STAGESBROADCAST, THEATRE, FILM AND MORE

No.17 I 2014 I ENGLISH

ON AIR flexThe Individual Broadcast Solution

oratis compact Compact Communication Giant

POLARIS evolutionThe First Fully PersonalisedNetwork Mixing Console

© 2

013

FFJM

- Vi

ncen

t Bai

lly

U1_U4_EN.indd 1 25.02.14 15:18

The Cover PhotoWhen multi-talented Wyclef Jean* takes the stage, an intoxicating musical experience is assured. A snapshot of his performance during the 47th Montreux Jazz Festival can be seen on our cover — and can be heard as high-quality archive recording. RTS (Radio Télévision Suisse) has been undertaking this archive recording of the Montreux Jazz Festival, on behalf of the festival management, since 2013. A compound of several OB vehicles and a control room container, most of them equipped with STAGETEC components, ensure seamless recording of all three stages. Kilometres of multi-core fibre-optic cable distribute all signals around the compound. A major advantage for AURUS and NEXUS, which feature native support for this cabling scheme.Yannick Dumartineix, head of the studios and OB vehicles at RTS: “Our STAGETEC sound control rooms are skilled in every discipline and genre. Here in Montreux, what we need most of all is high quality audio, which is enhanced by operating at a sampling rate of 96 KHz.” That’s why STAGETEC equipment is instrumental in maximising the quality of the recordings.The 48th Montreux Jazz Festival will take place from the 4th to the 19th July 2014 at Lake Geneva in Switzerland, and again will be recorded with the help of RTS and their STAGETEC OB vehicles.

* Our cover photo shows Wyclef Jean on 6th of July 2013 at the

Auditorium Stravinski during the 47 th Montreux Jazz Festival.

Five new MEDIAGROUP product families were introduced, almost simultaneously — for the first time ever in the history of the group! The explosion of innovations affects all relevant markets, from stage manager technology to intercom systems and Dante network converters to the core areas of mixing console technology and audio routers. And we are introducing groundbreaking achievements in all categories! In this issue of STAGES you can discover how mixing console technology will develop in the coming years, how large audio

networks can be designed intelligently and IP networking integrated into conventional audio installations. As always, our technology guarantees user-friendliness, the finest audio quality and future-proof perfection.We have also made progress in other areas apart from technology. Our team has grown yet again, become younger and even more international. To mark this occasion, we decided to ask the people who are dedicated to new products, exciting projects and in-depth know-how to share their views in this issue of STAGES.

INNOVATIONS ALL ROUND

STAGETEC Entwicklungsgesellschaft board of management

Dr. Helmut Jahne Dipl. Ing. Wolfgang Salzbrenner Dipl. Inf. René Harder

Inside STAGES:

Publisher: STAGETEC Entwicklungsgesellschaft für professionelle Audiotechnik mbH, Tabbertstrasse10, D-12459 Berlin, Germany

Editorial: Medientechnik Presseservice, Cologne, Germany

English: Rob James, Aldwick, UK

Design, Typesetting: art & craft [design worx], Cologne, Germany

Printing: Weigang-Media, Ebern, Germany

Photography:

Cover and p. 2: © Vincent Bailly - www.baily-photo.ch; p. 3: Christoph Lieck, Cologne; p. 4: top, p. 17: iStock.com/Stage_Tec; p. 8, p. 12: Erik Bohr, Berlin; p. 16: Peter Weigelt Photography, Buttenheim; p. 21: Sebastian Reimold, Darmstadt; p. 22: Kevin Berne, 05.11.2013; p. 23: Sergey Kleptcha, Berlin;

Arno Schünemann, Berlin; Jahreiss Kommunikation Foto Film, Hohenberg; Fotoarchiv der SALZBRENNER STAGETEC MEDIAGROUP

Yannick Dumartineix (right), head of

RTS studios and OB vehicles, and

Bertrand Siffert, chief sound

engineer in the HD 1, during the

47 th Montreux Jazz Festival

04 News

06 As You Wish ON AIR flex: The individual broadcast solution

09 The Browser as a Gateway Interview with René Harder about ON AIR flex

10 “The next train on platform 1 goes to ...” DELEC NAM and Dante Networks for Sydney‘s railway platforms

12 A new Dimension in Routing Technology NEXUS XRT: The new audio router reference — 8k on a single card

14 A True Networker POLARIS evolution: The first fully personalised Network Mixing Console

17 Sports Summit STAGETEC and DELEC installations take the lead in Sochi

18 Advanced Logic Sophisticated logic programming for NEXUS

20 Compact Communication Giant The new DELEC intercom system oratis compact

22 Getting it Right POLARIS touch for the US Musical Side Show

23 World View Our branch managers talk about the variety of new products

TABLE OF CONTENTS

Additional information for selected articles is available at: stages.stagetec.com

NEWS

Change in top management

Dr. Klaus-Peter Scholz, a founder and pioneer of STAGETEC Entwicklungsgesellschaft in Berlin, retired on 31st October 2013. Dr. Scholz has shaped the company's image and for many years, with his profound knowledge of digital audio technology, acted as the interface between development and sales. In this role, he also supported clients during new installations, commissioning and technical consulting on site. He commented on one great experience with these words: “I was even able to accept an Emmy in Los Angeles, on behalf of STAGETEC! I am proud to have contributed my share to the company’s success — and I look back fondly at all the many great times I've had with our clients, be it at the initial planning meetings or the final opening ceremony of a new installation.”René Harder, as the new vice president, is now responsible for this area. He began his career at STAGETEC as a developer in 2003, and later became Assistant Manager, giving him the opportunity to become familiar with his new field of operation.

LET'S KICK OFF!Brazil and football — the two are virtually synonymous, and especially so in 2014! For the

second time in the history of the World Cup, the football crazy South American country

is hosting the competition for the trophy.

It's an international media spectacle with fantastic ratings at home, too. The Brazilian broadcasters have equipped themselves with new technology from MEDIAGROUP to meet this challenge. Among the recent installations are two outdoor broadcast vans affiliated to broadcaster Globo, which is readying its stations Rede Bahia in Salvador, State of Bahia, and EPTV in Campinas, São Paulo State, for the World Cup broadcasting marathon and Brazil national football leagues. São Paulo Arena will host five additional matches after the opening match — a big commitment for the Globo Group. The sound facilities of the vehicles feature an AURATUS in one and a CRESCENDO in the other. When a football match is to be broadcast, the two companion NEXUS audio networks and portable Base Devices can be deployed at the edge of the pitch and in the commentary booth. The EPTV OB vehicle has also been equipped with DELEC intercom systems. The decision was made to go with the new oratis compact product line, which connects to the respective NEXUS communication system via Dante. Despite four weeks of World Cup fever, coverage of other events will continue, principally the concerts so popular in Brazil: The Bahia OB van was designed specifically with music recordings in mind. In the summer of 2013 a large-scale DELEC intercom system and STAGETEC audio technology was installed at SBT in São Paulo. The two Globo affiliated OB vans are therefore the second major broadcast installation by ASPA STAGETEC BRASIL.

Football World Cup:

44

NEWS

VIVACE in Minsk

The Belarusian national theatre in Minsk, named after the national poet Janka Kupala, is considered to be one of the outstanding theatres in Eastern Europe. The years had not been kind to the 124 year-old building, which is why the Janka Kupala Theatre has been subjected to major restoration work, during the course of which it was also equipped with new audio technology from SALZBRENNER STAGETEC MEDIAGROUP, just like its Russian counterparts.In addition to STAGETEC AURUS and AURATUS mixing consoles and a large NEXUS audio network, in this theatre a noteworthy feature

is the VIVACE acoustics system. The purpose of this installation is to achieve flexible acoustics — keeping the reverberation time short for theatre and optimising the hall for symphonic music and other concert performances — and to play back effects via the system. The VIVACE system at the Janka Theatre even offers the possibility of moving signals in three dimensional space. This function is used to play back pre-recorded sounds for dramatic effect but could also be used for accurate directional sound reinforcement of the actors on stage in the future.

