphic Eqs (32-Band) 12 16 24 24 32 32Dynamic EQ 6 8 10 16 24 256Buss 8-band Parametric EQ No (4 band only) No (4 band only) No (4 band only) Yes Yes YesMultiband Compression 6 8 10 16 24 256DiGiTubes 6 8 10 16 24 256Multi-channels Yes Yes Yes Yes Yes YesVCA - style control groups 8 8 12 24 24 36Set Spill Yes Yes Yes Yes Yes YesMute Groups (part of control groups) 8 8 12 24 24 36Reorder Busses Yes Yes Yes Yes Yes YesMulti-operator By remote only By remote only By remote only By remote only Yes YesSurround No No No No Yes YesMADI connectivity 1x Port 1x Port 2x Redundant ports 2x Redundant ports 3x Redundant ports 4x Redundant ports

Optics No No Yes Yes Yes YesSnapshot Offline Yes Yes Yes Yes Yes YesSnapshot Auto-Update No No Yes Yes Yes YesSampling rates 48 kHz 48 kHz 48 / 96 kHz 48 / 96 kHz 48 / 96 / 192 kHz 48 / 96 / 192 kHzSignal processing FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-pointAudio processing and OS location Surface Surface Surface Surface Surface SurfaceRedundant Processing and Computer No No No No No StandardRedundant PSU's Yes - by remote PSU option only Yes - Option Yes Yes Yes YesStage Rack spec D-Rack - 32/8 I/O (expandable

to 16 O)D-Rack - 32/8 I/O (expandable to 16 O)

Up to 56 in / 56 out / MADI split x2 (@ 48kHz)




Max no of Racks 2 (with Little Red Box) 3 (With Little Red Box) 16 16 17. On 2 loops = 31 18. On 2 loops = 32Rack Interface MADI / RJ45 CAT 5 MADI / RJ45 CAT 5 MADI / Optocore (option) MADI / Optocore (option) MADI / Optocore MADI / Optocore Connector type for racks BNC / CAT 5 BNC / CAT 5 BNC / HMA optics / ST / Opticon

(option)BNC / HMA optics / ST / Opticon (option)

BNC / HMA optics / ST / Opticon BNC / HMA optics / ST / Opticon

Rack sharing FOH/MON Gain Tracking Gain Tracking Gain Tracking Gain Tracking Gain Tracking Gain TrackingOffline Software Yes Yes Yes Yes Yes YesRecording Virtual Soundcheck up to 56

channelsVirtual Soundcheck up to 56 channels

Virtual Soundcheck up to 112 channels




Dimensions (mm) and Weight (kg) 483(w) x 577(d) x 232(h) - 24Kgs 878(w) x 785(d) x 262(h) - 36Kgs 1347(w) x 811(d) x 254(h) - 71.3Kgs

1398(w) x 818(d) x 285(h) - 60Kgs 1465(w) x 850(d) x 753(h) - 116Kgs

1496(w) x 875(d) x 503(h) - 107Kgs

Dimensions (inches) and Weights (Ibs) 19.02(w) x 22.72(d) x 9.13(h) - 53Ibs

34.57(w) x 30.90(d) x 10.31(h) - 80Ibs

53.03(w) x 31.93(d) x 10(h) - 157Ibs

55.04(w) x 32.2(d) x 11.22(h) - 132Ibs

57.68(w) x 33.46(d) x 29.65(h) - 256Ibs

58.9(w) x 34.45(d) x 19.8(h) 236Ibs

SD9 Supercharged

* Flexi - Configurable Mono or Stereo without the loss of any resources** Full Processing - Includes Delay, DiGiTuBe, HP/LP Filters, 4 or 8 Band EQ, Dynamics 1 and Dynamics 2.*** Max Buss Count is calculated as Aux / Group Buss + Master Buss (LCR or 5.1 depending on product) + Matrix Buss + 2 Solo Busses (up to 5.1 depending on product)

DiGiCo table AM buyers guide 2012.indd 2-3 04/12/2012 16:26

27ProductComparison

SD11i SD9 Supercharged SD8 Overdrive II SD10 Nitrous SD5 SD7 MACH 3Max no of Input Processing Channels 32 Flexi* 48 Flexi* 60 Flexi* 96 channels, 12 Flexi* 124 253Maximum Buss Count 39*** 47*** 67*** 71*** 98*** 160**Max aux / sub-group busses 12 Flexi* (full processing**) 16 Flexi* (full processing**) 24 Flexi* (full processing**) 48 (full processing**) 56 (full processing**) 128 (full processing**) (inc 2x solo buss)Matrix (in addition to aux / sub - group) 8 x 8 (full processing**) 12 x 8 (full processing**) 16 x 12 (full processing**) 16 x 16 (full processing**) 24 x 24 (full processing**) 32 x 32 (full processing**)Solo busses 2 2 2 2 2 22Max no. of inputs - Non optic consoles 130 180 N/A N/A N/A N/AMax no. of inputs - 1 console on optic loop N/A N/A 576 576 632 696Max no. inputs - 2 consoles on optic loop N/A N/A 632 632 688 752Local I/O spec 16x mic/line inputs, 8x line

outputs, 2x AES/EBU I/O (mono streams)

8x mic/line, 8x line outputs , 4x AES/EBU I/O (mono streams)





Max no. of outputs 122 180 576 576 632 696Max no. of faders 12 24 37 37 37 52 (plus 48 if used with 2 x EX007)Screen 1x 15" touch 1x 15" touch 1 x 15" touch 1x 15" touch 3 x 15" touch 3 x 15" touchExt. overview screen Yes Yes Yes Yes Yes YesI/O expandability Yes Yes Yes Yes Yes YesInsert points / channel 1 1 2 2 2 2On Board FX 6 8 12 16 24 48Graphic Eqs (32-Band) 12 16 24 24 32 32Dynamic EQ 6 8 10 16 24 256Buss 8-band Parametric EQ No (4 band only) No (4 band only) No (4 band only) Yes Yes YesMultiband Compression 6 8 10 16 24 256DiGiTubes 6 8 10 16 24 256Multi-channels Yes Yes Yes Yes Yes YesVCA - style control groups 8 8 12 24 24 36Set Spill Yes Yes Yes Yes Yes YesMute Groups (part of control groups) 8 8 12 24 24 36Reorder Busses Yes Yes Yes Yes Yes YesMulti-operator By remote only By remote only By remote only By remote only Yes YesSurround No No No No Yes YesMADI connectivity 1x Port 1x Port 2x Redundant ports 2x Redundant ports 3x Redundant ports 4x Redundant ports

Optics No No Yes Yes Yes YesSnapshot Offline Yes Yes Yes Yes Yes YesSnapshot Auto-Update No No Yes Yes Yes YesSampling rates 48 kHz 48 kHz 48 / 96 kHz 48 / 96 kHz 48 / 96 / 192 kHz 48 / 96 / 192 kHzSignal processing FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-pointAudio processing and OS location Surface Surface Surface Surface Surface SurfaceRedundant Processing and Computer No No No No No StandardRedundant PSU's Yes - by remote PSU option only Yes - Option Yes Yes Yes YesStage Rack spec D-Rack - 32/8 I/O (expandable

to 16 O)D-Rack - 32/8 I/O (expandable to 16 O)





Max no of Racks 2 (with Little Red Box) 3 (With Little Red Box) 16 16 17. On 2 loops = 31 18. On 2 loops = 32Rack Interface MADI / RJ45 CAT 5 MADI / RJ45 CAT 5 MADI / Optocore (option) MADI / Optocore (option) MADI / Optocore MADI / Optocore Connector type for racks BNC / CAT 5 BNC / CAT 5 BNC / HMA optics / ST / Opticon

(option)BNC / HMA optics / ST / Opticon (option)

BNC / HMA optics / ST / Opticon BNC / HMA optics / ST / Opticon

Rack sharing FOH/MON Gain Tracking Gain Tracking Gain Tracking Gain Tracking Gain Tracking Gain TrackingOffline Software Yes Yes Yes Yes Yes YesRecording Virtual Soundcheck up to 56

channelsVirtual Soundcheck up to 56 channels





Dimensions (mm) and Weight (kg) 483(w) x 577(d) x 232(h) - 24Kgs 878(w) x 785(d) x 262(h) - 36Kgs 1347(w) x 811(d) x 254(h) - 71.3Kgs

1398(w) x 818(d) x 285(h) - 60Kgs 1465(w) x 850(d) x 753(h) - 116Kgs

1496(w) x 875(d) x 503(h) - 107Kgs

Dimensions (inches) and Weights (Ibs) 19.02(w) x 22.72(d) x 9.13(h) - 53Ibs

34.57(w) x 30.90(d) x 10.31(h) - 80Ibs

53.03(w) x 31.93(d) x 10(h) - 157Ibs

55.04(w) x 32.2(d) x 11.22(h) - 132Ibs

57.68(w) x 33.46(d) x 29.65(h) - 256Ibs

58.9(w) x 34.45(d) x 19.8(h) 236Ibs

SD10 Nitrous

* Flexi - Configurable Mono or Stereo without the loss of any resources** Full Processing - Includes Delay, DiGiTuBe, HP/LP Filters, 4 or 8 Band EQ, Dynamics 1 and Dynamics 2.*** Max Buss Count is calculated as Aux / Group Buss + Master Buss (LCR or 5.1 depending on product) + Matrix Buss + 2 Solo Busses (up to 5.1 depending on product)

DiGiCo table AM buyers guide 2012.indd 2-3 04/12/2012 16:26

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Power, Flexibility, Intuitive Operation – the mc² SeriesWith more than 8000 x 8000 crosspoints and even more in networked systems, plus up to 888 DSP channels, the mc² series is ready to handle all the requirements for modern OB vans and studios – and more. Transferring snapshots from an mc²66 MKII to an mc²56 or mc²90, loading a snapshot from a console to provide a completely different DSP capacity or fader count, underlines the principle of the mc² software architecture: we are absolutely certain that fl exibility is one of the major contributors to cost effi ciency, due to easy and fast adaptation, whatever the production.

Lawo’s ‘Dual Star Technology’ has found its way into mixing console design, which has enabled Lawo to establish a further milestone in reliability and redundancy for mixing consoles and HD cores.

The mc² series impresses with its precise

signal processing. Changes to the DSP path can be made without any clicks, and even delay settings can be made noiselessly during runtime. For modern productions that require 5.1 Surround, mc² consoles are the ideal answer. It’s their reliability and experience that made Lawo the fi rst choice for the 2012 sports TV productions in Poland/Ukraine and London. Lawo is continuously expanding the toolbox for modern surround productions. The latest advancements are the AMBIT Upmix, providing a high-quality upmix in every surround channel, creating a 100% downmix compatible, fully-fl edged surround sound image. Innovative front processing algorithms, the HD Core DSP redundancy, and very low latency make this Upmix tool superior.

These qualities and the number of installations have made the mc² series a standard around the world.

mc²90 –

Optimum Control and Maximum Flexibility

The mc²90 offers a modular central control section to position the most signifi cant modules where you need them. In addition, external control devices can be integrated smoothly. There are no compromises regarding fl exibility.

mc²66 MKII –

Inspired by Your Needs

Thanks to its lightweight construction, low power consumption, and compact dimensions, the mc²66 is ideally suited for OB vans, studios, broadcast, and live/theatre applications. Twenty four to 104 fader sizes are available.

The New mc²56 – Performance, Pure & Simple

This console brings you the same processing power that already distinguishes the mc²66 and mc²90. What makes the new mc²56 different to its siblings is its compact layout. In a width of only 1.2 metres, it provides 32 faders (64 faders fi t in an OB van).

Lawo consoles and routers have gained an international reputation for quality, user-friendliness, fl exibility, capacity, and reliability; Lawo stands for customer partnership, effi cient service, and fast support. Well over 1,500 systems for broadcast, radio on-air, and live applications are installed worldwide in studios, MCRs, OB vans and theatres, also serving dependably at international sports events such as world championships and the Summer and Winter Games, as well as big music events. From design to product, hardware and software, layout and design – everything is developed and produced at Lawo’s headquarters in Rastatt, Germany.

