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Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
Audio media audio consoles guide 2013
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Audio media audio consoles guide 2013

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Audio Media magazine's Audio Consoles' Guide 2013 // Audio Media dergisinin 2013 ses konsolları kitapçığı (ingilizce)

Audio Media magazine's Audio Consoles' Guide 2013 // Audio Media dergisinin 2013 ses konsolları kitapçığı (ingilizce)

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  • 1. THE INTERNATIONAL BUYER’S GUIDE A 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 CONSOLES 2013 P RO D UCE D BY AUDIO MEDIA In association with:I N T E R N AT I O N A L E D I T I O N
  • 2. T H E I N T E L L I G E N T N E T W O R K the finest audio for broadcast Pictured: Wheatstone’s LX-24 flagship radio console with several BLADE network interface and control modules For over 30 years, Wheatstone has led the way in radio console technology, making it number one with broadcasters the world over. An engineering-based company from the beginning, Wheatstone has always put functionality first,although form, fit and finish are equal parts of our passion. Wheatstone consoles are designed and built in the USA utilizing the latest manufacturing techniques to ensure the highest performance, made to exacting tolerances. The feel and functionality of a Wheatstone radio console is without equal. Wheatstone consoles are modular, using network-based designs for the ultimate flexibility.Our next-generation AoIP WheatNet-IP Intelligent Network or our decades-proven Bridge TDM Networkensure extreme processing power for total access, control, interface and expansion wherever you need it. And our technology partnerships with automation, hardware and software manufacturers provide full compatibility with your existing setup. On-Air and production radio consoles have evolved and Wheatstone is leading the way. RADIO phone +1 252.638-7000 | wheatstone.com | sales@wheatstone.com
  • 3. Welcome to the updated Audio Consoles Buyer’s contents Guide 2013, an exposé of the finest the audio 4 Creative Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . console market has to offer. Whether you’re in THE INTERNATIONAL BUYER’S GUIDE A 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 recording, post production, broadcast, or sound 8 Due Process. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUDIO ....... reinforcement, we’re sure there’s a selection of CONSOLES 2013 products here for you.10 Console Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . This magazine is a collection of promotional articles looking PRO DUCED BY at 17 of the world’s leading console manufacturers and their AUDIO MEDIA product ranges. Inside you’ll find the stories behind the gear Allen & Heath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . In association with:12 I N T E R N AT I O N A L E D I T I O N – the ethos’ and design ethics that go into producing one of the core components in audio production – and details of the products themselves.14 AMS Neve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 different16 Avid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 suited18 Cadac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 modern20 Calrec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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?22 DHD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Everybody needs to address at least a few of these issues, and probably more besides.24 DiGiCo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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, and28 Lawo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 distributed30 Mandozzi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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.32 Midas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . com. Paul Mac, Editor.34 PreSonus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 Sonifex . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 Soundcraft Studer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1354 669960 - Fax: +44 (0)1354 669965 Sales Manager Editorial Manager (Europe)40 SSL (Solid State Logic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Graham Kirk Lanna Marshall g.kirk@audiomedia.com l.marshall@audiomedia.com Editor In Chief Design & Production Manager Paul Mac John-Paul Shirreffs42 Stagetec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p.mac@audiomedia.com jp.shirreffs@audiomedia.com44 Wheatstone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE INTERNATIONAL BUYER’S GUIDE A 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 Yamaha. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUDIO F R O M T H E N E W B AY M E D I A G R O U P46 ... CONSOLES www.nbmedia.com 201348 Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 P RO D UCE D BY any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers AUDIO MEDIA accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. In association with: I N T E R N AT I O N A L E D I T I O N © 2013 NewBay Media. All rights reserved.