Complete refurbishment of the Tbilisi Opera House

Founded in 1851, the State Academic Theatre of Opera and Ballet in Georgia's capital Tbilisi is considered the leading venue in the Caucasus. Time has taken its toll on the building and equipment, which is why the building is now being completely gutted as part of a full refurbishment and will be equipped with state-of-the-art technology to support future productions. SALZBRENNER STAGETEC MEDIAGROUP is managing the planning, outfitting and installation of all the audio and video equipment. This includes an AURATUS mixing console with NEXUS audio network for sound reinforcement

in the theatre, and an extensive stage management system from the PerformanCeTRL product line. It comprises components from

the oratis intercom series, which provides all the audio functions and extensive logic programming, while MediaControl handles control — a symbiosis which also deals with the cue light signals for the many lights labelled in Georgian characters. A video infrastructure with cameras and

monitor screens complements the stage manager system.

Inspiring INSPIration Stage management desks tend to be stark, mundane affairs, built for function over form. But why not combine innovative functionality with an attractive appearance? MEDIAGROUP answered exactly this

question with the stage management desk INSPIration, created by industrial designer Arno Schünemann. The MEDIAGROUP's creative expert has been honoured with the Gold IF Product Design Award for his mixing console design. And it has lost none of its appeal here: a visual highlight with inner values derived from the established DELEC oratis and MediaControl product lines. INSPIration is ground-breaking in technical terms: IP networks enable a wide range of modules to be integrated. For example, calls can be placed through a Dante network and fed by DELEC NAMs direct to the drive units of the paging speakers. Store & Forward is another useful feature, which caches a message if the target is engaged and plays it back later.INSPIration ensures that all the functions required to run a show are integrated. The intuitive user interface not only enables appropriate key assignments to be made and stored for all keys, for each production, it also permits each stage manager at the theatre to define their own individual assignments. INSPIration also caters for theatres with several stages, ensuring optimum support during performances due to high reliability, extensive redundancy options and hot swap capabilities.

5 5

The ON AIR flex Team

The young STAGETEC specialists Tim Dylla, Stephan Eichler and Bert Münnich are part of the ON AIR flex team in Berlin. They developed the design of the new three part structure in particular. Treva Head, MEDIAGROUP Regional Manager in Australia and not shown on this picture, installed the first ON AIR flex at his customer ABC and provided the development team with first-hand feedback from the field.

STAGES Info

STAGETEC PRODUCT INNOVATION

AS YOU WISH ON AIR flex: The individual broadcast solution

with new three-part structure

A new alternative version of the ON AIR, the smallest of the STAGETEC

mixing consoles, enters a brand new arena. ON AIR flex is positioned

as a small, adaptable broadcast mixing console with limitless freedom

This is not the first time we have discussed the fundamental question, what actually defines a mixing console? After more than 20 years of digital mixing technology many answers have been given. Yet there is still considerable potential for new concepts. Concepts that enable more than was ever thought possible when the first tentative designs, drawing on analogue practice, appeared.Three factors define a mixing console today: the audio processing hardware, the user interface and the control intelligence. The latter connects the first two, determining what audio processing is executed when an encoder is turned, a fader is opened or a button is pressed. The control intelligence also ensures proper feedback, displaying, for example, the level numerically, as the user changes it. In the analogue world these three elements are combined in the mixer itself. Digital design has shifted audio processing away from the console to a 19" rack in the machine room. Now STAGETEC is separating the control intelligence as an individual element too.

The result is ON AIR flex, a compact mixing console that visually resembles an ON AIR 24. But unlike its counterpart, ON AIR flex is much more flexible in configuration.Separating the control intelligence makes the console’s logic independent and accessible from all sides. The three main components of the ON AIR flex, which are the audio processing, the user interface and the control intelligence, communicate intimately

with each other. STAGETEC chose the standard IP protocol for communication. IP brings streamlined cabling and increased freedom of physical location of the individual elements. Ultimately, you could integrate any control input through the control intelligence. As an extreme example, it would be possible to mute the mixing console by pushing the switch on the coffee machine so you can enjoy a break in peace and quiet.Not everything that is feasible is also useful. Our example does show how far reaching the consequences of this separation of the mixing console’s user interface and intelligence can be. Customers can implement the precise control logic they require. It also facilitates combinations, such as loading pre-defined source routing and mixing console channel assignments and parameters to ON AIR flex at the push of a button.

Moreover, the control panel offers the maximum possible flexibility and scalability. Today, consoles may be created from any number of OFAD fader panels, OMON monitor panels and screen-based controls, or any other STAGETEC control module. And there is still so much room for future developments!To edit the control logic, STAGETEC software engineer Bert Münnich developed the MapCfg language to create mixer configurations. MapCfg is based on a relatively easy to learn vocabulary.

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

“... specify your mixing console functionality and logic with a simple text editor!” Bert Münnich

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

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

“Field engineers now have a tool to adapt systems on site

according to customer specifications.” Treva Head

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

6

STAGES Info

ON AIR 24 and ON AIR flex

The new ON AIR flex and the ON AIR 24 which was introduced in 2011, have a lot in common. Both are modular mixing systems whose audio processing is provided by one NEXUS slide-in board, the XCMC. This board calculates up to 40 input channels when configured with eight groups, eight sums, eight auxes and eight mix-minus buses, independent of the number of physical fader strips. Alternatively the XCMC can support up to 54 input channels without groups.The inputs and outputs are available through the NEXUS network which can range from a single Base Device up to a campus-wide audio network.The ON AIR 24 control surface is based on compact control panels with only four faders, enabling the customer to construct very small mixing units. These panels can also be used for ON AIR flex. ON AIR 24 can already be controlled through a software-based touch-screen GUI. However, both the hardware controls and the GUI software are significantly more flexible with ON AIR flex.

STAGETEC PRODUCT INNOVATION

It describes the desired mixer functionality, which is then interpreted. Bert Münnich: “A short orientation is all you need to get started specifying your mixing console functions and logic with a simple text editor!”

Users will find the new possibilities resulting from the free choice of controls particularly intriguing. Each element supporting the control protocol may be integrated into the control interface, and assigned any function. This is true for the ON AIR 24 control modules as well as the screen and touch-screen interfaces. The ON AIR 24 can already be used with an optional touch screen. With ON AIR flex, STAGETEC took a big step forward and implemented an all-new screen-based user interface. Since any web browser can display this virtual interface, operation can be achieved from any point in the network. Again, the operating controls are customisable to a large extent. The basis for this is kind of library of interface elements, which are compiled in the browser interface to exact customer requirements.

The original version of the classical on-air console, the ON AIR 24, was based on the assumption that consistency in appearance would enable non-technical users, for example, a presenter in a self-drive studio, to operate the mixer. It virtually followed the principles of a hard-wired console: Signal paths today are exactly the same tomorrow. Many customers appreciate this but at the same time they also want to define to a large extent what this hard-wiring should look like. This is particularly relevant in international sales, since opinions as to what an on-air mixing console should look like can be very different from country to country. The new concept gives users unprecedented freedom. Customers can acquire a highly customised ON AIR flex from STAGETEC in terms of control logic and appearance.

USER INTERFACE

CONTROL LOGIC

AUDIO DSP

Third Party

Console Hardware

Browser GUI

In ON AIR flex, the audio processing and the user interface are strictly separated from each other and the control intelligence is also split off as an independent element. Together with the new configuration language MapCfg this concept offers the opportunity to define the control logic freely and to include various user interface elements.

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

“We can provide extensive customisation without changing the actual software.”

Stephan Eichler................................................................................................................