Lawo – New Perspectives in Broadcast

Loudness Metering

Loudness metering is designed to help eliminate jumps in audio loudness between different TV/radio programmes, or even during a single programme. Based on the EBU R128 and ATSC A/85 standards, Lawo has incorporated loudness metering in the mc² series consoles. This can be combined at any time with a True Peak display, and enables loudness metering in any individual channel in Momentary or Short-term mode, with each main output facilitating the integration of loudness metering over time. For ease of use, Lawo’s Loudness Metering can be operated using presets for the two standards. Furthermore, Loudness Metering throughout a complete production can be permanently displayed in the GUI header display.series a standard around the world.

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+ + + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + +



sapphire

– A Step Ahead

The sapphire, Lawo’s top of the line on air and production console, combines proven cutting edge technology and an eye-catching new design. Up to 60 motor faders may be housed in an impressively shallow chassis that can be placed on your desk or fi xed into the furniture. The sapphire comes with networking capabilities unparalleled when creating radio or production studio environments – for example using the Nova29, Lawo’s small format router that can be seamlessly integrated with all radio products. The advantage: while technicians will be assured by maximum fl exibility and sophisticated functionality, broadcasters will be continually impressed by the modern control surface, which makes working with the new sapphire fun. sapphire delivers top quality, intuitive user guidance and neat solutions, all of which guarantee even greater working effi ciency.

crystal –

Welcome to Digital Broadcasting

Introduced in late 2008, crystal has developed to become a proven standard console in many broadcast and production studios around the world. Breaking new ground with a highly ergonomic and revolutionary design, and with a price range that should allow everyone to invest in professional equipment, crystal is characterised by its easy to operate surface – guaranteeing a short training curve and the best operational security.

Nova73 HD Routing System

Nova73 HD is a high-capacity audio routing matrix

– a perfect solution for mission-critical signal transmission. With a capacity of more than 8K inputs/outputs in a single core it is possible to create a fi bre-optically linked network infrastructure, or to connect multiple Nova73s over WANs.

Nova73 HD integrates seamlessly into an existing infrastructure, and can be controlled remotely – this enables complex

switching and workfl ows to be reduced to the simple push of a button. Via an intuitive display, the mxGUI package enables control from any PC of all functions, offl ine preparation, or even online operation. Nova73 HD is based on Lawo’s STAR² technology with an internal dual star architecture that

supports comprehensive redundancy options for almost every active component. Hot-plugging, status monitoring of all components, or reconfi guration and expansion of the system during run-time is possible, even when on-air.

mxGUI

The mc² series is equipped with an mxGUI providing many useful features:

• Offl ine preparation: from console layout to matrix control, partial snapshots and preamplifi er settings, through to the creation of complete snapshot and production data.

• Online remote: maintenance, service, or confi guration. Access to the console via a laptop. Up to 16 mxGUI clients can simultaneously sign on to the

control system for secondary users and service technicians to support the audio engineer, even during

live broadcasts.

CONTACT DETAILS

Lawo AG (Headquarters)Am Oberwald 8, 76437 Rastatt, GERMANY

t +49 7222 1002 0

e [email protected]

w www.lawo.de

Sales

t +49 7222 1002 0

e [email protected]

For international sales contacts please consult the

Lawo website.

+ + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + +

sapphire

– A Step Ahead

The sapphire, Lawo’s top of the line on


Nova73 HD is a high-capacity audio

solution for mission-critical signal transmission. With a capacity of more than 8K inputs/outputs in a single core it is possible to create a fi bre-optically linked network infrastructure, or to connect multiple Nova73s over WANs.


The V__pro8 audio/video processor is the perfect

bridge builder for broadcast environments, thanks to an 8x8 video matrix with 3G SDI I/Os and a 384x384 audio matrix using MADI or RAVENNA for audio connection plus comprehensive video processing.

Highlights: colour correction per video channel, up to two channels of high quality format conversion, video and audio delay for any channel, framestore per input, 2x downmix per output, Quadsplit and Thumbnail preview of all video outputs, and Waveform and Vectorscope for the selected video.

The V__pro8 is operated by using a simple web browser on a modern touch GUI based on HTML5.

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crystal –


Nova73 HD is a high-capacity audio routing matrix

– a perfect solution for mission-critical signal transmission. With a capacity of more than 8K inputs/outputs in a single core it is possible to create a fi bre-optically linked network infrastructure, or to connect multiple Nova73s over WANs.

THE INTERNATIONAL CONSOLE BUYER’S GUIDE

• Online remote: maintenance, service, or confi guration. Access to the console via a laptop. Up to 16 mxGUI clients can simultaneously sign on to the

control system for secondary users and service technicians to support the audio engineer, even during

live broadcasts.

The V__pro8 is operated by using a simple web browser on a modern touch GUI based on HTML5.

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Custom Designed ProductsMandozzi’s developing engineers are used to listening to customers and understanding their individual requirements, and they are ready to adapt the hardware and software of their proven products to the special operational and technical needs of their clients.

Due to close contact with the customers over the last forty years, Mandozzi’s audio routers and mixers have matured to offer a lot of comfortable features that facilitate the tasks of the operators.

Mandozzi Elettronica is the ideal partner for realising custom designed audio products.

The Intelligent Audio Routers IDEAMandozzi’s routers are best suited for switching centres, or for serving several mixers in a radio

house. They are known for their extremely high reliability that is reached, among others, by redundant vital modules, and for the comfortable control surfaces. The two redundant halves of the router can be installed in separate rooms for immunity against incidents. The IDEA routers offer sophisticated scheduling functions and a great variety of interface modules including 2Mbps and Audio over IP modules with integrated audio codecs. All routers offer comfortable scheduling functions, and contain DSP power for performing any signal processing up to complete mixer functions. The routers of several radio stations can be interconnected to control each other, they can be monitored via SNMP, and controlled by other systems via IP, serial interfaces, GPIO, etc.

IDEA routers are the ideal heart of complex radio house installations.

The Digital Mixers GMIXMandozzi designed the GMIX system to allow radio stations maximum interoperability between their mixers. The mixer consoles are simply remote control elements of the DSP and switching circuits that are installed in the central router. The router manages all audio and GPIO signals of the station, i.e., the ones of the studios and mixer control rooms as well as the external signals. The interface modules of the studio and mixer room signals are either built into concentrators (stage boxes) that are installed locally, or – if the distances are short – directly into the router. The concentrators are connected to the router via redundant optical fi bres or CAT5 cables.

The centralised architecture of the GMIX system offers a lot of very important advantages. Every mixer has access to any signal of the radio house. This allows a mixer to manage several studios that are easily selected by loading into the mixer pre-recorded snapshots. The intercom between the studios is integrated, so there is no need for a third-party intercom system.

The operators can save the snapshots either in a private memory or in a public memory that is accessible by all other mixers as well. Therefore it is possible to load into any mixer

Intelligent Mixer And Router SystemsThe engineers working for the Swiss enterprise Mandozzi Elettronica SA near Lugano are inspired by the beautiful landscape to design intelligent solutions that satisfy all operational and technical desires of their users.

Sixteen IP codecs installed into an IDEA router.

SERIX console with fader extension modules in Sweden.

GMIX console in Sweden.


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the snapshots assembled on another mixer. Every mixer console can take over the job of any other one by a few key strokes using the snapshot functions. A mixer can also send the confi guration of a fader channel to any other mixer. The sound engineer can remotely control from his own mixer a fader channel of a DJ mixer. The mixers remotely control Mandozzi’s audio over IP codecs, as well as third-party codecs and telephone hybrids that are installed in the central router room. GMIX mixers perform audio measurements according to R128.

GMIX mixers are ideally suited for large broadcast installations with interacting mixers.

The Digital Mixers SERIXThe SERIX mixers were developed to satisfy the customers looking for stand alone mixers that work autonomously and do not necessarily depend on a central router. These mixers allow the customers to start by installing a few single mixers and to expand the station step by step later on. SERIX mixers are well suited to realise complex radio house installations with a central router. In this case, the SERIX mixers remotely control the router in order to select the input and output lines, for intercom connections between the mixers, as well as to remotely control the microphone pre-amplifi ers, the mute and the GPIO of the other mixers, etc. Mandozzi’s audio over IP codecs can also be controlled by the SERIX mixers.

The SERIX mixer surface is composed of modules of four motorised faders and of a central module for confi guration,

communication, and monitoring; plus a touch screen to display the parameters, timers, etc, and to set up the mixer. The modules are either supplied as individual mixer units that can be built into the console furniture at any place desired by the customer, or assembled into a metal frame to obtain a table top mixer.

The SERIX consoles offer an easy and comfortable operation due to the touch screen. The functions of the control keys and knobs are

Some Milestones of Mandozzi Elettronica SA

CONTACT DETAILS

Mandozzi Elettronica SA Via Volta 2, CH-6946 Ponte Capriasca,

Switzerland

t +41 91 935 78 00

f +41 91 935 78 10

e [email protected]

w www.mandozzi.ch

Mandozzi Elettronica SA was founded 1965. Due to its close contacts with its customers, the enterprise realised the following milestones during its evolution:

The fi rst analogue audio router was installed in 1980, and the fi rst digital routers in 1993. In 2001 Mandozzi supplied the fi rst radio station with fi ve interlinked routers and 11 GMIX mixers to the German ORB. Since 2002, Mandozzi has supplied redundant central matrixes and up to 12 GMIX mixers and six SERIX mixers, to 25 digital Swedish Radio stations.

In 2007 the Swiss Broadcasting Corporation commissioned a radio house with a redundant central router and 33 SERIX mixers for Lausanne.

In 2009, Mandozzi developed the Audio over IP codecs UMAC, that can be integrated into and controlled by Mandozzi’s routers and mixers and have the unique feature of self-confi guring. Since 2009, Mandozzi has successfully promoted a software tool to generate RDS texts for FM transmission and PAD contents for DAB.

In 2010, Mandozzi supplied a redundant router to Austrian Telecom, with 240 integrated redundant analogue line equalisers. In 2012, Mandozzi received the order from Hessischer Rundfunk Frankfurt to replace the whole audio system of its radio house with a redundant matrix installed in two separate rooms, and up to 20 SERIX mixers.

SERIX console in Switzerland.

and to set up the mixer. The modules are either supplied as individual mixer units that can be built into the console furniture at any place desired by the customer, or assembled into a metal frame to obtain a table top mixer.

The SERIX consoles offer an easy and comfortable operation due to the touch screen. The functions of the control keys and

In 2009, Mandozzi developed the Audio over IP codecs UMAC, that can be integrated into and controlled by Mandozzi’s routers and mixers and have the unique

freely confi gurable by the user. SERIX also offers the processing of 5.1 signals and audio measurements according to R128.

For every SERIX mixer, up to three satellite or split mixers

can be installed at a distance from the main surface, e.g., in the

studios. The operator can decide whether

the satellite mixers shall function as an integral

part of the main console (but with

independent intercom and

monitoring), or as autonomous mixers.

SERIX mixers are best suited for small to large

broadcast installations, for DJ and assisted operation.

SERIX table top mixer with

16 faders.

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MIDAS Digital Systems OverviewThe MIDAS XL8 and the recently expanded range of PRO series digital mixing systems consist of a control centre and a number of fi xed or confi gurable 19-inch rack units, which are inter-connected by a networked audio and data system. The network carries both proprietary control data and open architecture AES50 digital audio via Cat 5e/Cat 6 and fi bre optic cabling. This ‘system’ approach means MIDAS provides not only a mixing console, but a complete analogue and digital networked audio control and distribution system.

The PRO series comprises six different control surfaces, three of which feature modular remote processing engines, all of which have a choice of fi ve different options of networked I/O hardware. The PRO3, 6, and 9 consoles are expandable up to 288 inputs and 288 outputs at the network level. The PRO3 and PRO6 can be upgraded at a later date to full PRO9 specifi cation, offering up to 88 simultaneous input channels and 35 busses. PR02 and PR02C offer the same MIDAS audio quality and performance with the PRO2 offering eight more faders than the compact PRO2C. Both have 56 primary inputs, with an expanded network of up to 156 inputs and 166 outputs. The latest addition to the PRO Series is

the PRO1, MIDAS’ fi rst aluminium framed stand-

alone digital console. It features 24 mic inputs,

40 input channels, and a maximum network

capacity of 100 inputs and 102 outputs.