  • 4. consoles 2013Creative InputPaul Watson talks to three of the leading broadcast manufacturers about their approaches andphilosophies 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?”Calrec’s Senior Design and Development to do with EMC compliance,Engineer, Graham Milnes, says the main thing pin one is hard-connected tois to make sure all customer requirements the chassis, which negates theare met, though interestingly, some of those need for ground lifting andrequirements might not immediately be known everything is much safer.to the customer. Some people may disagree, “Ultimately, the customer just wants but that’s our philosophy,everything to work, of course,” he says, “but in certainly.”the real world, we supply a lot of kit for outside Calrec hasn’t usedbroadcast and one of the most important things transformers on mic inputsis protection on the input; when there are nearby since the 90s; instead,electrical storms going on and you have very everything is electronicallylong cable runs, you have got to protect those balanced. Milnes says this isinputs so they won’t pack up. Barring a direct hit, due to size, weight, and cost; and line inputs, which Milnes says is particularlywe’re able to do that.” and technically, better performance is achievable convenient for the end user. Milnes says that having to comply with electronically. Headroom is also a massive factor, “Because one input can be used for mic orEMC directives has most certainly affected the he says, even in user control. line, we have a gain range that goes up to 78dBway that manufacturers approach designing “When it comes to digital processing, it’s all maximum and at the other end of the scale ittheir inputs. 24-bit resolution audio, but without giving too will attenuate at up to 18dB,” he explains. “Years ago, before EMC compliance came much away, it’s important we have more bit “For many years we’ve tended to have theinto play, we had quite excessive RF filtering resolution than 24-bit audio so you can have universal input, though it complicates the designto take out the Long Wave, Short Wave, and yourself more head and tail room,” he reveals. for the pre-amp somewhat as it needs to handleMedium Wave transmissions, be it a radio, a taxi, “It might sound strange, but if you just think of a very high signal.”whatever; that was a big nuisance in the 70s, EQ these days, which is typically four-band, each Although all I/O is analogue, everything else80s, and 90s, and it’s so important to get that of those four bands will often be capable of is digital, and Calrec stopped making analoguestuff out of there, as we do have to comply with adding 20dB of gain, and you can very quickly consoles more than three years ago.all of these [EMC] directives,” he explains. “If you get some very high signals; if you don’t have Milnes insists, however, that in some ways,think about the traditional XLR input, people some extra bits to handle that then you’re in analogue is still going very strong.used to talk about the classic pin one problem trouble. We have a vast amount of headroom “When it comes to the operational amplifier,whereby pin one of the XLR wasn’t bonded in our system, some in the user control too: we which is the heart of the circuitry really, thecorrectly to the chassis and would often go have the front end screen where the end user good old 5532 is still a hard act to follow. It hasdown onto the circuit board; these days, mainly can see how much headroom they’ve got up been bettered, but these newer offerings will to the fader, so if cost significantly more, and whether they make things get loud and that much of a difference or not is open to some out of control, the debate,” he says. “Certain amps have improved operator can pull and if you compare specs, there will be better the fader down noise performance, better THD, slightly lower and everything still power consumption, and higher drive current. sounds clean. The maximum level you will find in broadcast is The end user supposedly +24dBu, but there are many devices can select the where internally the power rails will generate input headroom above and beyond that; all our inputs will handle anywhere between at least +27dBU, which is very high, and when 18 and 36dB, which the end user turns the gain down on the mic pre- is quite a lot.” amp, the signal will stay absolutely clean.” The Calrec inputs are unique The Dallis Dynasty in that they Lawo’s latest input board is the eight-channel accommodate mic Dallis mic/line in, which is balanced, floating, and4 CREATIVE INPUT
  • 5. ive™ gital t ud io L act d i nus S comp ™ reSo only more. uy a P et the is a nd B an mix dg e r t ha t can d o all t h iPhone monitor mix control ® iPad® mix control with ™ Record multitrack SL Remo te ix™ with QM load) (free own down- (free d load) clicks mouse ) st two e™ (included in ju aptur StudioLive™ 24.4.2, with C 25 XMAX™ preamps, 10 wireless monitor mixes with free QMix™ app. Edit and produceLtd. Smaart is a trademark of Rational Acoustics. Mac, iPad and iPhone are registered trademarks of Apple, Inc. Let’s get this settled: “Hillbilly Handfishing” is NOT filmed in Louisiana!©2012 PreSonus Audio Electronics, Inc., all rights reserved. StudioLive, Capture and QMix are trademarks of PreSonus Audio Electronics, Inc. Studio One is a trademark of PreSonus Software Artist ™ udio One ed) with St (includ DAW Full laptop control W ithout a sweet suite of seamlessly integrated software, a digital mixer is just a mixer. And that’s what makes StudioLive different from its competition. Our posse of perspicacious program- mers have created the tools to do multi-track recording, control by ™ or f laptop or multiple i-devices, serious production and even squeezed in ioLive rtual Studncluded) a hunk of the world’s most powerful acoustic analysis software. with Viand PC (i Mac Bottom line: PreSonus is the only digital mixer manufacturer that offers this level of software features — all without buying extra programs or hardware. Which Optimize system EQ is one reason StudioLive is the world’s best-selling compact digital mixer series. Visit our site, check out the hundreds of bayou-grown videos we made for YouTube and Vimeo. And then ics’ visit your nearest PreSonus dealer. Acoust ational ctra & RTA with R rt™ Spe Smaa included) ( www.presonus.com