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

“Now the browser is an alternative GUI.” Tim Dylla

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

7

A new generation of NEXUS AES/EBU cards

Two new AES/EBU boards were added to the range of NEXUS digital audio interfaces in March 2014. Unlike previous AES/EBU boards, they combine inputs and outputs on one board. This new approach reduces the number of boards needed, particularly for smaller installations where only a few AES/EBU interfaces are required.The standard version XETR offers four AES/EBU I/Os and can be equipped with either XLR or BNC connectors. The new high-density version HXETR is offered as an extremely compact solution for fixed installations and provides eight AES/EBU inputs and outputs on D-sub or RJ45 connectors.

STAGES Info

The First Customer

Over the last few years, ABC in Australia has been one of the STAGETEC customers heavily involved in product development. The ON AIR 24 was premiered at the Australian broadcaster in 2011 and its latest sibling, the ON AIR flex, was developed specifically with the requirements of ABC in mind. Installations have been in operation at ABC's studio in Canberra since October 2013. Treva Head advises ABC on site in Australia. His assessment: “We are now able to map any workflow our customer requires quickly and in great detail with the console configuration. At ABC this means the complex interaction between several control rooms, which may need to be combined in various different ways.”The scope of this initial project is already evident on the basis of the large number of changes STAGETEC Berlin and Treva Head created in Australia: Approximately 2 600 lines of MapCfg code map the many different processes at ABC's studios in the capital.“The strong logic programming behind the consoles works to our advantage. With it we have achieved with a very minimalist install mixer. But in the background the extensive control logic can control very complex processes.”

STAGES Info

STAG

ES IN

TERV

IEW

STAGETEC PRODUCT INNOVATION

Many users also utilise the compact broadcast mixing console in very different settings. In OB trucks for example, trained technicians who are more than familiar with the concept of configurable mixing consoles also use it for minor monitoring tasks or for pre-mixing. ON AIR flex and its new MapCfg script allows not only for a one-time initial configuration, but also reconfiguration to suit various different application situations with different mixer functionality. STAGETEC created the concept, and experienced customers create their own workflow.

Once upon a time, mixing consoles were made-to-measure for demanding tasks — especially in the German broadcast landscape. The customer would choose the exact fader they needed, had a say in how switches and potentiometers were arranged in the channel strip and chose colour of the paint. Digital technology brought standardisation back to mixing consoles because each customisation would have required additional software development. In contrast, ON AIR flex is positioned as an individual broadcast console. This is because the separation of the control intelligence and the new possibility of configuring the control logics makes bespoke consoles possible once more, with unprecedented variety and exciting prospects for the future.

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

“The MapCfg interpreter is extremely small and can

run on our XCMC.” Bert Münnich................................................................................................................

8

STAG

ES IN

TERV

IEW

STAGES INTERVIEW

WHAT IS SO NEW AND SPECIAL ABOUT THE ON AIR FLEX VIRTUAL INTERFACE?

René Harder: With the new virtual user interface we're pursuing a fresh concept in ON AIR flex. We've opted for an approach that leads us away from a largely static GUI adapted to a single operating system and emphasises the flexibility of the ON AIR flex. The new interface uses modern web technologies such as JavaScript and Webkit. A specially developed web server establishes the connection between the onscreen user interface and the control logic of the mixing console. The new virtual interface, along with the mixer control logic, is freely configurable — plus, it now runs on any device with a current web browser.

WHAT ARE THE PRACTICAL IMPLICATIONS OF INTRODUCING A WEB SERVER?

René Harder: Deploying a web server simplifies installation and administration. In theory, any web-enabled device can be used as a control terminal. It also circumvents the need for separate installation or configuration on the terminals, since this happens just once, centrally on the web server.The so-called widgets, graphic control elements of the virtual interface, can be arranged freely using the web server configurator. It is also possible, if desired, to change their colour, size and other parameters. Thus the mixer user interface is very customisable and highly adaptable.

SO THE CUSTOMERS HAVE TO TINKER WITH THE BROWSER INTERFACE BEFORE THEY CAN START MIXING?

René Harder: No, definitely not! We provide a pre-configured interface. This makes the system ready

for use out-of-the-box as soon as it is connected up. However, if the customers do want a special version designed with their own ideas in mind, then there is an easy way for them to create it. This gives customers the flexibility to make adjustments to their user interfaces and operating concepts in an existing installation at any time, all by themselves! Customisation is more affordable and quick to implement, just as with MapCfg and the basic mixing console configuration. This provides even greater user friendliness and flexibility in our products than in the past.

SO THE VIRTUAL INTERFACE IS ALSO A PATHWAY TO SMARTPHONE MIXING CONSOLE OPERATION?

René Harder: It would be possible technically, but not very effective in practice probably. Smartphone operation is a welcome side effect of the development, not what we were aiming for. Thanks to the software platform independence it is easier for us as the manufacturer to maintain and further develop it. Customers will notice the benefits too, such as the fact that they don't need to deal with the differences of each platform. Where a fully-fledged PC was required previously, now a 12" tablet can be used without having to worry about whether special software is needed and which app store to get it from.

THE BROWSER AS A GATEWAY TO THE

MIXING CONSOLERené Harder, the new vice president at STAGETEC

in Berlin, always keeps the end users’ needs in view.

He is enthusiastic about the possibilities of ON AIR flex

and in particular the new user interface.

9

NAM: Listen in to Dante networks directly

Under the name NAM, the acronym for Network Amplifier Module, DELEC offers a compact Dante™ decoder for Dante networks with integrated power amplification. NAM is a small device that is typically installed in the vicinity of the monitoring position where it makes it simple to monitor audio signals from Dante networks.NAM is available in several different variants. In its standard version, it has a Dante interface which can retrieve and decode four signals from the network. The four analogue line outputs are equipped with power amplifiers capable of delivering 12 watts average power. This means that the audio decoded from the Dante stream can be sent directly to passive speakers. With this functionality NAM is an ideal monitoring tool for many applications.

STAGES Info

DELEC PROJECT REPORT

“… THE NEXT TRAIN ON PLATFORM 1 GOES TO BONDI JUNCTION”Dante Network as a Loudspeaker Feed

for Sydney‘s Railway Platforms

Is this the right train for the airport? Do I need to go to a different platform? If travellers cannot hear the

platform announcements it makes them nervous. This is no longer a problem in Sydney, where NAMs

and oratis are combined with Dante for increased efficiency — and for optimum speech intelligibility

New South Wales, the most populous state in Australia, has big plans. It wants to be more modern and attractive. An important cornerstone of the 10-year plan is complete renovation of the technical infrastructure. This also explains why Sydney Trains, as the operator of all railway services in New South Wales, is breaking new ground by equipping its platforms with new announcement technology. The technical redesign is just one part of the state government’s ambitious project.Developed by Sydney Trains, the pioneering concept dispenses with traditional 100 V line loudspeakers. Instead, Dante networks carry the spoken announcements digitally to the speakers.

To the right destination

In the real world it works like this: Each railway station has one fully summing DELEC communication platform, familiar from standard

intercom applications in TV production or in theatre stage management paging systems. This unit, which may be an oratis Matrix Frame or an oratis compact Communication Centre, acts as an audio router In a Dante network and is fed with the pre-recorded announcements. The station staff also have access to oratis subscriber units which enable them to speak directly into the announcement system.On the output side, the announcements from the oratis system go via the Dante network connected to all the platforms where there are clusters of two or four loudspeakers. Each of these groups of speakers is equipped with a NAM, the DELEC Network Amplifier Module, as an audio interface to the Dante network, which decodes the Dante signals. Each of the resulting channels connects to one of the four amplifier outputs which feeds a passive PA speaker. The result is a lean technical solution with very low wiring and hardware overhead.

10

About the Author

Bettina Guter is in charge of national and international sales at DELEC. She supported the installation and commissioning phase of the new PA networks in the first 30 Sydney Trains stations on-site.

DELEC PROJECT REPORT

In general, the installation at each railway station is divided into announcement zones. Typically, a zone includes all the speakers on one platform so that announcements can be targeted precisely at one area. Zone addressing is achieved by assigning an individual Dante channel to each area. The NAMs are capable of addressing any of the many Dante channels on the network — many more than enough for this application.