The fl agship XL8 is the perfect solution for

high-capacity, high profi le touring and install

applications. It has a network capacity of up to

432 inputs and 432 outputs in 18 different locations, up to 144 simultaneous channels and 51 mix busses, plus built-in tolerance to any failure scenario. Although the XL8 has been unsurpassed for seven years as the benchmark for digital audio performance, the recent launch of Generation-II software has brought this well-established system right up to date, adding a whole new suite of FX and advanced features.

All of MIDAS’ digital consoles can be networked together using just Cat 5e cabling and a range of remote 19-inch rack I/O units. These range from the DL431, an active input splitter, the DL451 and DL351 user-confi gurable modular I/O, and fi nally the fi xed-format DL251 and DL252 analogue I/O units.

An audio console is, fi rst and foremost, all about audio. MIDAS has always set the gold standard for live sound, and continues to ensure that the adoption of new technologies does not compromise audio quality in any way.

MIDAS – The Audio Gold Standard

MIDAS Digital: XL8, PRO6,

PRO2C and PRO1.

MIDAS PRO1

and Mixtender

iPad App.

KLARK TEKNIK DN9650 audio network bridge.


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In addition to the MIDAS AES50 products, there are a number of devices from MIDAS’ sister company KLARK TEKNIK that have been designed to expand the scope and functionality of MIDAS’ already impressive digital audio network. This includes products ranging from a dedicated audio recorder, the DN9696, to an audio network bridge, the DN9650, which will connect any AES50 device to a multitude of different digital audio protocols.

MIDAS Sound QualityMIDAS digital systems are the only live sound systems in the world to have a comprehensive and automatic latency management system. Which, in addition to managing all internal routing and processing latency, also includes compensation for external analogue inserts. This means that all audio samples are synchronised before summing, resulting in absolute phase coherency at all outputs.

MIDAS digital feels, as well as sounds, superb. All the variable controls on the console are genuine analogue high precision potentiometers, not mechanical encoders. These access the FPGA-DSP engine through precision instrumentation A-D converters and MIDAS’ custom interpolation algorithms. This means that as well as all audio; the entire operator input is fully interpolated to ensure a linear, analogue-style, silky smooth ‘feel’ to your mix.

The MIDAS microphone pre-amp is the one by which all others are judged. Still built from discrete components, the current expressions in the XL8 and PRO Series sound better than ever. Whether you want pristine, transparent reproduction, or that renowned MIDAS warmth and colouration, MIDAS’ dual (analogue and

digital) gain stages enable you to shape the mic amps’ character according to your own preference.

Mix engineers working on analogue consoles routinely combine signals with different signal paths and processing and expect to do the same with digital. On many current digital consoles, combining signals in this way leads to the summing of signals that are in effect partly out of phase. This causes undesirable ‘comb fi ltering’ effects, where specifi c frequencies are cancelled out completely. MIDAS are the only live digital consoles to have comprehensive automatic time alignment to correct any path related delays, including latency introduced by additional A to D conversion on external analogue inserts.

The remote processing engines for both XL8 and PRO3, 6, and 9 systems are of modular design, which provides N+1 redundancy of hardware in the form of a redundant module, removing the cost of an entire back-up DSP engine. MIDAS also offers modular I/O units that can be freely distributed into multiple locations with a digital audio network, which is easily confi gurable to route signals from where and by when they are needed, with patching done on a scene-by-scene basis.

iPad App: MIDAS MixtenderMIDAS’ Mixtender iPad App provides wireless remote control for key functions of the MIDAS PRO Series and XL8 consoles. The app automatically selects the right console type so there is no diffi cult set-up procedure.

With the Mixtender you can monitor ALL input and output metering simultaneously in real time, and can remotely EQ any speaker mix with

one of the console’s on-board KT DN370 GEQs.The Mixtender also provides simple, fast local

stage mix adjustment by accessing the consoles’ MCA (Mix Control Association). Multiple iPads can be used simultaneously and each one can be locked to a single mix, so artists can create their own monitor mixes without changing any other console settings.

The MIDAS Mixtender is free to download from Apple’s App Store.

InnovationEqually important to MIDAS is the design and implementation of many new areas of technology, specifi cally in the area of digital audio networking and advanced console navigation methods, including the latest concept of MCAs.

MIDAS continues to anticipate and accommodate the rapidly changing and expanding needs of audio professionals who specify Midas consoles for their major tours, festivals, international events, broadcast projects, and high-profi le fi xed installations.

MIDAS ConsolesKlark Industrial Park, Walter Nash Road,

Kidderminster, Worcestershire,

DY11 7HJ, England

t +44 (0) 1562 741515

f +44 (0) 1562 745371

e [email protected]

w www.midasconsoles.com

MIDAS XL48: eight MIDAS XL4 mic pres with eight

XL8 A-D convertors. Now everyone can have a

MIDAS mic pre at the top of their signal path.

FX available with Generation-II software.

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PreSonus® StudioLive™ 24.4.2, 16.4.2, and 16.0.2 digital mixers integrate hardware and software to seamlessly handle mixing, recording, wireless control, and audio analysis. These surprisingly affordable mixers are designed for both live sound and studio recording, without compromising the requirements for either.

All StudioLive mixers incorporate a multi-channel FireWire interface and come with PreSonus Capture™ recording software for Mac® and Windows®, which is preconfi gured so it needs no set-up. Capture is, essentially, the mixer’s recording section. You also get PreSonus’ Studio One® Artist DAW, which auto-confi gures to the mixer using a template. That’s just the start.

Analogue Feel, Digital PerformanceThe StudioLive operates much like an analogue console. You use a familiar mixing surface for core mixing functions, not a menu-based screen. Analogue-console users need learn only one new button, ‘Select’, which enables the Fat Channel section.

The Fat Channel features extensive equalisation and dynamics processing – a separate compressor, limiter, and gate/expander – for every input channel, every aux output, the FX outputs, and the main outputs. Every channel also has a high-pass fi lter.

To let you get the most from all of this processing power without descending into menu purgatory, PreSonus designed the Fat Channel

with clearly labelled physical knobs, a multi-function, 16-ladder LED display; an in-your-face Selected Channel display, and a horizontal pan display. It’s easy to instantly access any function and get clear, visible feedback.

Two programmable, 32-bit, stereo effects engines come loaded with 50 reverbs, delays, and time-based effects that you can really use. These effects have easy-to-use parameter adjustment, tap tempo, store, and recall.

The StudioLive 24.4.2 and 16.4.2 offer eight channels of 31-band graphic EQ for the main, subgroup, and aux outputs. The StudioLive 16.0.2 offers a stereo graphic EQ on the main bus.

Welcome To The FutureUsing the included Virtual StudioLive (VSL) bidirectional control and editor/librarian software for Mac and Windows®, you begin to see the advantages of hardware-software integration. Control almost the entire mixer from a FireWire-connected laptop, load and save named mixer scenes and individual processor and channel presets via drag-and-drop, visually edit signal processing, lock all or parts of the mixer with a password—quickly and easily.

VSL also integrates Smaart Measurement Technology™ from Rational Acoustics. Smaart® is a collection of visual audio-measurement tools for sound-system analysis and optimisation that makes tuning the system, squelching feedback,

PreSonus StudioLive™-series digital mixing systems integrate hardware and software to seamlessly handle mixing, recording, wireless control, and audio analysis. Designed for live sound and studio recording, without compromising the requirements for either, they employ a familiar, analogue-like mixing surface.

StudioLive Systems – The Power of Integration

The PreSonus StudioLive 24.4.2’s inviting, analogue-like mixing surface provides quick access to all core mixing functions, including levels, routing, and signal processing.

Virtual StudioLive presents a visual representation of the StudioLive mixer. Quickly and easily load and save named mixer scenes via drag-and-drop, visually edit signal processing, use the integrated Smaart audio-analysis features, and much more.


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and much more easy and precise. It includes a spectrograph and a real-time analyser (RTA) that make fi ne-tuning your mix easy because you can see what you’re hearing. These features work with all three StudioLive models.

In addition, VSL includes three Smaart System Check Wizards and a pink-noise generator with which StudioLive 24.4.2 and 16.4.2 users can view the frequency-response trace of a venue and adjust the parametric EQs to get rid of unwanted room anomalies, verify that StudioLive system outputs are routed correctly and are passing signal, and calculate and set delay-system timing for satellite speaker systems using the StudioLive’s subgroup-output delays. (Note that the Wizards are not available for the StudioLive 16.0.2 due to its different architecture).

For more information about Smaart Wizards for StudioLive mixers, see the sidebar ‘We’re Off to See the Wizards’.

Go RemoteWith most mixers, it’s risky to leave front-of-house to check the monitors and listen to the system in various parts of the room. But with free StudioLive Remote control software for iPad®, you can control VSL – including Smaart – and in turn, any StudioLive mixer, wirelessly, from anywhere in a venue.

You also can control VSL, and hence, the mixer, over a network – including the Internet – using third-party VPN software. Contractors can create and load scenes and presets for clients and can, to a large extent, troubleshoot a StudioLive system from a remote offi ce.

Give Them The RopeIncreasingly, musicians want to create their own monitor mixes, but most personal monitor systems are expensive and require wiring. But with free PreSonus QMix™ software, musicians can simultaneously control their StudioLive monitor (aux) mixes using an iPhone® or iPod touch®.

QMix works a lot like StudioLive Remote: up to ten iPhones running QMix network wirelessly with a computer and control VSL, which controls the FireWire-connected StudioLive. Portrait view presents the Wheel of Me, which lets you select multiple ‘Me’ channels and turn them all up in your monitor at the same time, while controlling the relative balance between ‘Me’ and the rest of the band. Landscape view provides control of the aux-mix send level and panning (for linked auxes) for each channel and aux. Here, you set up your monitor mix. Using VSL’s security features, you can let each musician create a personal monitor mix – or restrict them to the Wheel of Me while you create their mix.

Sounds Like A Winner!Ease of use, remote control, and generous amounts of signal processing are very important, but the bottom line for audio equipment is still the sound. The StudioLive’s outstanding sound quality, with Class A XMAX™ pre-amps and high-defi nition converters with 118dB dynamic range, makes it suitable for studio use, yet its feature set and layout fully support live applications.

You can easily save and recall full mixer scenes and presets.

This combination of analogue-like design, fast workfl ow, high-defi nition audio, integrated recording, computer control, wireless control, Smaart analysis and optimisation, and network-based control sets the PreSonus StudioLive series apart. And it does so at an amazingly low price.

PreSonus Audio Electronics7257 Florida Blvd., Baton Rouge, LA 70806 USA

t +1 225 216 7887

w www.presonus.com

Source DistributionUnit 7 Pembroke Buildings, Cumberland House

Business Park, London, NW10 6RE, UK

t +44 (0) 208 962 5080

w www.sourcedistribution.co.uk

We’re Off to See the Wizards!

PreSonus Virtual StudioLive includes three Smaart Wizards to help you solve thorny sound-system problems.

Smaart Room Analysis Wizard

The Smaart Room Analysis (SRA) Wizard is an automated process that guides you through the steps of acquiring a frequency-response trace and then overlays the resulting trace on the VSL display for a StudioLive 24.4.2 or StudioLive 16.4.2 Fat Channel parametric EQ. You can then adjust the parametric EQ to get rid of unwanted anomalies in the room.

Smaart Output Check Wizard

The Smaart Output Check (SOC) Wizard verifi es that your StudioLive 24.4.2 or

StudioLive 16.4.2 system outputs are routed correctly and are passing signal. It’s a simple tool compared to the other wizards, but it can save you a lot of headaches!

Smaart System Delay Wizard

The Smaart System Delay (SSD) Wizard calculates and sets the correct amount of delay time between two full-range speaker systems, using the StudioLive 24.4.2 or StudioLive 16.4.2 subgroup-output delays. This helps you to time-align the outputs of secondary (generally, side and rear) speaker systems with the output of the main front speakers in a front-of-house P.A. system.