  • 6. consoles 2013 aliasing above 20kHz The Studer cards include a 64-in 64-out is unavoidable for MADI card, 16-in 16-out ADAT and AES cards, maintaining acceptable an eigh- in eight-out analogue card, and mic latency, whereas with a cards with just four channels. What is particularly double sampling rate, an significant is the amount of money Studer is aliasing-free operation investing to make a high-quality mic interface. is possible without an “We are basically putting in eight times the extended group delay,” amount of money it costs to make a multi- Werwein explains. channel digital interface to make a high-quality “However, we have mic interface, because we regard that initial implemented a second conversion as so very important,” Hill insists. FIR filter implementation, “It is the only way of getting the initial capture optimised for of the audio into the digital domain in the double-speed mode, absolute best possible way.” and this is not realised Another element of Studer’s input stage in common designs; it design involves moving the mic amplifier awayfeatures galvanic separation. allows for a complete from the mixing console, Hill says: “Whereas in “We don’t use audio transformers when aliasing-free operation and maintains ultra- a traditional analogue console the mic channelsdoing galvanic separation; instead, it is realised low latency. were in the channel strips in the console,in the digital domain,” says Martin Werwein, “With the latest generation of high-quality nowadays we make stage boxes where theof Lawo’s R&D department. “This structure audio interfaces, Lawo has reached an audio mic amps are placed down by the stage or byeliminates the drawbacks of such transformers, quality that can hardly be improved. The quality the mic so that the cable from the mic to theand as a result, we can offer excellent distortion regarding distortion and noise is so high that amplifier and its converter is very short; at thatperformance, common mode rejection even one needn’t pay attention to it in most cases; point, the signal is converted to digital andat high frequencies, low crosstalk, and a much and although this may also be true of products transmitted up to the mixing console as a multi-higher density.” from other manufacturers, our equipment channel digital format which then suffers no Lawo also uses discrete Class-A pre-amps, is absolutely failsafe under even the most further degradation in signal.”which, it claims, provides ultra-low equivalent problematic environmental conditions, which Across the board, it is clear thatinput noise even at moderate gains as well as a certainly gives us an edge over the competition.” manufacturers see the input stage as the mostflat frequency response. important of all when designing broadcast “Our mic-pres are extremely high quality Studer-Maker consoles. As with many areas of the audiobecause we built them in a very modern discrete Studer’s Product Manager, Andrew Hills, says the industry, digital is now clearly the norm, and hasdesign that provides an excellent overall most important area of a mixing console design led to a number of significant enhancements,performance, as well as the very best distortion is the initial analogue circuitry followed by the though analogue remains king when it comes toperformance even at high gains,” Werwein adds. A/D converter, as once the signal is captured into I/O. Headroom is also crucial, particularly in live“Then in terms of amplification, our variable gain the digital domain poorly, it cannot be repaired. broadcast applications, where there is literallyamplifier is working with a full digital gain stage “Analogue consoles had mic inputs and no room for error.and two noise scaling amplifiers – one analogue, line inputs, the reason being there were onlyone digital. The analogue noise scaling amplifier www.calrec.com two types of device you wanted to connecttogether with its digital counterpart is used to www.lawo.de to an analogue console: a microphone or anrun the analogue gain stage, which guarantees active device like a tape machine or playback www.studer.chthe best noise performance, and using this device,” he says. “As the move has gone fromstructure allows end users to change the gain transmitting audio betweensettings in the digital domain without any regions from analogue to digital,audible clicks.” the number and variety of digital Although the gain reduction of Lawo’s has grown exponentially as well;PAD is 20dB, the maximum input level is things started with a single AESlimited to +24dBu, though the maximum input interface, then there was an SPDIFlevel without the PAD is +8dBu. This structure, digital interface, then various multi-Werwein claims, makes it possible to run the channel audio ones like MADI andPAD stage with a better noise performance. ADAT. What Studer has chosen to Lawo also believes that it is ahead of do to is provide as many interfacesthe game in terms of filtering design for A/D on standard cards so customersconversion, insisting that its modified FIR can connect whatever equipmentfilter architecture minimises latency whilst they like directly to the consolemaintaining an excellent linear phase response. without any additional blue boxes “With a single sampling rate, a little or conversion interfaces.”6 PROMOTIONAL FEATURE
  • 7. This Is Your Moment© 2012 MUSIC Group IP Ltd. Technical specifications and appearance are subject to change without notice. All trademarks are the property of their respective owners. iPad not included. The lights come up, the band explodes to life and your system is dialed in. The show unfolds in front of you and everything is where you expect it to be. Mains sound great, 6 monitor mixes, side-fills and in-ears are netting you nods from the band. You’re bedding 32 tracks in ProTools™, and mixing a killer show. You glance down at the X32 and marvel at the technology; motorized faders, LCD scribble strips, 16 mix busses and racks of effects at your fingertips, iPad® ready to mix from anywhere. Get your hands on an X32 and live your moment!