No two stations are the same

The stations can be small suburban stops or large junction stations. They differ considerably in both the number of platforms and their length. There are corresponding differences in the announcement networks which range from just two up to a total of 32 NAMs.Circular Quay, at the northern edge of the Sydney central business district on Sydney Cove in Sydney Harbour, is a good example of one of the largest installations. Every Sydney tourist knows this station as a stop on route to the famous Sydney Opera House and the ferries. At the end of 2013 Circular Quay had already been transformed. Two very long platforms were equipped with 10 NAMs each, to which was added a further 12 NAMs installed in the concourse area.The NAM variant used by Sydney Trains is fitted with a microphone input. In some stations — and Circular Quay is one of them — it is used to analyse the ambient noise around the PA speaker and to control automatic volume control. In some other stations the microphone signal is also used for an echo cancellation function. The PA system in the large concourse area was calibrated by a professional acoustician. The signal processing required to compensate for the acoustics is undertaken by the NAM’s 1 000 point FIRs and precision time delays.With its interference free digital technology the new announcement system guarantees excellent audio quality with a high degree of speech intelligibility down on the platforms. The NAMs monitor each and every loudspeaker during operation in order to detect any driver failures, shorts or similar speaker errors immediately. Thanks

to the Ethernet networking of all components the results of the speaker checks can be forwarded from the NAMs to the Sydney Trains central monitoring and control system where they are evaluated by the technical support team.

A Powerful Combination

Implementation of the technical measures of the 10-year plan has been in full swing since 2013. In the first step of this multi-stage reconstruction approach 30 stations have already been equipped with a new loudspeaker network. At least another 20 stations will follow in 2014. The contract includes the design, supply; installation and commissioning of the public address components and was an important driver of Dante development both for DELEC systems in Australia as well as at the German headquarters. “Our design scored with the most innovative and scalable solution based on Dante.” explained Treva Head, Regional Manager at STAGETEC Mediagroup Australia. “The flexibility of the oratis system combined with NAM as the Dante interface module provides a very straightforward system architecture.”

11

STAGETEC PRODUCT INNOVATION

A NEW DIMENSION IN ROUTING TECHNOLOGY

The new audio router

reference — 8k on a single card

NEXUS XRT is a new router board for the NEXUS digital

audio network and STAGETEC's spring 2014 introduction

— a quantum leap in the inexorable decentralisation of the

NEXUS approach to routing in large networks

NEXUS is considered to be the originator of distributed audio systems. From the very first, Base Devices formed a complete network that enabled inputs and outputs to be interconnected irrespective of their position in the network. The fibre-optic cables between the individual Base Devices enabled these networks to cover long distances, making links between rooms, buildings and later even cities. NEXUS STAR was developed as an answer to the ever increasing number of audio channels in networks. A large scale router that connects many NEXUS Base Devices in a star shaped network without loss of capacity. Times change, and the star topology is obsolete as a basic requirement, because the new NEXUS XRT router board now shifts the high capacity networking to the Base Devices, opening up a plethora of possible topologies.

A variety of connections

The routing capacity of this new board is simply enormous with over 8 000 inputs and the same number of outputs. Until now, a single NEXUS Base Device could handle up to 256 signals — the XRT capacity is more than an order of magnitude higher. This increases the packing density of the already very compact NEXUS.The XRT is equipped with 12 fibre-optic ports to route the many I/Os to and from the device. Its power has increased considerably in comparison with the previous NEXUS FOC network but the new board is still backwards compatible with existing fibre-optic connections. Six of the ports handle 512 channels each, more than double that of the previous FOC connections, while the remaining six high-speed ports can carry an impressive 2 048 channels each. In a nutshell, this single board services more than 15 000 fibre-optic channels. A true giant that fits into any 3 U sized NEXUS Base Device.With this functionality, the XRT superimposes another layer of massive interconnectivity onto an existing NEXUS network without compromising existing capacity in any way. At the same time it

opens up an entire realm of new architectural possibilities for distributed networks in the future.

Local and global simultaneously

At the time of its introduction some 20 years ago NEXUS represented a profound technological innovation in terms of performance. The Base Device's TDM bus then supported 256 time slots — an enormous number back then — which the plug-in boards could access. This principle hasn't changed until today, and remains an important factor in the longevity and backwards compatibility of NEXUS systems. The new XRT router board also remains faithful to this principle, even though it provides much greater performance.In essence, a Base Device can manipulate up to 256 signals. These will be routed out of the XRT and fed to the TDM bus, where any I/O board or other module can pick them up and use them. The other XRT signals do not use Base Device time slots. They can be routed within the XRT and distributed to other Base Devices without diminishing the local routing capacity of the Base Device. The NEXUS Base Device manages both local audio routing to the I/O boards installed and high-performance networking and signal distribution between Base Devices.The principle is also ideally suited to achieving cable redundancy when connecting Base Devices, and does not consume time slots or router switching capacity.

A ring of islands

XRT surpasses even the routing capacity and connectivity of the NEXUS STAR with its enormous power. As a comparison, a single XRT board provides well over 70 million theoretical crosspoints, more than four times the routing capacity of a NEXUS STAR. This magnitude can be leveraged in comprehensive campus-wide networks in particular, where many individual NEXUS Base Devices are combined into a unified network.

1212

2 k

1 2 6

STAGETEC PRODUCT INNOVATION

In addition, the XRT marks a departure from the purely star-shaped topologies of large systems. A mesh network offers increased circuit redundancy, since signals can reach their destinations via multiple pathways. Ring structures and — a special feature of XRT networking — the annular connection of multiple routing islands via XRT connections, demonstrate interesting network topologies. The router board also supports the entirely unstructured system architectures characteristic of dynamic, continually changing networks.

Built-in tunnel

Some of the SFP ports can be used for Gbit Ethernet tunnelling if required. In plain English: Ethernet is fed into the system at one Base Device and can be tapped transparently by another Base Device. This works with copper and fibre-optic cables which connect a network switch’s high-speed fibre-optic port to the NEXUS tunnel. The tunnel benefits from the NEXUS redundancy concept, since with redundant connections between the Base Devices the Ethernet signal is transmitted redundantly. Were a fibre-optic cable to fail, the connected Ethernet switches wouldn't notice.Especially in outside broadcasts this method avoids additional cabling that would otherwise be required to supply Internet connections to external work environments. The Gbit Ethernet also supports other services such as connecting a DELEC oratis intercom and commentary system.

Long-standing technology innovator

NEXUS has been in service as an audio router for 20 years. During this time the system has been further developed continuously and today is capable of more than was even conceivable at its launch — all the while retaining the backward compatibility that makes it a safe investment.

Technical innovations to the digital NEXUS audio router have usually been subtle and this one is no exception. The XRT, which looks like just another new board at first glance, proves on closer inspection to be revolutionary. An innovation that opens up enormous development potential to new and existing systems alike.

About the author

Daniel Plagemann, a hardware designer at STAGETEC Entwicklungsgesellschaft and instrumental in the creation of the NEXUS XRT router board, has summarised the key facts about the new product for STAGES.

Local routing for 256 channelsHigh-speed optical-fibre for up to 2 048 channelsCompatible connection to Base Devices

Example of a network with full cable redundancy and approx. 9 600 x 9 600 I/Os

Example of a network with full cable redundancy and approx. 4 000 x 4 000 I/Os

Legend:

local routing, 256 channels

13 13

AVM PRODUCT INNOVATION

A TRUE NETWORKER

POLARIS evolution: The first fully personalised

Network Mixing Console scales as required

How much mixing console do you need? The answer is different for each mixing project.

Sometimes you need a large number of faders, at other times it's rapid operation or small size.

Either way, a small mixing console with 16 faders, constructed to a fixed design, can only cover

a small range of applications — or can it?