For more information about VSL’s Smaart features, visit www.presonus.com/products/Virtual-StudioLive/Smaart-M.

StudioLive Remote for iPad provides almost complete control over VSL and hence, the StudioLive mixer. This Overview screen presents the channel faders, mutes, and panning and the StudioLive 24.4.2’s four-band fully parametric EQ (top).

QMix for iPhone/iPod touch enables musicians to control their own monitor mixes. Once you have chosen which channels are ‘me’ – say, your vocal and guitar channels – you can use the Wheel of Me (shown) to control the blend between ‘me’ and the rest of the band.

36Roland OrangePANTONE Color: PANTONE 151Process Colors: Magenta 60% + Yellow 100%

Black White

The new Roland M-200i 32-Channel Live Digital Mixing Console with iPad control. Building on the award-winning features of the current V-Mixer line up, the M-200i offers expandability in a small footprint and is ready to perform straight from the box. Visit www.rolandsystemsgroup.co.uk or call 01792 702 701

PoweRfuL Mixing now wiTh iPaD ConTRoL controlable

» wireless iPad remote control anywhere in the venue» Built in LCD screen for comprehensive control without iPad» 17 motorised faders, dedicated buttons and knobs for key functions» 24 onboard inputs and 14 outputs» Connects directly to all products in the Roland ReaC family


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Sonifex manufactures three analogue radio mixers targeting the small-scale commercial, community, education, and Internet radio markets. The most recent of these mixers is the S0 (pronounced ‘S zero’) nine-channel fi xed format analogue desk. The Sonifex S0 mixer is a compact, low cost, fi xed format broadcast mixing console designed for on-air radio use, and it uses the same high quality circuitry and components as the larger Sonifex S2 and S1 mixers.

The uncomplicated, intuitive front panel layout ensures that the unit appeals to novices and broadcast professionals alike, and user confi gurable options allow very fl exible operation.

The console consists of nine input channels providing in total four mic, 12 stereo line, one TBU, and one stereo auxiliary inputs:

• 4x mono balanced XLR mic/stereo unbalanced RCA phono line inputs.

• 4x dual stereo unbalanced RCA line inputs.

• 1x telephone balance unit (with line and handset ports)/stereo unbalanced RCA phono auxiliary input with a parallel 3.5mm stereo jack input on the front panel.

Input ChannelsInput source buttons at the top of each channel strip select the required mono or stereo source and the mixer has two main stereo buses, PGM (Program) and REC (Record). Any channel which has the fader up is routed to the selected output, either PGM or REC or both.

The XLR microphone inputs on channels 1-4 have individually selectable +48V phantom power and a gain calibration potentiometer providing up to 65dB of gain for the pre-amp. The stereo RCA phono line inputs on channels 1-8 have 10dB of gain at the input to compensate for unbalanced consumer inputs. Input channel 9 is a TBU and stereo auxiliary input channel. The TBU allows direct connection to a telephone line and allows calls to be made and received through the mixer using the handset connection. A TRIM control on each channel provides ±15dB of gain and a PAN/BAL(ance) control facilitates stereo imaging. The use of VCAs controlled by the ALPS long throw 100mm faders gives a smooth, repeatable response, and ensures tight stereo tracking while eliminating mechanical and electronic noise.

USB Audio for Playback and RecordingThe S0 can send and receive audio over USB. This allows the audio on the REC bus to be sent to a PC for recording or monitoring purposes. Also, the S0 can receive a USB audio stream from a PC and route it to the auxiliary inputs.

Outputs, Monitoring, and MeteringThe S0 has separate stereo PGM (balanced stereo XLRs) and REC (unbalanced stereo RCA phono ) buss outputs. There are monitor outputs for presenter and guest headphones and loudspeakers. An adjustable limit level potentiometer is a great idea which limits the maximum level of the audio routed to the headphone outputs to protect the hearing of the users, especially important when used in schools and colleges.

Other features include automatic monitor muting on MIC LIVE, integration of a MIC LIVE light output with MUTE LED, monitoring of off-air signals or studio output, automatic monitoring of pre-fade channels, and SPLIT CUE/PFL. A pair of bright 21-segment LED meters show either VU or PPM metering, and the remote outputs for each channel are highly confi gurable providing a comprehensive range of options to start and stop external equipment, programmed via USB and Windows® software.

For the majority of community and educational radio stations where a high number of different users need to get up and running with a mixer very quickly, the S0 is the perfect combination of simplicity and required broadcast functionality. All manufactured to the highest quality in the UK.

Sonifex has a long history of manufacturing audio mixing consoles, with the company founder Paul Brooke starting his career over 40 years ago building sound desks for fi lm studios, before moving into the radio broadcast market.

Simple Radio Mixers for Novice & Professional Users

Features List:

• User friendly broadcast mixer.• Clear, simple layout with no jargon.• Built in telephone interface.• Built in headphone volume limiter.• Large, simple LED volume display.• Remote output for fader starts.• Speaker muting when ‘Mics’ are on.• External mic-light switching output.• ‘Programme’ and ‘record’ outputs.• ‘Aux’ input for iPod or MP3 players.• Stereo USB audio to and from a PC.• Guest headphone ‘talkback’.• Rack or fl ush mountable.• Integrated AC power supply.


Sonifex Ltd61 Station Road, Irthlingborough,

Northants, NN9 5QE, UK

t +44 (0) 1933 650700

f +44 (0) 1933 650726

e [email protected]

w www.sonifex.co.uk

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Sonifex has a long history of manufacturing audio mixing consoles, with the company founder Paul Brooke starting his career over 40 years ago building sound desks for fi lm studios, before moving

Sonifex S0 Radio Broadcast Mixer Iso View.

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Soundcraft Si PerformerIt takes something completely different to make a digital audio console stand out from the crowd these days, but the Soundcraft® Si Performer range of mixers does exactly that, thanks to the integrated DMX functionality, by adding lighting control options to an already impressive and powerful audio feature set.

The Si Performer builds upon the successful Si Compact range, providing almost twice as much DSP power and increased functionality, with an input capacity of 80 inputs to mix on all models. The Si Performer 2 has 24 mic and eight line inputs, the Si Performer 3 has 32 mic/eight line inputs, plus the four FX return channels. Two option card slots allow I/O expansion via any of the Soundcraft stageboxes and option cards from the Soundcraft® ViSi Connect range, giving the possibility of patching up to 80 inputs to mix.

The unique integration of a DMX512 port offers core lighting control. Currently this provides four scene masters (A-D) with associated slave channels on the ALT fader layers, individual colour intensities or parameters are set on the slave faders with an overall master level fader, which itself may be assigned to any of the main fader layers for simultaneous access to audio and lighting levels. DMX settings may be stored alongside audio settings in the snapshot system, so both may be recalled automatically by a single button press or via an external MIDI command.

Fourteen mixes may be confi gured in various combinations of mono and stereo to a total of 20 mix busses; great for mixing in-ear and wedge monitors. These are supplemented by

four stereo matrix mixes, four dedicated FX

busses, and three master Mix busses with true

LCR mode, plus eight VCA Groups and eight

mute groups.

Each channel features a custom LCD screen

to identify channel name, assignments, graphic

EQ frequencies, DMX data, and signal metering.

Soundcraft Vi1 Digital Live Sound Console

The Soundcraft Vi provides an all-in-one box

solution for smaller events where the input count

and power of the larger Vi Series is not needed.

In a very compact chassis, the Vi1 still

provides a simple user interface via the

Widescreen Vistonics™ II interface, which

controls the 16 surface channels. Full input

and output connections for 32 inputs and 27

outputs are found on the rear of the Vi1, along

with two standard expansion slots to attach a

stagebox to increase the input capacity to 64

or other interfaces.

Naturally, the Vi1 inherits many of the

facilities of its larger siblings, including

Soundcraft FaderGlow™, four stereo Lexicon

effects engines, BSS Audio graphic EQs on all

output busses, and integral dynamics on all

channels. The desk is

also compatible with

Vi2, 4 and 6 show

fi les and the Virtual Vi

offl ine editor, along

with the Soundcraft

ViSi Remote iPad® app.

Small Is Just A Concept

Soundcraft Vi SeriesThe Soundcraft Vi Series™ use the Vistonics™ II user interface to allow the engineer to operate the desk intuitively.

All Vi Series consoles now have an input-to-mix capacity of up to 96 inputs, mapped out on user-confi gurable motorised fader layers. Using the integral MADI connections, Vi Series can be easily interfaced with plug-in and/or DAW systems.

Si CompactThe Soundcraft® Si Compact offers unrivalled processing power in its price class and is available in 16 (rackmount), 24 and 32 input models, all catering for up to 40 inputs to mix, with routing to 14 buses, four integral Lexicon FX engines, Soundcraft FaderGlow™, graphic EQs on all output busses, and a palette of delays and parametric EQ to cater for almost any processing requirement.

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While Soundcraft Studer provides mixing solutions for the largest live tour or broadcast productions, today’s technology has delivered smaller and smaller digital consoles which provide unparalleled power for their size. However, small simply describes the physical size – there’s nothing small about the power and capabilities of our range, with uncompromised feature sets. Our commitment is to continue to bring the price of digital consoles down while increasing their power – watch this space!


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Studer Vista 1The newest console in the Studer portfolio, the Studer® Vista 1, is a compact and low-cost confi guration that will surprise many engineers. The desk comes complete with control surface, I/O connections and DSP all integral, considerably reducing weight and footprint.

The desk is highly suited to both fi xed and portable systems, such as newsrooms and game shows, while its compact size makes it a natural choice for OB and ENG vans.

The Vista 1 is based largely on the Vista 5, so existing users will be immediately familiar with all the functionality of the Vistonics™ user interface and control surface, plus features such as Studer FaderGlow™, true broadcast monitoring, talkback, red light control, GPIO, N-x (Mix Minus) busses, snapshot automation, and DAW control.

With an integral DSP engine of over 100 channels, the Vista 1 can handle mono, stereo, and 5.1 inputs with ease, and is provided with 32 mic/line inputs, 16 line outputs, and four pairs of AES inputs and outputs on rear panel connections, with both 32-fader and 22-fader models available.

I/O can be expanded using the standard Studer D21m card slot on the rear, to allow MADI, AES, AoIP, ADAT, TDIF, CobraNet, Dolby E/Digital, SDI connections, etc. A MADI link can connect to any of the Studer Stagebox range for XLR connectivity as well as other formats, while an integral MADI port allows connections to a DAW recording system or router

New with the Vista 1 is an integral jingle player, played from audio fi les on a USB jingle stick (such as station ID or background FX), and triggered by a series of eight dedicated keys in the master section.

The Studer Vista 1 also features a redundant PSU for peace of mind, and RELINK integration with other Studer Vista and OnAir consoles means the Vista 1 can easily share signals across an entire console network.

Studer OnAir 1500 Radio Production/On-Air ConsoleThe Studer OnAir 1500 is the compact solution for on-air and production, combining a small and simple work surface with sophisticated underlying functionality along with a powerful external core and I/O unit. Integrated USB playback and record functions make the OnAir 1500 a very compact yet complete mixer.

Flexibility is increased with the addition of a six-fader extension bay, creating a 12- fader surface.

Input channel parameters such as EQ and dynamics can be comfortably edited using console controls in combination with the OLED channel displays without requiring an additional screen or PC. For more advanced operation, the console provides interfaces for connecting a PC screen, keyboard, and mouse.

Unique features such as Headphone Split allow the user to listen to two different sources, one through the left earpiece, the other through

the right. Preset buttons also allow one-touch control of all monitoring.

Studer NANO SCOREThe separate core of the OnAir 1500

contains the audio and control engine. Its design provides standard connectors making any additional breakout panel unnecessary. Two card slots can be equipped with any optional D21m I/O module, such as MADI, ADAT, AES, or additional MIC inputs. The front panel carries USB ports, which can host a USB stick for recording and playout, while one can be switched to deliver an additional eight channels of I/O to/from a USB device or DAW system.

Soundcraft FX-based ConsolesSoundcraft offers a range of multi-purpose mixers with integral effects, ranging from six to 24 inputs. From the EFX, MFXi, and FX16ii consoles equipped with world-leading Lexicon FX, every model delivers uncompromising Soundcraft audio quality and high standards of mechanical construction.