  • 8. Due Process:Effects Processing Inside The ConsolePaul Watson talks to four of the many manufacturers now putting their internal effects forward as a oneof the big reasons to buy. What philosophies populate this hard-fought piece of ground? “We write all our own effects algorithms, will load onto any of ourbecause all of our digital consoles operate other consoles, and runan automatic latency management routine,” perfectly,” Ferriday states.explains Brand Development Manager at “Although we’ll alwaysMidas, Richard Ferriday. “It’s very important continue to develop ourthat however the operator deploys those effects palette of effects units, weprocessors, the console is able to manage the also appreciate that there’llresulting latencies and make sure that the always be something thataudio is always in phase, right down to single someone is going to wantsample accuracy, whenever they sum that audio that we won’t be able totogether at any point.” provide – an effect that The company philosophy in terms of its perhaps 99 per cent ofeffects and processing, Ferriday says, is to our customers will nevercontinually improve them: after purchasing a use – so we have made it Lexicon – and you can really hear the difference.”console, any new effects that are built into the easy to interface our consoles with external DSP Something else that DiGiCo doesn’t need tosoftware are always released to the customer at resources so users can run an effect on a laptop worry about, Webster says, is clogging up the I/Ono extra cost. and interface it specifically with the console on the console with effects returns. “If you take our latest Generation II software whenever they need to.” “With an SD7, because of the Super FPGAas an example, which we released at ProLight + and the DSP together, we can do up to 48 stereoSound earlier this year, that added lots of new DiGiCo effects – just returns on a console you’d need 96functionality into our entire console range,” he One manufacturer that uses more than just DSP inputs for that,” he smiles. “And that’s excludingcontinues. “We added an additional five reverbs, is DiGiCo: unlike any other brand, it uses Super any of the compressors, dynamic EQs and gates,a dynamic EQ, a matrix mixer, several additional Field Programmable Gate Array (Super FPGA) for because they’re on every channel and every busmodulation effects, and a new tap-delay.” all its audio path. of our consoles anyway.” Because Midas’s digital consoles all boast “DSP is certainly powerful, but nowhere near Webster stresses that although all DiGiCoidentical effects and processing options, as powerful as Super FPGA,” claims DiGiCo’s customers are happy with the internal effectsfrom the Pro 1 all the way up to the XL8, the marketing director, David Webster. “What that and processing available in its consoles, themanufacturer can provide full compatibility means is, when you’re dealing with something manufacturer realises that people will alwaysacross the board, so to speak. that needs a lot of arithmetic calculations, like have their personal preferences in the way “Uniquely, you can take a show file from a reverb, you can get a much higher quality out something should sound, therefore offers plug-inany one of our consoles with a certain effects of Super FPGA. In the old days, for your house capability, via Waves.rack as a component in that show file and it vocal, you’d have either your Lexicon 224 or 480, “Is it the Waves DSP add-on? Yes and no, or your Yamaha really. It is, but anyone else that can interact SPX 90 – now with Waves has an Ethernet connector to when you look a SoundGrid server, whereas we offer that at that, they’re capability via a 2U rack-mount [SoundGrid] both reverbs, but server, and everything else is then incorporated I know which one into the console as standard,” Webster explains. I’d want! Plenty “Using DiGiCo, you can have up to 32 stereo of manufacturers racks from Waves – that’s 64 channels. Most can deliver other people aren’t able to do that... We are the quality similar to only manufacturer that allows that 64 I/O on top something like of any I/O we have in any of our consoles.” the SPX 90, but DiGiCo also offers control of Waves via its using Super FPGA, consoles’ touch-screens, which eliminates the we can provide need for an additional PC. the quality of the “Instead of a running a separate laptop,8 DUE PROCESS
  • 9. consoles 2013you’re basically running a separate server for with no loss of effects or processing power) and in the future we certainly hope to expand uponaudio only, and it uniquely saves that within a engaging any graphic brings band control onto that,” he adds. “Everything is based around oursession. The only thing that’s happening is its the channel faders. The channel FaderGlow Virtual Circuitry Modelling technology, of course,number-crunching and the audio I/O is going turns red to show graphic mode, and the band and we also have many classic pieces of in-in and out of the 2U box; everything else all frequency is shown above each fader in the LCD house hardware we are able to model digitally: ahappens within the console,” Webb reveals. display. The current channel-strip dynamics on number of classic reverbs, EQs, and compressors,“It’s then saved as a Waves live session file with Soundcraft’s