The MEDIAGROUP systems house in Buttenheim knows its professional audio industry customers’ needs and wants inside out. This is reflected in each individual project, whether it involves developing the right solution to equip a theatre, a broadcast studio or a congress public address system — to name but a few fields. As for the mixing console technology itself, for several years now the trend has been toward smaller, more affordable entry-level solutions. So it comes as no surprise that a new modular product has emerged from Buttenheim: POLARIS evolution, the mixing console system with IP networking.

A multi-talented team

POLARIS access is the most important basic element of this system, a kind of mini mixer with 16 faders and the same number of rotary encoders, 48 buttons and a channel strip screen display across the width of the console. Extraordinarily compact, its design is more reminiscent of a small pre-mixer than a full-blown mixer, although thanks to its intelligent user interface, this base element is able to cover a much wider range. However, there are still limitations, such as only being able to view complex routings or extended dynamics settings on the narrow display strip. As requirements grow so does POLARIS, it can be expanded with an additional touch-screen module named POLARIS view. The screen is docked at an angle to the POLARIS access, much like a meter-bridge on a conventional console. The HD

resolution screen is 21.5" wide and offers plenty of space for every type of mixer setting and visual feedback. The mini mixer, which at first glance you would never believe could do more than open and close channel strips, has now morphed into a convenient, compact mixing console.

Forever changing

With just 16 faders the size seems small in this context but it was chosen with care as it represents the bare minimum. It is easy to cascade units if more faders are required. This approach builds on

the same principle that POLARIS touch has already demonstrated successfully: Any mixing console can be assembled to suit the customers’ requirements using modules from the series. The new POLARIS evolution takes this concept a stage further, since customers do not have to know the exact mixing console

they need when placing the order. Instead they can decide anew every day how and in what way to include the various modules in mixing project workflows.Let's take a look at how this would work out in a theatre with its typical diverse challenges. The children's performance in the studio theatre is supported by a POLARIS access controlling 20 audio channels. Meanwhile, rehearsals are under way in the main hall and a second POLARIS access is there controlling 30 audio channels, mixing the microphones and the sound effects being played in.

Customers can decide how many modules to

connect every day

1414

AVM PRODUCT INNOVATION

Both units are working on different mixing processes and are operating completely independent of each other. In contrast they come together in the evening, working in tandem on the same mixing process during the main performance, one mixing the production from the box and the other in the auditorium managing the elaborate wireless microphone mix. Channel allocation has changed as well. A new architecture underpinning the mixing system is the secret to this high degree of flexibility: IP networking of all components.

What goes with what?

The POLARIS access base element simply provides remote control of the POLARIS scala audio processing unit. The two are connected in a standard network using a standard Ethernet protocol. If another POLARIS module is plugged into the network, it is registered automatically. It is up to the user to decide which mixing process it will be used for and whether to integrate it in parallel mode or as a supplementary device — answering those two dialogs is all it takes to complete the configuration! Just as it doesn't matter how many devices are logged into a computer network, it doesn't matter how many POLARIS evolution modules are deployed. You can connect them at any point in the network and use them individually or collectively as desired. This option includes all POLARIS modules including POLARIS view, which can function as a kind of cabled tablet computer when operated by itself.POLARIS scala, the audio DSP unit, also scales easily to the requirements. While a small unit is sufficient for small installations, more DSP power is added to the network as audio tasks become more elaborate. The existing processor power is increased for one or more mixing projects as a result.

Redundancy or expansion

A basic requirement for the enormous flexibility of configuration is that POLARIS scala is multi-user capable. Simply, this means a DSP

unit is able to perform several independent mixing processes simultaneously. DSP capacity is divided among the various control units. Even this division is not predetermined. The user allocates the resources each time according to the task at hand.A further consequence of this architecture

is that individual units not only complement each other but can also replace each other. To a certain extent this comprehensive redundancy concept arose as a by-product but it's an important property of POLARIS evolution that makes it almost impossible to imagine any live operation without it.

Impressive audio credentials

POLARIS scala is introduced as an all-new audio processor in a compact 19" rack housing. The computing capacity of available DSP components has increased markedly in recent years and POLARIS scala is much more powerful than the POLARIS touch DSP unit. POLARIS scala processes significantly more channels and above all more buses, which are computationally intensive. A single POLARIS scala can provide anywhere from 64 to 256 inputs, depending on configuration. If you need more input channels, it's easy to simply connect one or more POLARIS scala modules linked as a combined unit. Each unit provides 256 buses — a massive number, which the user can assign as groups, sums and mix-minus buses. It is equally possible to add several POLARIS scala modules to a network as independent devices. This would result in an IP network with scalable mixing console processor power and any number of control elements. Thus the mixing network's basic structure opens up a realm of possibilities!

Each function accessible with as few

steps as possible

15 15

POLARIS evolution is developed by many hardware and software

specialists. The international team enables large development tasks to

be divided across many shoulders and to be completed rapidly. If the

market demands a new function right now, POLARIS evolution can

deliver it rapidly.

The core team around the development of POLARIS evolution consists

of Thomas Dürrbeck (left), who is the creative mind with much

experience as a FOH engineer, Uli Schmit (seated), leading the software

development, Dominik Stepanek (standing), head of the development

team, and Verena Strohmer (right), in charge of the manufacturing.

AVM PRODUCT INNOVATION

Variety of formatsAs with POLARIS touch, NEXUS provides the POLARIS evolution audio inputs and outputs. It's a proven approach, offering all the audio formats that a user could wish for, including the TrueMatch microphone converter. In this configuration NEXUS acts as a distributed network based on TDM technology and guarantees a consistent minimum latency of exactly one sample.The synergy between NEXUS and POLARIS evolution has become closer and operation easier. Source signal names, which are always passed on inside POLARIS evolution, are a good example. Mixing console channels no longer have a conventional channel number, and are instead named according to their NEXUS sources.

Intuitive operation

A great deal of thought went into the sophisticated POLARIS evolution user interface. The foundation of the control concept was

to make each function accessible with as few steps as possible. With a flexible bus structure throughout for multi-channel sound, the system can route 5.1 sources as a single signal, setting six crosspoints automatically. A spill function brings the individual channels of a 5.1 signal onto the control surface. There are numerous other examples that illustrate how quick and easy it is to use. A nice side effect of this approach is that the training time overhead for the console system is very low.One function, which is also included in POLARIS touch, is the ability to display the main windows on tablet computers or smartphones if desired. In theory, it would be possible to integrate these devices so they provide full access to all parameters, but it's unlikely that this will be used widely in practice. However, integrating these devices has proved to be very useful in cases where additional graphical monitoring tools are required. An additional metering display, a complete channel view or a routing overview can be visible always, regardless of what is displayed on the POLARIS access or POLARIS view.

Mass production combinations

MEDIAGROUP is breaking new ground in two ways with its new product family POLARIS evolution. From a technical standpoint, IP networking and the consequent almost unlimited modularity is entirely new territory. Against the backdrop of the company's history, it is standardisation of hardware that defines the second innovation. All it takes is three hardware components — the compact console, optional touch screen and the DSP unit — to create a product range ready for mass production. This appears to be out of character for a systems house which primarily specialises in made-to-measure, but only at first glance. Thanks to the numerous ways it can be combined the POLARIS evolution is as adaptable as bespoke, but with all the advantages of mass production, such as shorter delivery times and reduced costs. We will need to be patient, though. Today’s pre-production model is expected to enter audio and IP networks in September 2014.

16

STAGETEC PROJECT REPORT

SPORTS SUMMITSTAGETEC and DELEC installations

take the lead in Sochi

The biggest winter sports event this year took place in Sochi, Russia, in February — accompanied by massive media interest. To meet the need for flawless live broadcasts and extensive coverage, gigantic temporary production and broadcast centres are built for such events, which rival the capabilities of a major broadcast corporation. Leading the field: large STAGETEC audio networks, some with integrated mixing systems, and DELEC commentary systems. Several of the permanent installations in the newly constructed Russian stadia have already been part of our coverage. The DELEC commentary network at the Laura Biathlon stadium, for example, or the NEXUS, AURATUS and CRESCENDO audio and mixing networks at the Biathlon Media Centre and in the Iceberg Skating Palace. The so-called Fisht, which was host to the opening and closing ceremonies, is now the third stadium is to be equipped with MEDIAGROUP technology.