More From StuderStuder also offers consoles for theatre and live such as the Vista 9 and Vista 5 SR, with software specifi cally developed for high-end musical theatre applications, which enables faster and more accurate workfl ow for scenes and actor management.

Broadcast production applications are served by the OnAir 2500 and OnAir 3000 consoles, and the Route 6000 routing system.

Studer Vista 5 M2Successfully established for fi ve years, the Vista 5 M2 gains the unique and powerful TFT metering from the fl agship Vista 9 console, and the range has been extended with the addition of the compact 22-fader model.

The TFT-based metering system is capable of being confi gured to show channel metering from mono to 7.1 sources, along with buss assignment and a unique ‘history’ mode that shows a time-based waveform showing in red any unusual events such as overloads.

Supplementing the Vista range are two new stagebox solutions, the Studer Compact Stagebox and the Studer Vi Stagebox, which offer out-of-the box cost-effective I/O solutions for small and medium scale systems.

Soundcraft StuderCranborne House, Cranborne Road,

Potters Bar, Herts, EN6 3JN, UK

t +44 (0) 1707 665000

f +44 (0) 1707 668159

e [email protected]

e [email protected]

w www.soundcraft.com / www.studer.ch

Soundcraft Studer USA8500 Balboa Boulevard,

Northridge CA 91329 USA

t +1 818 920 3212

f +1 818 920 3209

e [email protected]

e [email protected]

w http://usa.soundcraft.com / www: http://usa.studer.ch

and RELINK integration with other Studer Vista

w

Soundcraft Studer USA8500 Balboa Boulevard,

Northridge CA 91329 USA

t +1 818 920 3212

f +1 818 920 3209 f +1 818 920 3209 fee w

+ + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + A W O + + + ++ + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + A W O + + + +

Studer Vista 1The newest console in the Studer portfolio, the Studer® Vista 1, is a compact and low-cost

Studer OnAir 1500 Radio Production/On-Air ConsoleThe Studer OnAir 1500 is the compact solution for on-air and production, combining a small and simple work surface with sophisticated underlying functionality along with a powerful external core and I/O unit. Integrated USB playback and record functions make the OnAir 1500 a very compact yet complete mixer.

Flexibility is increased with the addition

40+ + + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + O + + + +



Proven Excellence in Music, Broadcast, and PostOver three decades SSL has established its status as a marketleader by developing new technology that enables engineersand producers to work faster and sound better. A deepunderstanding of the needs of users remains at the heart ofSSL’s ongoing evolution and its strong legacy delivering toolsfor music, broadcast, and post continues with leading edge solutions in all three areas.

Proven Excellence in Music,

Over three decades SSL has established its status as a marketleader by developing new technology that enables engineers

SSL’s ongoing evolution and its strong legacy delivering tools

SSL For MusicIn 2004, when SSL launched the original AWS 900, it was the fi rstproduct to combine an analogue mixing console and a comprehensiveDAW Controller. This hybrid approach to production workfl ow deliversthe best of both worlds; the workfl ow advantages of hardwarecontrolled DA W production and the sonic depth, precision, andcharacter of analogue processing and summing. Today SSL’s HybridWorkfl ow Technology is available in a range of SuperAnalogue™Consoles with integrated DAW control to suit everybody from the proproject studio to the large scale commercial facility.

About SSL DAW Control

SSL DAW Control employs high speed MIDI over Ethernet and USBKeyboard Emulation with HUI & MCU to control all leading DAWsincluding Pro Tools®, Logic®, Cubase/Nuendo®, etc. Digital scribblestrips provide comprehensive visual feedback and are combined withassignable encoders, motorised faders, soft keys, and heavy duty transport controls to deliver ergonomically elegant and comprehensive DAW Control. SSL DAW control is multi-layer, enabling control overmultiple applications simultaneously. AWS and Duality also feature adedicated on-board TFT and soft key system for plug-in control. Both AWS and Duality also features SSL’s unique ‘A-FADA ’ system where DAW Automation data controls the consoles motorised analogue faders.

Matrix – SSL At The Heart Of Your Studio

Matrix is a console/controller designed for smaller productionsuites where a DAW is used in conjunction with a collection ofboutique analogue outboard. Its analogue side features a 40-inputSuperAnalogue™ summing mixer, a software controlled analoguerouting matrix (any of up to 16 analogue outboard processors can beinserted in chains on any channel), and fully featured monitoring.

AWS 924 & AWS 948The original Analogue Workstation System… Evolved

Designed for mid-scale commercial recording and production,

AWS has become the choice of leading international artists, producers, and engineers with more than 700 units sold. The AWS 924/948 offers two console/controller options; the AWS 924 and AWS 948. Both consoles use the same 24-fader frame and feature the proven formula of 24 ultra-clean mic pres, classic SSL dual curve EQ, assignable SSL dynamics, in-built Stereo Buss Compressor, 5.1 monitoring, and TotalRecall™. The AWS 948 features stereo channel strips enabling up to 48 inputs with stereo EQ and dual path channel strip.

Duality SE – The Analogue Console For The Digital Age

Duality SE is a large format console/controller that is in use in hundredsof commercial recording facilities worldwide. It is available in 24-, 48-, 72-, or 96-channel confi gurations. A new version of the console launched in 2012, the Duality Pro-Station features a winged design that allows a 27-inch screen to be mounted in the centre section on a retractable arm to facilitate producer/engineers who wish to perform DAW editing/arrangement activity from the monitoring sweet spot. Duality is everything you would expect from a classic SSL console with a number of key added benefi ts. Each channel features transparent SSL mic pre and full channel strip processing, but the input stage also offers the option to add warmth or punch with SSL’s VHD™ system. A unique ‘dual path’ channel enables use of console processing within the DAW mixer signal path. Duality is highly suited to surround production. TFT displays provide comprehensive visual feedback on levels, routing, etc, and enable multi-operator Total Recall™.

AWS 948.


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CONTACT DETAILS

Solid State Logic25 Springhill Road, Begbroke, Oxford, England

OX5 1RU

t +44 (0)1865 842 300.

e [email protected]

w www.solidstatelogic.com

SSL For BroadcastSSL has been building specialised digital consoles for on-air production for over 25 years. Its development of new technology for the industry has produced unique control surface, processing, I/O, and routing hardware that combine to offer extremely robust systems, capable of meeting the requirements of even the most sophisticated multi-studio, multi-control-room installations. SSL’s constant contact with leading operators has aided the evolution of exceptionally refi ned and elegant control surfaces. There are three consoles available, meeting the requirements of large scale, mid scale, and mobile applications.

C100 HDS – Scalable On-Air Mixing And Routing System

The C100 HDS is designed for on-air production applications where audio quality matters and operators deal with sophisticated confi gurations in fast paced workfl ow. The control surface combines assignable hardware controls, strong visual feedback, and touch screen operation to provide an uncluttered interface. It provides the experienced operator with an environment that makes day to day running of shows comfortable whilst ensuring that the extraordinary depth and power of the C100 can be accessed and editing quickly and easily when the need arises.

C10 HD – Compact, Affordable On-Air Mixing

The C10 HD brings an unprecedented combination of size, price, and performance to the broadcast console market. It takes the power

and sophistication of C100 technology and presents it in an affordable system designed for the smaller budget broadcast market. C10 solves many broadcast and production challenges with operational features that simplify and/or automate key tasks, helping users of all skill levels deliver professional results with a simple, logical interface that is easy to operate.

The C200 HD – Hands-On Digital Production Console

C200 HD is a digital console with a dedicated ‘knob per function’ control surface, making it ideal for creative mixing applications, such as music or entertainment, where ‘hands on’ access to a large number of controls is essential, and the benefi ts of instant and complete parameter recall is also a key factor.

Nucleus

Designed for music and post applications Nucleus

re-defi nes the professional project studio with a perfect blend

of advanced DAW control, transparent SuperAnalogue™ monitoring, high class

analogue mic pres, pro quality USB audio interface, and bundled SSL Duende Native plug-ins. It provides

everything you need to record and monitor audio and to control your DAW quickly and effi ciently without resorting to your mouse.

SSL Matrix @ Timbaland Tour Bus, USA.

SSL C100 HDS @ Comcast Sportsnet, USA.

SSL For PostThe C300 HD, which has been adopted by over 40 post facilities worldwide, is a fully confi gurable, multi-format stem-based digital mixing console and DAW controller. It provides 500 mix inputs, 80 mix busses, comprehensive multi-format monitoring, multi-system machine control, and highly evolved hands-on control of both the console and multiple DAWs. C300 HD offers unrivalled control of the modern studio environment.

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All STAGETEC consoles use the NEXUS audio routing system as an I/O matrix. This intelligent division between mixing and routing enables consoles to be built

that integrate effectively into digital studio environments. Functionality includes: Dolby E®, HD SDI embedding, and modern IP networking

such as Dante™ as well as loudness metering in accordance with all international standards. NEXUS provides extensive logic control for internal and external control functions. Console audio processing and control cards are also hosted by NEXUS Base Devices or the larger NEXUS STAR routing node.

All consoles have very low power consumption. They are fan-free, light, and start up rapidly.

AURUS – The Direct Access ConsoleAURUS is one of the best selling large-scale digital live and production consoles. Space-saving dual-concentric encoders enable the AURUS to provide more physical controls per channel strip than other digital consoles, giving instant access to all key parameters. Offering almost unlimited confi gurability and modularity

combined with user-friendliness,

AURUS adapts to all kinds of

applications.

AURUS

features

up to 300

input channels

accessible via a

control surface

providing

from 16 to

96 assignable channel strips, plus a master

section. The console can also be controlled by

a wifi PC, offering remote access, for example,

during rehearsals. The desk is fi tted as standard

with luxurious snapshot, scene, and dynamic

automation, and is fully equipped for surround

productions in formats up to 7.1. The system

provides many additional features such as

control protocols for the most common DAW

systems.

The AURUS reference list includes the

most prestigious venues e.g., BBC Scotland

headquarters in Glasgow (UK), or the Guthrie

Theaters (Minneapolis, Minnesota).

CRESCENDO – The Digital Production ConsoleCRESCENDO is AURUS’ smaller sibling. Using the same audio processing, CRESCENDO offers almost as many mixing features as AURUS but with an even smaller footprint. The console itself is more compact with less knobs and buttons in response to increased demand for slimmed down user interfaces.

CRESCENDO is freely confi gurable, in respect of both the number of channels and busses. Confi gurations of up to 300 audio channels and 128 summing busses are supported. Using the same dual-concentric encoders as all STAGETEC consoles, CRESCENDO offers extended channel parameters, as well as a central panel approach where there is one-knob-per-function.

This console can be found in small OB trucks, as well as in theatres and multi-purpose venues.

AURATUS – The Compact Broadcast ConsoleAURATUS is a compact digital console used principally in pre-defi ned workfl ows for radio and TV production. Therefore, it features not only a straightforward bus layout but also a user interface optimised for quick and simple operation.

German manufacturer STAGETEC specialises in digital routing systems and professional mixing consoles. Recognised as a leading digital audio pioneer, the company set new benchmarks over the past decades thanks to continuous research and development. The audio console product range offers the entire portfolio from self-op desks to large-scale mixing consoles for broadcast, theatre, and live use.

High Quality Desks in Every Shape and Size

All STAGETEC consoles use the NEXUS audio routing system as an I/O matrix. This intelligent division between mixing and routing enables consoles to be built

that integrate effectively into digital studio environments. Functionality includes: Dolby E®, HD SDI embedding,

combined with user-friendliness,

AURUS adapts to all kinds of

applications.

features

up to 300

input channels

accessible via a

control surface

providing

from 16 to

96 assignable channel strips, plus a master

section. The console can also be controlled by

a wifi PC, offering remote access, for example,

during rehearsals. The desk is fi tted as standard

with luxurious snapshot, scene, and dynamic

automation, and is fully equipped for surround

productions in formats up to 7.1. The system

provides many additional features such as

and live use.

STAGETEC AURUS.

STAGETEC CRESCENDO.


+ + + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + S TA G E T E C + + + + + + + +




The surface is available in 8, 16, and 24 fader desktop or built-in versions. All important audio-channel parameters can be set using the dual encoders on the channel strip familiar from the CRESCENDO, as well as from the master section. AURATUS’ entire functionality including control and DSP power is accommodated on a single card hosted by any NEXUS Base Device within the audio network.

ON AIR 24 – Compact Broadcast SolutionON AIR 24 is a highly modular mixing console system designed for self-op studios for 24/7 radio applications. The user interface is based on compact panels with only four faders each, enabling really small mixing units to be assembled. ON AIR 24 is very easy to use, highly confi gurable and, thanks to its snapshot automation and extensive logic control functionality, supports even complex on-air productions. The processing power of the console is provided by a single mixer card.

An additional PC software application enables the technical supervisor to prepare and support

self-op use in the best possible way. The PC GUI makes many confi guration options available and can be used for full remote control.

Even though ON AIR 24 is the smallest STAGETEC console, it offers the same exceptional audio quality, reliability, and easy integration familiar from other STAGETEC products.

ON AIR 24 also integrates perfectly into video post-pro suites and small audio production suites.

NEXUS – The Audio BackboneThe fully digital NEXUS is one of most versatile audio network and routing systems available, and is a core STAGETEC product. It is the host for STAGETEC mixing consoles’ audio processing and can also be used independently without a mixer.

With a completely modular structure and connected via fi bre-optics, NEXUS forms decentralised audio networks of any size. A wide choice of boards confi gured individually and mounted in compact 19-inch racks make NEXUS

a true multi-purpose device providing not only audio routing, but also A/D and D/A conversion, signal processing, audio format conversion, multi-channel transmission like MADI, Audio over IP (Dante), and SDI up to 3GB HD-SDI. NEXUS demonstrates exemplary reliability and supports modern error detection with SNMP.

For its outstanding functionality, NEXUS was awarded an Emmy® in 2010.

SALZBRENNER STAGETEC MEDIAGROUPIndustriegebiet See

D-96155 Buttenheim

t +49 9545 4400

e [email protected]

All Consoles offer:

• Extreme fl exibility • Simple layout with short reach to all

controls • Extensive visual feedback with switchable

TFT screens • Vast logic control with unlimited events

per cue • 40-bit fl oating point processing • Up and running in less than 30 seconds

from power on! • Proven STAGETEC reliability• Control PC is used only for confi guration

purposes, not required for mixing• Light-weight with low power consumption• Completely silent: no fans, no hard disks

STAGETEC NEXUS.

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No surprise then that the biggest names in

U.S. and Canadian broadcasting run their

operations on Wheatstone digital consoles

and through WheatNet-IP audio-over-IP

(AoIP) or TDM Bridge routing. In fact, Clear

Channel’s largest networked studio operation is

powered by Wheatstone digital control surfaces

and the Wheatstone WheatNet-IP Intelligent

Network with more than a million crosspoints –

and growing.

Wheatstone is a company of audio engineers,

musicians, and manufacturing craftsmen, and it

shows in the feel and clean lines of Wheatstone

consoles as well as the easy navigation of

Wheatstone studio routing. Over the years,

the Wheatstone studio has grown in power

and scope and ingenuity to outsize even the

most demanding studio project.

This engineering company hasn’t missed a

beat in the last 30+ years – not in design, and

certainly not in quality.

Form And Function At The Controls

The best digital consoles are uncluttered, functional beyond reproach, and easy to understand. These are the surfaces that can do any job at hand, yet fi t the needs of a specifi c studio or application like a glove. Designing a digital control surface of this form and function takes the kind of legacy experience and forward engineering that is uniquely Wheatstone.

Whether it’s a Wheatstone Evolution digital control surface, the new LX-24 modular digital console for radio, or the popular

Dimension One or D-5.2 digital audio console for television, audio engineers fi nd Wheatstone digital consoles readily accessible for the task at hand, but with plenty of function and power just under the surface for use whenever needed. Wheatstone’s new LX-24, for example, returns radio operators to the intuitive simplicity of analogue sound engineering, but with all the features and form of the digital realm. Extremely tactile and in a small footprint that’s easy to navigate, the LX-24 has forward-thinking features such as onboard VGA and USB ports for connecting to an off-the-shelf VGA display or plugging in a mouse for setup. Radio broadcasters appreciate the LX-24’s modular design because it enables them to confi gure faders and controls for the kind of operation they want. They also appreciate this digital console’s attention to detail, such as the LX-24’s convenient location for headphone jacks and its pigtail mount for placing headphones so they’re out of the way, yet close at hand.

Above all, they appreciate the LX-24’s sound engineering. All Wheatstone control surfaces, in fact, take sound quality to the extreme; no other radio console out there has Wheatstone’s exclusive Vorsis-quality EQ, fi ltering, and dynamics processing on every fader, for example.

Likewise, Wheatstone audio consoles for television up the ante on live broadcast and production due to a forward-thinking Wheatstone technology known as Gibraltar,

The Wheatstone console has been a reliable performer since the 1970s, and still the hits keep coming. Last-minute mixdowns. Up-to-the-minute play-by-plays. Coffee spills and studio mishaps of all kinds. Through it all Wheatstone digital consoles and routers remain rock-solid performers in the demanding world of audio creativity, production, and sound delivery.

Rock-Solid Studio Performance

All Wheatstone studio products are manufactured at the company’s New Bern, North Carolina factory – no second sourcing, no outsourcing,no exceptions. The company machines its own parts to exact tolerances whenever possible, and uses the very latest surface mount technology for zero defects all the time, every time.



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a blindingly powerful DSP engine that gives these consoles incredibly rich features, such as built-in upmixing and downmixing between stereo and 5.1 surround sources along with a full complement of stereo and 5.1 surround panning controls.

Best of all, Wheatstone digital control surfaces are part of the Wheatstone studio architecture that includes routing, processing, and a vast network of resources, capabilities, and studio intelligence.

The Architecture For Routing Intelligence While Wheatstone consoles have evolved to handle tight spaces and venues large and small, the true driving force behind studio productivity today is the architecture that underpins Wheatstone digital consoles.

Wheatstone studio architecture includes routing such as its audio-over-IP WheatNet-IP

Intelligent Network and TDM Bridge routing as well as processing modules, rack utilities, and even software applications. Wheatstone audio drivers, for example, offer 24-bit processing at selectable audio sampling rates (complete with 64 bi-directional soft logic elements) for a huge jump in studio sound quality.

The Wheatstone studio architecture includes all manner and variation of mixing, routing, processing, and utilities – even utility mixers in AoIP access units – that can be located

anywhere along the studio path for shaping sound, controlling devices, and channelling audio. Even MADI access units

can be added to the WheatNet-IP architecture to link in existing MADI gear and to provide a communication path between IP routing systems in the radio studio and existing TDM Bridge routers in television studios, for example. Likewise, newer IP routing applications are blurring studio boundaries, such as Wheatstone’s Glass-E virtual mixer interface for laptop control of Wheatstone consoles from any offsite location with wireless access.

In fact, the WheatNet-IP Intelligent Network for radio operations is the only audio router of its kind to distribute system awareness to all of its access points. This means that every BLADE access unit has intelligence built in so that sources, devices, PCs, and control surfaces share command and control across the whole network. Because the WheatNet-IP system distributes intelligence to all BLADEs throughout the

network, routing is more dynamic

and devices are always communicating about command and control, not just streaming audio between them. This is why operators sitting at a playout or automation PC networked by WheatNet-IP can bring audio up on a console channel, turn the channel on, pot up the fader, and then turn the channel off when it’s through… all done remotely and from one seat. Moreover, the WheatNet-IP Intelligent Network integrates easily with automation systems, loggers, codecs, and other third-party devices and sources by way of Wheatstone’s Automation Control Interface (ACI). Wheatstone partners with a wide variety of third-party providers of automation systems, audio playout systems, audio processors, and other equipment for a fully integrated studio solution.

Overall, the Wheatstone studio is the most complete audio infrastructure available to audio engineers with all studio activity handled through one common system interface, from audio routing, metering, and levelling to mixing

control, logic control, and audio processing.

Wheatstonet +1 252 638 7000

e [email protected]

w www.wheatstone.com

D-5.2 Digital Audio Television Console.

A popular surface for fast-paced live television or other environments in which changes happen on the fl y, the D-5.2 puts all controls and indicators within easy reach. This digital console offers seven alpha displays on each input fader strip for quick visual feedback and has more than enough IFB capability, with all the mix-minuses and tools needed for live, time-sensitive event coverage.

New LX-24 Modular Console.

The LX-24 is an entirely new digital console design for radio operation, combining a sleek, low-profi le, high-tech look with superior ergonomics. Featuring smooth Penny & Giles long-throw faders, high-resolution metering, positive-action switches with LED lighting and laser-engraving, and fully modular construction, this console has it all. The LX-24 is designed specifi cally for use with the WheatNet-IP Intelligent Network.

BLADE Routing Access Units.

There’s a lot of technology, engineering, and power inside this sleek, all-metal housing used to connect radio studios and Wheatstone control surfaces in the WheatNet-IP Intelligent Network. Each of these access units, or BLADEs, communicates at lightning speed across the network via gigabit interface, and includes logic control, utility mixers, and a dedicated controller that gives it its own intelligence. Each BLADE holds the entire brain trust of the studio operation for exceptional redundancy and scalability.

in AoIP access units – that can be located anywhere along the studio path for


applications. Wheatstone audio drivers, for example, offer 24-bit processing at D-5.2 Digital Audio Television Console.

Wheatstone studio architecture includes routing such as its audio-over-IP WheatNet-IP network, routing is more dynamic

Overall, the Wheatstone studio is the most complete audio infrastructure available to audio engineers with all studio activity handled through one common system interface, from audio routing, metering, and levelling to mixing

control, logic control, and audio processing.

Wheatstonet +1 252 638 7000

e [email protected]

New LX-24 Modular Console.

console design for radio operation, combining a sleek, low-profi le, high-tech look with superior ergonomics. Featuring smooth Penny & Giles long-throw faders, high-resolution metering, positive-action switches with LED lighting and laser-engraving, and fully modular construction, this console has it all. The LX-24 is designed specifi cally for use with the WheatNet-IP Intelligent Network.

46+ + + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + +


Combining an ergonomic user interface with elegant, contemporary design, the CL series comprises the CL1, CL3, and CL5. These are complemented by a pair of accompanying I/O racks, the Rio3224-D and Rio1608-D. Linked by built-in Dante networking, the CL system is exceptionally fl exible and scalable.

Ranging in capacity from 48 to 72 mono, plus eight stereo, inputs per CL series console, all feature 16 DCAs, 24 mix and eight matrix busses, as well as stereo and mono output busses. Three Yamaha MY card slots feature on the rear panel of all the mixers, maintaining compatibility with every existing audio format as well as newer cards like the MY8-Lake speaker processing card and the MY16-Dugan auto mixing card.

The card slots also allow for other Yamaha digital consoles to be incorporated into the Dante network and for additional I/O alongside

the consoles’ onboard eight mic inputs and eight line outputs. The Rio3224-D also includes four stereo AES-EBU outputs, keeping signals in the digital domain right through to the amplifi er.

A scalable system is easily constructed by simultaneously attaching up to eight I/O racks via Dante, providing up to 256 input sources. Rio units and CL consoles can be placed anywhere on the Dante network, meaning that remarkable fl exibility is possible, while pairs of CL series consoles can also be cascaded to handle larger mixing requirements.

Critically, Yamaha’s Auto Gain Compensation feature means that multiple consoles can

share the inputs from one set of I/O racks without any fear of unexpected level changes. With the new Dante 32-bit mode of operation, gain compensation can be provided without audibly affecting the dynamic range.

Sonic InnovationOne of the most talked about aspects of the CL

series is the remarkable audio quality and sound shaping features. As well as featuring newly-designed mic pre-amps and delays on every input channel and output port, the CL Effects Rack provides the equivalent of eight SPX2000 effects processors, along with a range of VCM EQs and dynamics, while two further virtual racks provide access to up to 32 channels of graphic EQs.