consoles originated with Studer, for example.”a DiGiCo session file – the two are married. and because the audio quality was so high, the Angel reiterates that above all, it’s aboutSo, for example, say Eric Clapton’s using a manufacturer says it saw no reason to change quality, not quantity:particular effect and you change it for his guitar them. “We are not going to go for a complete plug-solo in Layla, that’s there, even though it’s in “The EQs and dynamics are currently in system – that brings problems, which we haveWaves; the console knows it, and it tells the Studer algorithms, developed for both live and seen in several competing manufacturers; weWaves box what it wants, then you see it on the broadcast applications, and there’s actually a may have a slightly ‘closed-garden’ approach,screen on the console. It’s totally integrated, plan in development to offer more choice of but anything that isn’t completely solid is notwhereas everybody else has to run it as if it’s a those algorithms,” he says. “At the moment we acceptable to us as a Yamaha solution.”separate piece of outboard gear.” have a Vi dynamic strip, but it would be nice to have the option of putting a dbx 160 in there Shut DownSoundcraft too, and a BSS DPR901 – these are classic bits of Overall, quality is clearly paramount for all of One of the benefits of being part of the kit and obvious targets for us to incorporate in these manufacturers, be it through reviving theHarman Group, says Soundcraft’s Head of the future.” old analogue sounds of yesteryear through plug-Digital Console Strategy, Andy Brown, is being ins or using other new technologies; in fact, it’sable to utilise the best of all of its brands, which Yamaha the one thing that does seems constant: peoplehas had a positive impact on the effects and Yamaha’s latest line of digital consoles is the CL still want to recreate the classic processing of theprocessing that’s gone into Soundcraft’s Vi and Series (CL1, 3 and 5), all of which include high 60s and 70s, and it doesn’t look like that is goingSi ranges of digital consoles. quality Portico 5033/5043 EQ and compressor to change any time soon. “We are in a very good position as we have devices. The company’s current philosophy inaccess to lots of well known and well-respected terms of effects and processing, according to Midas Consolesbrands, going from the Lexicon reverbs to R&D product specialist, Chris Angel, is three- www.midasconsoles.comthe dynamic stuff like BSS graphics and dbx fold, and right in line with the Yamaha’s basicprocessing,” he says. “Our general philosophy is philosophy when it comes to designing and DiGiCoto try and get those brands into our consoles, building digital consoles. www.digico.bizand although we have certainly done that in “First and foremost, our customers alwaysour current offering, there’s a lot we’d like to do expect 100 per cent reliability from our products,on that side of things. What’s also really cool is so processing reliability is completely key,” he Soundcraftthat these fellow-Harman brands also happen insists. “Secondly, it’s about quality: we and our www.soundcraft.comto be industry standard – brands that engineers customers have always demanded the best, sowould have on their wish-list when speaking to we need to make sure that the audio quality we Yamahaany digital console manufacturer. That’s a big generate will always be excellent; and thirdly, we www.yamahacommercialaudio.combonus for us.” insist on a seamless user- Using Lexicon, Brown says, was “a complete interface: everything needsno-brainer”: to be built-in, so the user “Being such a super-respected brand – has no need to administrateprobably the leading brand in the industry at third-party solutions.”one time – meant we had to put it into our Vi Angel says processingand Si consoles; we got a very positive reaction and effects expectationsfrom engineers and I think it made people have increased massively inremember just how well made those original recent years, and as a result,Lexicon algorithms were; they were developed by Yamaha has chosen toreal academics, which made Lexicon the force it collaborate with a small andwas in the 70s and 80s. We provide eight totally select number of processingintegrated stereo Lexicon FX engines from a partners.single card installed in the rack, all controlled “Our main partner isdirectly through the Vistonics II user interface, Rupert Neve Designs; bothwith a host of patching and control options.” through Yamaha and our All of Soundcraft’s Vi consoles boast BSS sister company, Steinberg,graphic EQs, which can be deployed on all buss we have been able tooutputs (providing 35 x 30-band graphic EQs provide these plug-ins, and THE INTERNATIONAL CONSOLE BUYER’S GUIDE 9