Downhill racers

Many of the production centres are temporary installations that were taken down after the games had finished. They are usually provided by broadcasters from many different countries. The Swiss especially, bring a vast amount of experience in this area and were responsible for the control rooms covering all the downhill competitions in Sochi. Their large OB vans, equipped with AURUS, NEXUS and DELEC, supplied the live international feeds that could be used by all the connected international stations broadcasting to the whole world. As a classic winter sports nation well acquainted with mountain conditions and the vagaries of the climate, the Swiss unsurprisingly exhibited calm expertise with the fibre-optic networks linking the cameras and NEXUS audio signals from the mountain to the OB vehicles.

SRG SSR National Broadcast Center

Their fellow countrymen are regularly on the podium in these events, which guarantees high viewing figures at home. This is why the broadcasts have such a high priority for this comparatively small country. Nowadays all the relevant competitions are produced

in the three national languages German, French and Italian for TV, online and radio broadcasts. It is a considerable technical challenge not helped by having English as the communications language.To ensure smooth workflows here, Swiss SRG SSR built a so-called National Broadcast Center (NBC), the centrepiece of which was a large control room. The audio side of things employed a huge NEXUS system using a concept reminiscent of the main control room in Zurich. Under the management of a BFE system wide

controller, in this scenario NEXUS served as the switching centre for all the Swiss lines. This included all the connections to the downhill control rooms, all the Swiss intercom connections and interfacing to two control rooms for the German, French and Italian language versions. Clean feed

signals that the Swiss subscribe to from other competitions converged here as well, and could be used in productions, have commentary added or be transmitted to Switzerland as-is.

Multiplex via Internet

Apart from the NBC, Switzerland also ran the House of Switzerland, which served as a meeting point for Swiss nationals during the Sochi competitions and flew the flag for the winter sports nation to the rest of the world. People came together here for receptions, to have parties, hold press conferences and to stage other events, all of which could also be transmitted to the NBC via NEXUS. To achieve the countless connections to the locations in and around Sochi and to the viewers at home the Swiss broadcaster used leased Internet nodes. This approach had proved its worth previously when providing coverage from London in the summer of 2012. All signals ranging from video to audio to intercom connections, were multiplexed via Nimbra interfaces onto Internet lines. Almost every major event sees the implementation of new technological ideas, and Sochi was no exception. It's one thing to innovate — it's quite another to deliver the time-tested reliability that always comes in first in all such major events: audio technology from the MEDIAGROUP.

Always in first place: MEDIAGROUP audio

technology

17

NEXUS WORKSHOP

The NEXUS digital audio routing system connects audio signals — either as a stand-alone

audio network or in combination with STAGETEC mixing consoles. The NEXUS system is

often required to do a lot more, such as control a wide range of additional functions. Here

you can read an introduction to the extensive possibilities offered by NEXUS Logic Control

and its latest enhancements

The most basic application might be a simple red light control a NEXUS user wishes to have. When a fader on the mixer is opened the studio's red light is turned on. But control functions can also govern complex processes, even switching entire studio and production facilities including all connected lines, at the press of a button.

Using internal triggers

A simple example might look like this: When I set a crosspoint in the NEXUS matrix software, I want another crosspoint to be set automatically. To make this happen, first I open the Logic Control menu in the NEXUS service software. This is included with every NEXUS system. Once in Logic Control, I have the ability to define links between states and actions on the NEXUS system. In our example, the association is very basic. Within a logic cell, the smallest basic element of the logic programming, I select the state Scan Crosspoint and the action Switch Crosspoint. Up to four states can be combined with the operations AND, OR, NOR, XOR or NAND via three gates in such a cell. This enables

different states to be queried and linked, such as relay contacts, crosspoint states, system errors and error messages.The result of the logic gate operations controls up to four actions inside a cell. For most applications such as red light control in a studio with eight studio microphones, several cells will be cascaded in programming. If a STAGETEC mixing console is integrated in the

NEXUS network, then its signals likewise become available in the logic programming — for example the information that a fader has been opened. It is also possible to trigger many mixing console functions, such as load a snapshot, open an audio gate, control the scene automation and much more using NEXUS Logic Control.

Integrating external signals

With a NEXUS relay card in the Base Device the range of applications for logic programming expands enormously. External trigger signals and parallel device interfaces are connected via the relay card into NEXUS. Trigger outputs and parallel controls are routed outwards. Both directions are fully accessible to NEXUS Logic Control. Thus simple internal programming enables NEXUS to manage tasks that once necessitated the development and manufacture of extremely complex custom-built relay frames.The variety of functions and large number of cells available make it possible to create elaborate controls.

Large systems

So, NEXUS Logic Control is a powerful tool. In some installations, where the routers and mixers, for example, are used in many very different settings in a bi-media production environment, Logic Control often controls the entire switching operation.“Which cell did I programme that switch crosspoint in, the one that switches the monitoring?” In order to keep track of really complex and extensive logic programming, STAGETEC has added important management functions to Logic Control. A convenient search function helps to narrow down the search to cells with certain states or actions. At the programming stage the debug function lets you observe in real time how programmed cells behave. This test is very useful when commissioning major systems.The cells used are managed in list form per Base Device. While creating elaborate programming, it may be necessary to arrange cells in a different order, whether this is to keep things manageable, or to change the processing sequence — and thus potentially the timing behaviour. The move function makes this easy. By the way: As is typical for STAGETEC products, the ongoing processing of all of a Base Device's 256 logic cells is always completed in a fixed time frame.

ADVANCED LOGIC

18

About the author

Jens Kuhlmann has been commissioning systems and providing training and support with STAGETEC since 1996. He has extensive experience in broadcast applications and the NEXUS Logic Control applications implemented there.

STAGES Info

Automatic NEXUS labelling

Incidentally, an auto increment spin-off has been integrated into the labelling window of the NEXUS GUI matrix programme under the name auto edit, where — when creating NEXUS labels — it assists anyone who, for instance, has to re-name all the inputs and outputs of a 64 channel MADI card.

NEXUS WORKSHOP

Some functions are found over and over again in NEXUS users different systems. They might be processes that a broadcaster wishes to replicate in each of its studios. With the new merge function it is possible to import previously programmed functions stored in a so-called NLC file into another NEXUS system. In this way, tried and tested logic solutions from existing systems can be reused.

Automatic incrementing

Designed for advanced NEXUS logic creators with efficient implementation in mind, there is a completely new feature that almost nobody knows about yet: the auto increment function. Imagine that you want to include an external button in the logic programming so that when it is pressed, six crosspoints are set for a 5.1 signal source. In itself this is a simple affair and is accomplished quickly by programming two cells. Now imagine you have to implement the same for a board with 20 buttons — too much like hard work! Auto increment lets you generate groups of cells automatically, which are in principle all structured in the same way. The trick is that auto increment increments the numbering of the relay contacts, crosspoint addresses and button number in the cell name automatically and independently! This function is very comprehensive, because not only does it enable you to define the parameters for the cell number, source number and destination number, but also specify the increment and block sizes. In our

example, the increment is “6” for the crosspoints, since the routing pattern of a 5.1 signal repeats itself in steps of six.

Comments and documentation

The larger the systems and the more cells being programmed, the more a concise and correct functional description of the individual parts of a logic programme is important. This is particularly significant as NEXUS is fundamentally a distributed system. Due to

this architecture, certain functions are distributed across the cells of several Base Devices. The new documentation in Logic Control meets this requirement with flying colours. It dovetails closely with the programming itself: An explanatory text assigned to a group of randomly distributed cells is always attached to them, even when the cells are moved. In this way the descriptive explanation stays consistent with the programming.