But probably the most exciting sonic innovation is the Premium Rack, which provides extremely high quality dynamic processors and EQs. Here Yamaha has collaborated closely with Rupert Neve to incorporate the highly acclaimed Portico 5033 EQ and 5043 Compressor as key, standard elements.

“For the fi rst time we have the capability of bringing Rupert Neve sound into the live audio fi eld, entirely due to Yamaha VCM technology. I believe that it is indistinguishable from the original analogue sound,” says Neve.

2012 was a landmark year for Yamaha with the introduction of the CL series digital mixing system. Bringing unprecedented levels of fl exibility, reliability and audio quality to both live and installed audio applications, it has truly captured the imagination of the professional sound industry.

CL Series Captures The Imagination

+ + + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + +

The CL series is also making major inroads into the corporate market, such as with Manchester-based Sterling Event Group.


CL5s were used at four Polish stadiums during UEFA Euro 2012.


+ + + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + + Y A M A H A + + + +


British Halls, Polish Stadiums, Swiss Lakes, Italian Castles, French Theatres,

Spanish Studios, German Streets…

Despite only being launched in the spring of 2012, the CL series has already been adopted by a large number of rental companies throughout Europe and used on a remarkable variety of events.

Perhaps the highest profi le of these was at the globally-televised UEFA Euro 2012 football championships in Poland. A CL5 was located pitchside in each of four stadiums for pre-and post-match entertainment and stadium announcements, as well as for the full opening ceremony.

A six week open air run of Tell Das Musical saw a pair of CL5s solving complex delay panning issues on a huge, open air stage with Switzerland’s Walensee as a dramatic backdrop, while the 600 year old castle that dominates the Italian city of Gaeta played host to another, mixing front of house and monitors at the Jazz al Castello Aragonese festival.

As well as featuring at three of Spain’s biggest festivals – Benicassim, Rock In Rio Madrid, and Cadena 100 – CL5s are also a key feature of broadcasting El Hormiguero, one of the country’s most popular primetime television programmes. They have also been used at London’s Royal Albert Hall and a wide range of UK events.

And it’s not just the CL5 that is the new ‘must have’ console for bigger events – CL3s have been specifi ed for church and theatre installations, while two CL1s brought all the facilities of their bigger brothers within fi nancial and practical reach of small-budget touring for former Pulp guitarist Richard Hawley – in the process earning front of house engineer Mike Timm a round of applause from the audience at Paris’s La Cigalle.

But perhaps one of the biggest challenges to be tackled so far has been at the Tag der Deutschen Einheit festival in Munich, where one CL5 was tasked with mixing the front of house and monitor sound for no less than nine different stages along the length of the city’s 1.3km Ludwigstrasse – all at the same time. It was a tough test that the CL system passed with fl ying colours.

Yamaha Corporation 10-1 Nakazawa-cho Hamamatsu

P.O. Box 1, Shizuoka, Japan

t +81 53 460 1111

Yamaha Commercial Audio Systems, Inc. 6600 Orangethorpe Avenue

Buena Park, CA 90620, USA

t +1 714 522 9011

Yamaha Music Europe GmbH Siemensstraße 22-34

25462 Rellingen, Germany

t +49 4101 3030

w www.yamahacommercialaudio.com


Gear Of The Year

The success of the CL series, and its popularity with sound engineers, has seen it deservingly awarded the accolade of Audio Media ‘Gear of the Year’.

“Yamaha pioneered the live digital console, which has most defi nitely come of age. We’re way past the whizz-bang and into the age of refi nement. Yamaha is explicit in addressing the remaining big concerns with this new generation – reliability, standardised networking, cross-product compatibility, and well-designed control options,” says Audio Media editor Paul Mac.

“We are very pleased about Audio Media’s recognition of the CL series,” responds Karl Christmas, Senior Manager at Yamaha Commercial Audio UK. “We have led digital mixing for over 25 years and, over the past few years, we were constantly asked about what our next major development would be. We fi rmly believed that the CL series would be a game-changer and it is tremendously rewarding to see how completely the professional audio industry has embraced it.”

Software SuccessOf course, offl ine editing is a fundamental feature. CL Editor is a standalone online/offl ine editor which

runs on both Macs and Windows PCs, while a new version of StageMix for iPad offers comprehensive wireless remote control and includes features like channel naming, DCA fader control, and tap tempo. Yamaha’s File Converter software has also been upgraded to allow straightforward exchange of console fi les between the CL series, PM5D, M7CL, and LS9.

Another signifi cant piece of software is Steinberg Nuendo Live*, which has been designed specifi cally for live recording applications and includes unique features not

found in any other live recording software. When combined with Audinate’s Dante Virtual Soundcard*, engineers can easily use the Dante network to record up to 64 tracks of audio to either a Mac or Windows PC. Stereo recordings can also be done via a convenient two track USB recording/playback function.

* A copy of Nuendo Live and Dante Virtual Soundcard is included with every CL series console.

Tell Das Musical.


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Yamaha CL5s on primetime Spanish TV show El Hormiguero.


4848 CONSOLE MANUFACTURERS DIRECTORY

ADT AUDIO SYSTEMS

ADT offers a range of modular mixing consoles and processing modules for the pro industry, claiming ‘the very highest level of sonic and build quality’ at a reasonable price.www.adt-audio.com

AEQ

Manufacturing for the broadcast industry for over 25 years from its Madrid HQ, top quality AEQ products including the Phoenix Studio Codec and Titan router are used by audio pros around the world.www.aeqbroadcast.com

ALESIS

Established in 1980, Alesis was founded on innovative semi-conductor chip technology that brought hi-end products to entry-level musicians and recording artists. Today Alesis remains committed to delivering innovative and inspiring pro gear to all audio levels, including the MultiMix range of mixers. www.alesis.com

ALLEN & HEATH

A UK-based company, Allen & Heath has been building mixers for 40 years and remains passionate about its consoles, each of which has a ‘uniquely fabulous’ sound. Makers of the XB-14, Zed and GL series mixers, Allen & Heath has a reputation for keeping its customers happy. www.allen-heath.co.uk

ALTO PROFESSIONAL

A relatively new Taiwanese brand launched in 2000, but a fast grower and accumulator of positive market feedback, ALTO has built a complete product line-up to meet the growing needs of audio pros

that includes the Lynx and AMX Series of mixers.www.altoproaudio.com

AMS NEVE

AMS Neve boasts an enviable reputation, with its uncompromising recording and mixing equipment used in countless top-name productions. The Genesys and DFC Gemini are just two consoles that have epitomised the pinnacle of AMS Neve’s award-winning achievements over its 40 years. www.ams-neve.com

APB-DYNASONICS

Designing and manufacturing its Spectra series analogue consoles in New Jersey since 2004, APB-DynaSonics has come to receive recent critical acclaim. It now has a solid range of new mix products.www.apb-dynasonics.com

API

(AUDIO PROCESSES INC.)

API launched in 1968 and became known for its 2520 amplifi er, which still forms the heart of all its discrete products. It now has over 700 API consoles around the world, and forms part of the ATI group. www.apiaudio.com

AUDIENT

Audient was formed in 1997, with its founders setting the performance standard of mixing consoles in the 80s and 90s. Its new Zen console looks to follow this lead, being named as one of the top 20 hits at AES NY 09. www.audient.co.uk

AUDIO & DESIGN

Audio & Design was successful with its range of transistor-designed limiters and

compressors in the 1970s, but has today evolved to become one of the major consultants and installers for the broadcast market. www.proaudio.uk.com

AUDIO DEVELOPMENTS

A leading manufacturer of portable audio mixers, Audio Developments has been established for over 35 years and has supplied mixers to every continent in the world. www.audio.co.uk

AUDIONICS

Founded in 1987 In Yorkshire, England, Audionics initially designed and built products for its own Yorkshire Radio Network. With its skills growing in demand by outside customers, Audionics has built up a reputation as an innovative and practical broadcast manufacturer. www.audionics.co.uk

AVID

Avid (Digidesign) solutions can be found at the heart of most studios around the world, not least through its ubiquitous ProTools. There’s much more to Digi though, and ICON and VENUE represent the company at the fore of the consoles market. Avid acquired Euphonix in mid 2010.www.digidesign.com

AXEL TECHNOLOGY

An Italian broadcast solutions company founded in 1996, Axel’s client list includes Deutsche Telekom Germany, Virgin Radio Italy, and Radiotelevisione Italiana. www.axeltechnology.com

AXIA AUDIO

Axia is the studio audio division of Telos Systems, specialising in digital audio routing, mixing, and distribution systems. Its modular Element is a popular console, with fully mixable, matchable, and combinable components for individuality. www.axiaaudio.com

BEHRINGER

Founded 20 years ago because Uli Behringer couldn’t afford good equipment to become a sound engineer, Behringer’s aim today is to offer the best equipment at fair prices. Its range covers everything from mixers to instruments. www.behringer.com

CADAC ELECTRONICS

Cadac consoles, manufactured in the UK, are famous for their use in large-scale musicals, but have in previous years been renowned for studio use. The company specialises in live sound mixing consoles such as the S-Type and X16.www.cadac-sound.com

CALREC

Calrec’s focus has been on broadcast audio mixing consoles since 1971, although has been manufacturing high-quality audio products since 1964. Its well-respected consoles today include the Apollo, Alpha, X2, Bluefi n, and S2. www.calrec.com

DATEQ

DATEQ was started in the 1970s with production of audio equipment for DJs and pro end users; and today the company’s mixers are still aimed squarely at broadcast and disco markets. www.dateq.nl

CLYDE BROADCAST

Clyde Broadcast is a radio specialist, operating as a manufacturer, consultant, and system integrator for the industry’s radio stations big and small. www.clydebroadcast.com

CREST AUDIO

Founded in the 1970s producing amplifi ers for tours, Crest Audio has expanded and since 1989 has been producing consoles alongside many other products designed ‘to address every aspect of installation confi guration and control’. www.crestaudio.com

DEVIL TECHNOLOGIES

Founded as recently as 2005 and building on talent and high-standards, Devil has recently introduced the DRT-101, an advanced DAW control surface that the company describes as the fi rst building block in its networkable digital environment. www.deviltechnologies.net

DHD

With technologies especially adapted for radio and TV broadcasting studios, DHD’s focus is digital broadcast mixing and routing systems that include the RM4200D, and 52/MX and RX. www.dhd-audio.de

Console Manufacturers Directory

come to receive recent critical AVID

Avid

Cadac consoles, manufactured in the UK, are famous for their

49>


48 CONSOLE MANUFACTURERS DIRECTORY THE INTERNATIONAL CONSOLE BUYER’S GUIDE 49

DIGICO

Some might claim DiGiCo as a bit of a pioneer, and this was certainly the case when the company launched its D5 Live system that re-aligned the expectations of digital consoles. Its latest consoles include the SD8 and SD9. www.digiconsoles.com

D&R ELECTRONICA

Coming from a pop star background, Duco de Rijk and Ronnie Goene built their fi rst tube mixing console in 1972, and in 1973, D&R was offi cially founded. Based in Weesp, D&R’s approach is informal and customer-centric. www.d-r.nl

EELA AUDIO

EELA has been developing products for the radio broadcast industry for the past 30 years, and prides itself in taking an individual approach to each customer. www.eela-audio.com

EQUIPSON

Equipson is based in Spain, and its range includes the Digiline 8, XP 20 PRO, and WEF 1010.www.equipson.es

FAIRLIGHT

Based in Australia and one of the oldest digital pioneers, Fairlight is now taking initiatives in forward-looking green technology in its manufacture of high-quality consoles such as the Constellation and Xynergy. www.fairlightau.com

FBT ELECTRONICA

Musically-orientated, FBT is an Italian manufacturer that has been around for over 45 years and claims to be one of the few manufacturers whose products, such as the new Formula mixer, are entirely made in its home country.www.fbt.it

FOCUSRITE

Focusrite was established in 1985, and today produces a range of products for the audio pro including the Focusrite Control 2802, a combined small-format analogue recording console and a DAW control surface.www.focusrite.com

FORMULA SOUND

Started by the Cockell husband-and-wife team in the late 1970s, Formula Sound has since grown and won numerous awards for its technologies. Its ‘reputation outstrips its actual size in manufacturing terms’ – a sentiment that refl ects the company’s personal ethos. www.formula-sound.co.uk