  • 10. consoles 2013Console TipsA selection of console-related tips for audio professionals everywhere…Surprise Surprise and we are not going to actually use the gated Good Gain, Good GainWhen working on an unfamiliar console signal itself in our mix. The next step is to find a Maintain good gain structure throughout the(analogue, digital, clockwork), get to know suitable speaker in your tracking room to send mix. Good gain structure is essentially abouthow the mute system works including any the staccato signal to. Take the speaker and leaving enough headroom on each individualgroups or master assigns. Then clear it all and place it upside down on top of a nicely tuned channel so that tracks aren’t fighting to becreate your own set-up. The same thing goes snare drum. If you use an NS-10 or similar heard. The results are that each individual soundthen for VCA/DCA groups and mix bussing. speaker with a slippery finish, you may need to has the “space” that’s so important and that theThat way you wont be caught out by a bad place the edges on some foam so that it doesn’t essential headroom for mastering remains.dose of soundperson’s surprise! move during the procedure. Now place a microphone about two-inches Rebecca Wolf, HHB CommunicationsLeon Phillips, Allen + Heath from the side of the drum, and return the microphone signal to the console, mixing it A Gang Of EQSequential Solo with your original gated snare signal, down a In a festival situation or where microphonesMy secret at the beginning of a mix is to solo mono buss, where you can EQ the result of your are being moved around a lot, gang theone channel after another to hear all 30 tracks in submix, and into your stereo mix. We use the graphic equalisers across the front line stageabout two minutes, but without the distractions CharterOak S600 as it has a big sound with an mixes (using the digital console). This way,of lots of keystrokes or mouse moves by just open bottom end and a gentle roll off starting at any problematic frequencies are dealt withkeeping my finger on one of the faders on the about 13kHz. simultaneously in one fire-fighting action!console as I slide along the Smart AV console‘Arc’, which pops each channel into that fader, Michael Deming, President of CharterOak Leon Phillips, Allen + Heathsoloing just the one at a time. I love this part Acousticsbecause it neatly programs my mind so I can Group Hughear exactly what everyone is doing and how Gain Vs. Trim If you have the kit available, bounce theefficient they are voltage wise because I am When using a digital console and wanting some performer vocals through different group EQs.metering it on a VU meter at the same time. of that warm colouration, turn up the analogue Try to have a different group EQ for girls, boys,That global prospective gives me such a head gain, and back off the digital trim to retain a handhelds, etc. You will find that many of thestart over what is needed with this mix. useable gain structure through the console offending frequencies in a vocal sound are common across all twenty girls. These can beMichael Stavrou, C/O Smart AV Richard Ferriday, Midas and Klark Teknik notched out in the group, leaving channel EQ for dealing with specific individual problems. AlsoLive: Cue One Ready ADDA Bit consider that the frequency you are hearingSet up your system first – make sure that the When using external analogue inserts on could be common across the system and yousound at the mixing desk is representative of the the input channels of a digital mixer, set the just didn’t notice it during band sound check.sound in the rest of the room. There is no point console’s delay management system to apply The system EQ should be your port of call here.busting your gut to get the vocals sounding the additional latency of a second AD-DAright at the console only to discover they sound conversion to all of the other input channels – Gareth Owen, Theatrical Sound Designerrubbish everywhere else. this keeps all the audio perfectly in phase Keep It RealGareth Owen, Theatrical Sound Designer Richard Ferriday, Midas and Klark Teknik Make sure you are EQ’ing the right thing.Supreme Snare Before sound check, make sure any channel orIf you need a quick fix for mid-rangey snare The Phantom Tweak group dynamics processors are switched off,drums that lack punch and dynamics, No one’s ears are as golden as one might particularly any dynamic EQ or compression.try this: Multiply the original snare track, sending like to think. It’s easy to fool yourself. Here’s Once you have a vocal sound that works tonally,the original signal through your best gate and an example I have lived: mixing a tune, the then you can add compression and dynamic EQthen back on to the console, and send the producer suggests a little more top on the vocal. to move it from good to great.second signal to another channel of the gate. The engineer agrees, and reaches up to the EQWith the second channel, use the gate to create knob on the channel strip. He moves it up a click, Gareth Owen, Theatrical Sound Designera very staccato signal by setting the attack and the producer and the engineer listen a moment,release times very fast. and then nod: good change. Then the engineer Also, with this channel you can set the key notices his hand is on the wrong channel strip.filter on your gate less conservatively as we David Mathew, Audio Precisionwill want none of the cymbals to pass through10 CONSOLE TIPS