Logic can be planned

NEXUS Logic Control has come a long way. The innovations for advanced NEXUS logic users basically mean the sky is the limit of efficient implementation. Logic should be included early on in a project when planning the control layer. In hindsight, many a user has discovered ideas for a far more elegant solution for their previous projects when doing so. STAGETEC will gladly do extensive programming according to your requirements for you — or you can write your processes and studio work flows yourself.

19

DELEC PRODUCT INNOVATION

COMPACT COMMUNICATION GIANTThe new DELEC intercom system oratis compact

Planning an intercom system often involves conflicting requirements and this begins with the

question of size. For the new oratis compact resolving such dilemmas is no problem — onwards

into a world of unlimited possibilities

It must be ready for use quickly and without the need for significant configuration effort, yet highly adaptable, compact and infinitely scalable, and of course open for audio-over-IP. A modern intercom system must support many different subscriber units and that includes the latest smartphones.Even at first glance oratis compact is small and extremely compact. The miniaturised hardware fits into a 19" chassis just 1 U high. This new intercom series from DELEC, the intercom and commentary system specialist in the SALZBRENNER STAGETEC MEDIAGROUP, is the latest addition to the family, a small intercom unit, which is supplied with a fixed port configuration, thus complementing the highly modular and adaptable main oratis product line.

Three variants for all scenarios

oratis compact is the centrepiece of an intercom system, namely the Communication Centre to which all the desired subscriber units and other sources and outputs are connected. There are currently three variants in the series that differ in the number and type of ports. The type numbers explain it all: The first two digits refer to the number of AES/EBU standard digital subscriber unit ports while the last two quantify the number of analogue ports. So, as an example, the CS 1624 has 16 AES/EBU ports and 24 analogue four-wire connections. The smaller versions, the CS 1212 and the newly introduced CS 0800, not only scale down the number of ports, but are also aimed at different application areas where, for example, analogue four-wire connectors are not required. “These three versions already cover a large number of small-scale intercom applications. In addition to compact TV-production installations theatre staff will surely welcome this user-friendly and cost-effective solution,”

Jürgen Malleck explains. As a DELEC sales engineer he is very familiar with customers' day-to-day requirements.

Big or small

oratis compact draws on the large range of subscriber units in the oratis series. When connected in this manner, each oratis compact

is a stand-alone system and serves as a good entry-level product for straightforward installations. Minimum dimensions with high packing density make this the ideal tool for outside broadcasts where maximum functionality is required in the smallest possible space.Highly complex, networked systems also benefit from the new series. Each of the

three models can be equipped with an optional DELEC link card, which connects the unit to other DELEC components via Gigabit Ethernet. Thus, oratis compact can also extend a large-scale oratis installation. When configured in this way the compact and clearly delineated system transforms into a remote node of a campus-wide intercom system.

Over 100 channels in 1 U

As an alternative to a DELEC link card, the oratis compact can be equipped with a Dante interface. This provides additional connector options and supports integration into large audio-over-IP networks. Possible applications are very diverse, extending well beyond the world of theatre and broadcasting. The first buyer, Sydney Trains in Australia (see page 10) uses the CS 0800 to distribute announcements to the platforms. Apart from intercom applications, the CS 0800 can act as a format converter between a Dante network and AES/EBU audio. In Australia, this Dante option will also be used to link the audio systems of several railway stations.

“Versatility gives our new oratis compact

a real edge.” Jürgen Malleck

2020

STAGES Info

Intercom interfacing in the digital age

DELEC has always aimed for the highest audio quality, so the signals from the intercom systems are in accordance with broadcast standards. Therefore all digital subscriber units in the oratis and oratis compact product families are connected to the Matrix Frame or the Communication Centre via standard AES/EBU interfaces. RJ45 connectors and Cat 5 cables are usually used as a space-saving solution. They can also serve as digital four-wire connections. If analogue four-wire connections are required, i.e. establishing bi-directional voice communication with analogue audio, the analogue line interfaces are used.

The oratis product family

DELEC introduced the oratis product family back in 2009. It is based on a Matrix Frame connected to other Matrix Frames or routers over gigabit Ethernet. Intercom subscriber units and or Commentator Terminals are added to create pure or mixed intercom or commentary systems. The oratis series has rapidly established itself in the market and is used worldwide in installations large and small.

DELEC PRODUCT INNOVATION

Dante adds 64 audio-over-IP channels to the system. The largest model, the CS 1624, can handle up to 120 audio channels — no longer a small system by any measure! Despite its power, the minimal physical dimensions remain unchanged, as does the fact that oratis compact remains a fully summing matrix in this extended version.

Rapid deployment

Thanks to the fixed number of ports per unit the configuration required to put an oratis compact into operation is straightforward, giving it an obvious advantage over other systems. The few definitions required initially are set using the lite version of the IcconXP control software, which can be installed on any standard PC. The computer communicates with the system via Ethernet. In a minimal installation a network patch cable simply connects the computer with the Communication Centre. In a large network, the computer can be connected at any point, enabling configuration of the system irrespective of location. The PC is only used to input the basic system set-up, ongoing operation does not require the PC. oratis compact supports additional features for reliable operation, such as its redundant

power supply. Even the Dante networking can be operated with complete redundancy by using the primary and secondary cabling feature included in the Dante protocol.

One for all

Interest in the new product is already immense, the variety of potential applications extremely varied. Among the first customers to buy the oratis compact was the Brazilian private television

station EPTV in São Paulo, which is using an intercom system based on a CS 1624 and Dante network in its new outside broadcast van. In contrast, the Australian railway stations installation mentioned earlier has an altogether different purpose. Many smaller theatres are interested in the mid-sized variant, the CS 1212. Here too a clear trend towards integration with Dante is evident. The little giant has already gained considerable recognition and was awarded the “Best of IBC 2013” when it was presented for the very first time. All the indications are that this new and compact technology will waste no time in becoming firmly established, both for existing customers as well as in entirely new markets.

21 21

POLARIS PROJECT

GETTING IT RIGHTPOLARIS touch gives a strong performance

in San Diego for the musical Side Show

The USA is the unchallenged master in the entertainment business. Perfect illusions, powerful stories, immaculate productions and, of course, lavish musicals play a major role. Sometimes, productions enjoy years of success, playing at venues across the continent and shaping the professional audio environment with their technical perfection. Side Show, a musical that premiered on Broadway in 1997, is a good example. In November and December 2013, it enjoyed its first performances at La Jolla Playhouse in San Diego, California — supported for the first time by POLARIS touch as a FOH console.

Touch what you see …

In contrast to Germany, POLARIS touch is still a trade secret in the US, which is why the mixing console had to be flown in from Buttenheim especially for this production. This was the demo system, generously equipped for the production with three base modules, i.e. the touch screen units with rotary encoders, 44 faders and a master unit, whilst still remaining compact. Thanks to the considerable DSP power supplied for 128 input channels the very flexible routing options, so typical of POLARIS, could be used extensively. The digital connections between the orchestra pit, the wireless microphone racks and the FOH console were managed by a NEXUS audio network in ring topology, with robust heavy duty fibre-optic cables and connectors.Sound design for the show was in the hands of Kai Harada, an international celebrity in this genre. Harada is known for his perfectionism — and for his preference for digital audio systems with outstanding audio quality. It was his explicit desire to produce the traditionally staged musical Side Show with a POLARIS touch in combination with a NEXUS audio network. “The musical is very well written and I did not want anything to get in the way of the story and the music. The sound system design in this instance was relatively simple, and provided an ideal opportunity to test such a fundamentally different mixer in a musical environment”, says Harada. “The touch screen interface is a huge advantage over other mixing consoles in this context. Plus, the interface is really well designed. We're really happy with the result!”