FOSTEX

Founded in 1973 by the earlier developer of EOM speaker and transducer products, Foster Electric Co., the Fostex Company fi rst built high quality speaker components. Today, the company distributes its products including the LR16 and LM16 mixers in over 50 territories worldwide.www.fostex.jp

HARRISON CONSOLES

Harrison’s fi rst console was delivered in 1975, and to date over 1,500 have since been installed. The PP-1 became the ‘Hollywood standard’ for modern fi lm console designs in 1979, although its current fl agship is the MPC4-D.www.glw.com

INNOVASON

Launched in 1993 by two brothers, InnovaSON is an acronym from French that means ‘Innovative Sound’. Focused on SR applications, the company designs all-digital consoles such as the Eclipse and Sy48. www.innovason.com

QPHONICS

Describing itself as a ‘technological trailblazer’, QPhonics (formerly Klotz Digital) was formed in 1990 with a high-customer service philosophy that continues to this day with products including the Xenon and Vadis D.C.II consoles. www.klotz-digital.com

LAFONT AUDIO LABS

French Designer Jean-Pierre Lafont gave his name to the high-quality audio company over 20 years ago; the current product line-up includes the Panoramix and FTC84 consoles.www.lafontaudio.com

LAWO

Based in Germany, Lawo was founded in 1970 as an engineer’s offi ce for electronic equipment and later began manufacturing mixing consoles. It now has fi ve subsidiaries around the world, and its consoles include the respected mc290, mc266, and mc256.www.lawo.de

LOGITEK ELECTRONIC

SYSTEMS

Manufacturers of the Mosaic and Remora consoles, Logitek designs and develops its products in-house using local manufacturers based around

Houston, Texas. CBS, NBC, and The Disney Channel, as well as Sony and Warner Bros. use Logitek systems. www.logitekaudio.com

LOLA AUDIO

Lola Audio is the leading Yugoslav fi rm in the AV media fi eld, and for over 25 years has been producing modular audio mixing consoles among other hi-tech products. www.lolaudio.com

M AUDIO

ProjectMix I/O, Torq Xponent, and X-Session Pro form the console sector of M-Audio’s product range. www.m-audio.com

MACKIE

Mackie is part of the LOUD Technologies family of brands, whose logo reads ‘Small footprints, big features, great sound’, and this is epitomised by the Onyx and VLZ3 Series.www.mackie.com

MANDOZZI

Located in the sunny Swiss corner of Ticino, Mandozzi Electronics was founded in 1965. Its user-friendly GMIX and Serix mixers form the console backbone of its range. www.mandozzi.ch

MEDIA ENGINEERING

Founded in 1987 and based in Switzerland, Media Engineering has since 2001 concentrated its efforts on developing pro audio products. Memix is its modular analogue mixing console, designed to be used in radio and production studios. www.mediaengineering.com/

MIDAS

Midas consoles are amongst the most popular in the market, and have been found in live applications around the world since the 1970s. Its current console line-up includes the XL8 and the new PRO2.www.midasconsoles.com

OTARI

Although its European branch has closed, Otari is still producing out of Japan as it has for over 40 years, and distributing worldwide. Its consoles include the DB-10 and DB-32.www.otari.com

PEAVEY

The PV, FX, and XR Series of consoles are among Peavey’s SR line-up that is produced out of Corby in Northamptonshire, UK. www.peavey.com

PHONIC CORPORATION

Phonic is a real customer-centric company; its mixers include the AM, Helix, and Impact Series.www.phonic.com

PRESONUS

PreSonus has come far since the days of trading from Jim Odom’s garage in 1995. Highlights of its path are the DigiMax and FireStudio; while today its products include the StudioLive 16.4.2 digital console. www.presonus.com

Console Manufacturers Directory

50 >

50 CONSOLE MANUFACTURERS DIRECTORY

PROFESSIONAL SOUND CORP

1986 was the year PSC was born, and based in Valencia, USA, the company’s range includes the Solica mixer. www.professionalsound.com

PUBLISON SYSTEMS

Publison designs and manufactures integrated post production systems, whose products include the Edimix II and Prod’Mix. www.publison.fr

RAINDIRK AUDIO

Raindirk’s fi rst console created by Cyril Jones was sold to Kingsway Studios back in 1972. Today’s rm4 modular series means a full console can be created using Raindirk components, while the company also supports Helios desks. www.raindirk.com

RAMI

The Compact II and RP 2000S are two of Rami’s French-made broadcasting consoles, among a range of other pro audio products. www.ramiaudio.com

ROLAND SYSTEMS GROUP

Roland Systems Group is a forward-looking company whose breakthrough V-Mixing system (combined digital snake and mixing console) is still building its fan base, now with several options in both mixing and snake departments. Among its most recent releases is the M480 live mixing console, the fl agship of the V-Mixing system.www.rolandsystemsgroup.co.uk

RUPERT NEVE DESIGNS

Rupert Neve, founder of the company that bears his name, has a discriminating career in audio spanning 80 years. A brand that implies excellence, the 5088 is Neve’s fl agship console. www.rupertneve.com

SAMSON AUDIO

Starting out designing wireless mics, and now with three brands under the Samson banner; 26 years has led to a huge range of products including the L-Series consoles. www.samsontech.com

SEEMIX SOUND

Seemix is a Norwegian company founded in 2001, whose offerings include the Seeport and Seelect mixers.www.seemix.no

SMART AV

Smart’s respected consoles include the Tango and Smart Professional Series, designed for the most demanding applications using ARC and MonARC technology. www.smartav.net

SOLID STATE LOGIC

SSL has had a long and note-worthy history since its formation in 1977, which via the Axiom, Aysis, XLogic, and C-Series, has led to today’s popular Matrix, Duende, and Duality consoles. www.solid-state-logic.com

SONIFEX

Sonifex began as a family company back in 1969, which today boasts that over 90% of British radio broadcast studios have used Sonifex products in the past. The S1 and s@ are the company’s current broadcast mixers. www.sonifex.co.uk

SONOSAX

Swiss Sonosax brought its fi rst mixing console to market in 1980, the Sonosax SX-B. The new addition to the Sonosax range is the just-released SX-ES64.www.sonosax.ch

SOUNDCRAFT

A Harman company, Soundcraft made its mark in the early 1970s with the Series 1, the fi rst mixing console in a fl ight case. It remains a dedicated pro mixing console designer and manufacturer with consoles including the Si1-3, Vi4 and 6, Live 8, Ghost LE, and EFX. www.soundcraft.co.uk

SPECK ELECTRONICS

Speck’s LiLo is not a conventional mixer, but rather designed with minimalist ideals perfected for routing and blending external gear and DAW. www.speck.com

STAGETEC

The Cantus was Stagetec’s fi rst digital console, a success of the 1990s; although today the Aurus is taking the crown as Stagetec’s fi rst class mixing console.www.stagetec.com

STUDER

Since 1948, the name of Studer has become synonymous with broadcasting and recording equipment. Its product range, which includes the OnAir and Vista lines, is totally designed in Switzerland. www.studer.ch

TAPCO

Based in WA, USA, Tapo creates mixers for recording and live sound (the Blend Series), as well as compact and ultra-compact mixers in the Mix. range. www.tapcoworld.com

TASCAM/TEAC

PROFESSIONAL

Tascam/TEAC products deliver to the whole spectrum of musicians and engineers, from the hobbyist to pro. Headquartered in Japan and founded in 1953, its consoles today include the DM-3200, DM-4800, and M-164 (plus FX and UF derivatives). www.tascam.com

TL AUDIO

TL Audio began in the 1990s, restoring and re-selling vintage equipment, and discovered a hole in the market for new, affordable, valve products – spawning the ‘Classic’ range. The M1-F, VTC, and M4 are consoles based on tube technology.www.tlaudio.co.uk

TOFT AUDIO DESIGNS

American-based Toft Audio produces the ATB analogue mixers, a platform that is continuously being developed under the guiding hand of Malcolm Toft. www.toftaudiodesigns.com

TONELUX

Paul Wolff in Vegas is the mastermind behind Tonelux’s range of audio gear, including the models 3, 4, 5, and 6 rack consoles, and the Tonelux Universal Console Series. www.tonelux.com

TRIDENT AUDIO

Malcolm Toft and Barry Porter developed their fi rst console, the A Range, for use at Trident Recording Studios in the 1970s. Trident is now designing and manufacturing new ideas under the PMI fl ag. www.tridentaudio.co.uk

WHEATSTONE CORPORATION

Founded in the 1970s, Wheatstone is a world supplier of radio and television audio equipment, including analogue and digital mixing consoles, digital signal processing, and networked audio systems – all designed and manufactured in New Bern, NC, USA under the Wheatstone and Audioarts Engineering brand names.www.wheatstone.com

YAMAHA

Yamaha’s is a long and wide-reaching story, and similarly, it produces mixers for just about every fi eld of audio. The PM5D and LS9 are just two of these many.www.yamahacommercialaudio.

com

company founded in 2001, whose offerings include the Seeport and Seelect mixers.

Smart’s respected consoles include the Tango and Smart

SOUNDCRAFT www.studer.ch

TAPCO

Based in WA, USA, Tapo creates mixers for recording and live sound (the Blend Series), as well as compact and ultra-compact mixers in the Mix. range. www.tapcoworld.com

engineers, from the hobbyist

Japan and founded in 1953,

51TELEVISIONTELEVISION

the finest audio for broadcast

Wheatstone television audio consoles have long been the choice of top broadcasters.

Designed and built completely in our USA facility, our consoles utilize ultra-modern state-of-the-

art manufacturing techniques to ensure the absolute highest performance, crafted to the closest

tolerances. The fit and finish of a Wheatstone console is simply unsurpassed.

Operation is future-proof. Using our modular designs, Wheatstone consoles are network-based for

extreme flexibility in configuring your studios. Our decades-proven Bridge TDM Network and Gibraltar

Mix engine ensures exceptional processing power and full functionality for total access, control and

interface wherever you need it. And our technology partnerships with automation, hardware and

software manufacturers ensure fully compatible integration with your current studio.

Live television consoles have evolved…Wheatstone is leading the way.

phone +1 252.638-7000 | wheatstone.com | [email protected]

A U D I O F O R T E L E V I S I O N . E V O L V E D .

Pictured: Wheatstone’s D-5.2 console, built for a major US sports producerPictured: Wheatstone’s D-5.2 console, built for a major US sports producerPictured: Wheatstone’s D-5.2 console, built for a major US sports producer

52SD5 Main Features:

124 Input Channels

56 Configurable Busses Plus Master Buss

24 x 24 Matrix

24 Dynamic Equalizers

24 DiGiTuBes

24 Multiband Compressors

24 Digital FX

32 Graphic Equalizers

Multi Channel Folding

8x AES/EBU I/O (mono)

The All New SD5. A Real Crowd Pleaser.A decade after the launch of the D5 Live, DiGiCo launches its newest Control Mixing Surface, the SD5. As you would expect, the SD5 fits snugly into the D5’s shoes, but benefits from the advancements made possible by DiGiCo’s proprietary Stealth Digital Processing™.

Featuring a low noise, heat dissipation worksurface benefiting from Hidden-til-lit (HTL) technology, its five digitally driven full colour TFT LCD screens, three of which are touch sensitive, have a new configuration that allows easy access to single or multiple users. There are also two interactive dynamic metering displays (IDM) and quick access buttons are positioned down the left side of the channel screens for fast and easy navigation.

Incorporating the master screen into the worksurface design has allowed for complete user feedback, but maintained a lower profile meter bridge. This still allows clear visibility of those on stage for the user, with everything in close reach to the mix position.

The SD5’s superior headroom, dynamic range and audio quality are of paramount importance and its feature set surpasses any other console in its class.

The Brand New all SInging & All Dancing, SD5 Digital Console. Shipping Now.

www.digico.biz/sd5DiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600

SD5 Audiomedia 3-10-12.indd 1 3/10/12 12:24:12

Audio media audio consoles guide 2013

Technology

Transcript of Audio media audio consoles guide 2013