  • 11. Live Sound Enlightened aUDIOMeDIA gear of the year 2012 aUDIOMeDIA gear of the year 2012 aUDIOMeDIA gear of the year 2012NOW WITH DMX INTEGRATIONFor the first time ever, Si Performer integrates class-leadingSoundcraft digital audio mixing with parallel control over stagelighting. So now even a ‘single operator’ can produce a veryspecial event. 8 20 4 8 UP TO 80 4 Band LCR AUX FX MATRIX FADER CHANNELS FULLY ASSIGNABLE COPY & BUSSES BUSSES BUSSES GLOW TM TO MIX PARAMETRIC EQ FADER LAYERS PASTE PANNING D.O.G.S DIRECT 4 8 8 DMX 512 MUTE VCA 31 BSS REMOTE LIGHTING CUE LIST 8 OUTPUT GAIN STABILISATION FX GROUPS GROUPS GRAPHIC EQs CONTROL APP PORT CONTROL AUTOMATION FFind out moresoundcraft.comSoundcraft T: +44 (0)1707 665000 E: soundcraft@harman.comSoundcraft US T: 888-251-8352 E: soundcraft-USA@harman.com
  • 12. + + + + A L L E N & H E AT H + + + A L L E N & H E AT H + + + + A L L E N & H E AT H + + + + A L L E N & H E AT H + + + + A L L E N & H E AT H Adele, iLive Digital Mixing System. Over 40 Years Of Audio Excellence And Innovation 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. Allen & Heath started out providing mixing conceptually based on the hugely successful low latency, and the DSP muscle to provide full consoles for the bands Genesis, The Who, iLive series. A standard GLD 32 input system processing without compromise. GLD-80’s FX and Pink Floyd. Its current portfolio covers a offers 28 XLR mic inputs with plug n’ play I/O engines are taken directly from the iLive system broad spectrum of the industry, with recent users expanders allowing easy expansion up to 48 and feature beautifully crafted emulations of including Adele, Morrissey, XFM, Capital Radio, inputs (44 XLR mic inputs), providing a complete industry classics. Richie Hawtin, and Paul van Dyk. digital mixing system. The dSNAKE Cat5 digital multicore together Products include the iLive digital mixing At the heart of with plug ‘n’ play audio racks and expanders family,GLD digital mixing system, iDR digital the system is the GLD- make it simple and affordable to installation series, Xone DJ range, ZED compact 80 mixer, which boasts build the system as needs mixers, XB series of dedicated broadcast consoles, analogue-style controls grow. Networking cards GS-R24 and ZED-R16 recording mixers, and the and an intuitive allow the user to link GL, MixWizard, and PA analogue Series. touchscreen interface. GLD systems, make The layout and appearance of the multi-track recordings, or connect GLD Live Digital Mixing System GLD-80 can be customised quickly and with other systems. Plus, an AviomTM The new GLD mixer is a user-friendly, cost easily, and GLD delivers outstanding audio compatible Monitor port allows connection effective and scalable live digital mixing system, performance, with a new high-end mic pre-amp, to personal monitoring systems. 12 PROMOTIONAL FEATURE
  • 13. consoles 2013H + + + + A L L E N & H E AT H + + + + A L L E N & H E AT H + + + + A L L E N & H E AT H + + + + A L L E N & H E AT H + + + + A L L E N & H E A 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 specifically 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. iLive Digital Mixing System and audio communication over a single CAT5 online real time operation of the system with Having just released V1.9 firmware, featuring cable up to 120m in length by combining digital or without a Surface connected. Allen & Heath a range of enhancements including new GEQ, audio and Ethernet traffic. has also designed the iLive Tweak app for iPhone Dynamic EQ, and Multi-Band compressor All MixRacks feature the same 64x32 and the MixPad app for iPad, providing control emulations, Allen & Heath’s iLive digital mixing RackExtra DSP mix engine architecture, of iLive’s essential functions for live mixing. systems have built a strong reputation for audio providing processing for 64 channels, 32 mixes, quality and ease of use. and eight stereo FX processors. The latest ZED Series Allen & Heath’s iLive digital mixing systems dualcore DSP technology handles all the FX The ZED range of small format, USB-equipped have built a strong reputation for audio quality and mixing along with the full dynamics, EQ, mixers is designed to be flexible and affordable and ease of use. Featuring an extremely flexible and delay for all inputs and outputs for the modern working musician to use on architecture with large-scale audio distribution simultaneously. iLive’s RackExtra FX suite the road or in the studio. The series comprises and control, iLive is designed to bring an includes a comprehensive range of classic the ZED-10, ZED-14, ZED-18, and ZED-24 analogue feel to digital mixing and draws on the emulations including reverb, delay, ADT, stereo mixers; the ZED-10FX, ZED60-10FX, company’s extensive experience in live sound chorus, flanger, hypabass, and gated verb. ZED-12FX, ZED60-14FX, ZED-16FX, and and digital technology. The Port B option slot allows further audio ZED-22FX containing a comprehensive and There are several Control Surface and networking possibilities, for example digital mic beautifully-crafted set of in-house designed FX; MixRack variants, which can be mixed and splitting and multi-track recording, with ACE, the ZED 4-Bus range, designed for professional matched in any combination and share EtherSound, Dante, MADI, ADAT, WAVES, and live sound applications that require more the same firmware, so that show files are Aviom™ interfaces available, while a built-in detailed EQ control, audio groups, and matrix transferable between systems via a USB key. network switch and MIDI ports at each end outputs; and the ZED-R16 dedicated recording They connect together with CAT5 cable and