And … you get what you need

POLARIS scores over other digital consoles with its flexible bus structure. In this production it was used in a configuration with 84 buses and provided the option to route all buses and aux channels flexibly to each other. Kai Harada made liberal use of this, creating an extraordinary mixing console project optimised for this production with 22 sub-groups, 22 aux buses and 24 matrix outputs.Harada, who until then had only seen the mixing console at trade fairs, had no initial experience in operating complex POLARIS projects such as a musical requires, let alone in setting them up. For this reason, the POLARIS touch product expert Thomas Dürrbeck went to San Diego for ten days to assist him with the equipment on site. Harada noted, “I was surprised at how easy and fast it is to change any parameter on the mixing console, whether you're talking EQ settings or a dynamics setting.”Following on from the positive experiences with Side Show another US company has joined the ranks of satisfied MEDIAGROUP technology users: Sound Associates, the US rental agency that provided all the equipment for the musical, ordered an extensive NEXUS system to offer other customers as an audio network, format converter and microphone converter with the highest audio quality.

American sound designer Kai Harada is well-known to STAGES readers. We have already run several articles on musical sound design, including Follies (Broadway), Wicked (US tour, design by Tony Meola and Kai Harada), Zorro (Moscow) and Hinterm Horizont (Beyond the Horizon) (Berlin).

Side Show: (L-R) Barrett Martin, Emily Padgett, Erin Davie and Matthew Hydzik in La Jolla Playhouse’s re-imagined production of SIDE SHOW, book and lyrics by Bill Russell, music by Henry Krieger, directed by Bill Condon, choreographed by Anthony van Laast, produced in association with The Kennedy Center, 5th November - 15th December, 2013; photo by Kevin Berne.

22

1: Claudio Masci, 2: Norbert Schömel, 3: Sebastian Schmidt, 4: Dr. Klaus-Peter Scholz, 5: Arnie Toshner,

6: Zeng Dong, 7: Yuri Butko, 8: Augusto R. Oliveira,9: Klaus Onderka, 10: Wolfgang Salzbrenner,

11: Ricardo Cuenca, 12: Stephan Salzbrenner, 13: David Chan, 14: Sam de Pauw, 15: Stefan

Laubereau, 16: Treva Head

WORLDVIEW

The many innovations, lots of

new products and numerous

product improvements have

already generated a chorus of

approval. Here are the initial

reactions of our branch managers:

David Chan, CEO in Kuala Lumpur, Malaysia:

“For us IP networking is becoming increasingly popular. The new mixing consoles POLARIS evolution and ON AIR flex are a perfect fit in this environment!”

Yuri Butko, General Director in Moscow, Russia:

“We are expanding, especially in the theatre, sports and broadcast fields where the excellent MEDIAGROUP products fit in perfectly. The flexibility and the audio quality are key factors for us — both with the extensive existing portfolio and the new products in the foreground.”

Arnie Toshner, California Sales Manager in the USA:

“The remarkable fidelity of the extremely low jitter NEXUS Mic Pre, with its built-in Quad Independent Splits, has made it a favorite in the US. And the expansion of the NEXUS router to 8k per rack is unique — nothing else comes close!”

Zeng Dong, CEO in Beijing, China:

“Our market is diverse and growing fast. The excellent sound quality together with great flexiblility and connectivity are our key features. Our customers appreciate the wide range of digital consoles that, thanks to ON AIR flex and POLARIS evolution, now offers even greater choice and flexibility.”

Claudio Masci, one of the CEOs of the MEDIAGROUP in Buttenheim and Head of the Rome branch in Italy:

“Italy was one of the first markets for the large STAGETEC mixing consoles. Now we have installed the second digital generation in Italy, and are really looking forward to the newly introduced solutions!”

Treva Head, CEO in Sydney, Australia:

“For us Down Under things are different from other markets. Besides the strong presence of the ON AIR mixing console family, our focus lies on the compact product series oratis compact combined with Dante and unito NAMs for announcement systems.”

16

1 23

4

9

10

1112 13

14

15

5 67 8

Athens, GreeceAylesbury, Great BritainBratislava, SlovakiaHanoi, VietnamHelsinki, FinlandKuwait-City, KuwaitMadrid, SpainManila, PhilippinesMumbai, IndiaNew Delhi, IndiaOslo, NorwayParis, FranceRio de Mouro, PortugalRome, ItalySeoul, KoreaSingapore, SingaporeStockholm, SwedenSydney, AustraliaTaipei, TaiwanTokyo, JapanWarsaw, Poland

SALZBRENNER STAGETECAUDIO VIDEO MEDIENSYSTEME GmbH

Industriegebiet SeeD-96155 Buttenheim, GermanyPhone: +49 9545 440 – 0Fax: +49 9545 440 – 333Email: sales@stagetec.com

DELECAUDIO- UND VIDEOTECHNIK GmbH

Ruhweg 17 – 21D-67307 Göllheim, GermanyPhone: +49 6351 1317 – 0Fax: +49 6351 1317 – 50Email: info@delec.de

STAGE TECENTWICKLUNGSGESELLSCHAFT FÜRPROFESSIONELLE AUDIOTECHNIK mbH

Tabbertstraße 10 – 11D-12459 Berlin, GermanyPhone: + 49 30 639902 – 24Fax: +49 30 639902 – 32Email: office@stagetec.com

www.stagetec.com

BRANCH OFFICES OF SALZBRENNER STAGETEC MEDIAGROUP

Atlanta, Georgia, USA Phone: +1 888 782 4391Fax: +1 888 782 4391Email: usa@stagetec.com

Beijing, ChinaPhone: +86 108 7732 198Fax: +86 108 7732 198-608Email: china@stagetec.com

Brussels, BelgiumPhone: +32 2 300 07 80Email: brussels@stagetec.com

Chemnitz, GermanyPhone: +49 371 918 653 – 50Fax: +49 371 918 653 – 59Email: chemnitz@stagetec.com Cyberjaya, MalaysiaPhone: +60 3 8318 2820Fax: +60 3 8318 8820Email: malaysia@stagetec.com

Hong Kong, ChinaPhone: +852 2771 0230 Fax: +852 2771 1093

Löffingen, GermanyPhone: +49 7654 9104 – 0Fax: +49 7654 9104 – 91Email: loeffingen@stagetec.com

Moscow, RussiaPhone: +7 495 621 3777Fax: +7 495 624 9497Email: moscow@stagetec.com

New York City, New York, USA Phone: +1 347 – 799 – 2092Fax: +1 888 782 4391Email: usa@stagetec.com

North Ridge, California, USA Phone: +1 818 701 6201Fax: +1 818 701 9545Email: Arnie.Toshner@stagetec.com

Rome, ItalyPhone: +39 06 354 035 52Fax: +39 06 353 474 59Email: rome@stagetec.com

Sao Paulo, BrasilPhone: +55 11 3467-0132Email: brazil@stagetec.com

Sydney, AustraliaPhone: +61 2 801 105 00Fax: +61 2 807 218 58Email: australia@stagetec.com

Vienna, AustriaPhone: +43 1 74040 – 270Fax: +43 1 74040 – 274Email: wien@stagetec.com

SALES PARTNER

ATLANTA

BERLIN BUTTENHEIM

GÖLLHEIM

SYDNEY

SAO PAULO

LOS ANGELES

SALES PARTNER

BRANCH-OFFICES

HEADQUARTER

NEW YORK

ATHENSKUWAIT-CITY

NEW DHELI

SINGAPORE

MANILA

TAIPEI

SEOULTOKIO

WARSAWBRATISLAVA

ROME

VIENNACHEMNITZ

LÖFFINGEN

MOSCOW

BEIJING

HONG KONG

PARISLONDON

OSLO

STOCKHOLM

HELSINKI

LISBON

MADRID

BRUSSELS

KUALA LUMPUR

MUMBAI HANOI

SALZBRENNER STAGETEC MEDIAGROUP

U1_U4_EN.indd 2 25.02.14 15:18