allow remote control using laptops, touch tablets mixer, which combines Firewire with multi- use the Ethernet protocol for control, such as and MIDI devices. The racks are compatible with mode MIDI/audio faders, MIDI controls and Dante or Allen & Heath’s proprietary ACE the Allen & Heath PL Series remote controllers ‘home-studio’ routing, enabling the user to (Audio Control over Ethernet) link, which allows and iLive Editor software, a user-friendly build tracks in the studio or record a live gig, cost effective long distance point to point control program that enables both offline set up and mix-down and remix. Morrissey, iLive Digital Mixing System. Allen & Heath Ltd. (HQ) t +44 (0)1326 372 070 e sales@allen-heath.com w www.allen-heath.com American Music & Sound (USA Distributor) t +1 800 431 2609 w www.americanmusicandsound.com e info@americanmusicandsound.com Audio-Technica Ltd. (UK Distributor) t +44 (0) 113 277 1441 e sales@audio-technica.co.uk w www.eu.audio-technica.com/en/allenheath THE INTERNATIONAL CONSOLE BUYER’S GUIDE 13
  • 14. ++++AMS NEVE++++AMS NEVE++++AMS NEVE++++AMS NEVE++++AMS NEVE++++AMS NEVE++++AMS N Neve – The Rolls Royce of Consoles Custom-crafted in Burnley UK, to an uncompromising British specification and using only top quality components, AMS Neve’s mixing consoles – both analogue and digital – are the gold standard throughout the world. You’ll find 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. Whether it’s our flagship analogue 88RS and mastering-grade 192kHz A/D and D/A converters remarkable advance on anything heard before. digital DFC consoles, our classic outboard units, with FireWire interface, digitally controlled EQ Professionals throughout the world have chosen CineFile and AudioFile dubbers and editors, or and dynamics, remote mic amp control, and the full clean sound of the 88RS console. Its high the compact modular Genesys, the same values much more. bandwidth, pure audio path, superior dynamics, always apply: sonic excellence, handmade- In any configuration, Genesys offers greater dynamic range, and greater control in-Britain quality, and – just as important for an excellent studio control surface with make the 88RS the first choice for recording and an industry where time is money – workflow- comprehensive monitoring and signal routing mixing the purest fidelity recordings. enhancing ease of operation. capabilities. This eliminates the typical mixture Designed in consultation with top producers of awkwardly interfaced devices, and puts a and recording engineers, it is equally at home Genesys proper console back in the heart of the studio. on music sessions and (especially with the A hand-built expandable analogue recording As with all Neve products, Genesys offers addition of the SP2 Scoring Panel) for recording console with digital workstation control and a sound and build quality beyond reproach. film scores, and it’s the unanimous choice of base configuration starting at under GB£30,000, Genesys Hollywood’s big four scoring stages – Genesys puts Neve quality within reach of • New ground-up Neve analogue design Fox, Skywalker, Sony, and Warner. the smaller studio. Building on 50 years of • Up to 64-faders/128 inputs technical heritage, it includes our legendary • DAW control, 5.1 monitoring and mixing 88RS mic pre-amplifiers and highly revered analogue • Eight auxes, groups, two main outputs • Designed for full surround from the circuit design. But Genesys also accommodates • Four effect returns, two cue mixes ground up the seismic changes in the methods of music • 16-ch, eight-track and two-track metering • Motorised large and small faders recording, with extensive digital control • Optional Neve EQ & Dynamics and • AFL surround solo monitor and connectivity. transformer-coupled microphone pre- • Overpress PFL on each channel fader In its basic configuration, Genesys offers amp inputs • Four main output faders, L/R, C, S, and 16 channels of mic/line pre-amps, 32-channel • Optional digital inputs and outputs with LS/RS DAW monitoring, hands-on DAW control for FireWire interface, motorised faders (with • Acoustically optimised frame Pro Tools, Logic, Nuendo and more, eight Encore automation software) • Supplied with or without patch auxiliary buses, eight group busses, two main • Optional Total Recall™ software • Enhanced ‘S’ channel strip outputs, four effects returns, comprehensive • Enhanced spectral Neve format metering, 5.1 monitoring and mixing, two cue 88RS equalisation mixes, and talkback services. With its unmistakeable Neve qualities of • Legendary Neve soft knee compression Genesys can be expanded to 64 channels exquisite design, peerless craftsmanship, and • Audio performance beyond 24/192 in a straight or articulated frame, with options legendary Neve sound, the 88RS continues the digital SP-2 option for enormous scoring including motorised fader automation, Recall™, Neve bloodline of analogue consoles with a power and flexibility 14 PROMOTIONAL FEATURE
  • 15. consoles 2013NEVE++++AMS NEVE++++AMS NEVE++++AMS NEVE++++AMS NEVE++++AMS NEVE++++AMS NEVE+++++ The AMS Neve DFC Gemini at Alvernia Studios, Poland. SP2 Scoring Panel for 88RS heart of the DFC Gemini is USP, the world’s most The control surface provides rapid access A specially designed film-scoring option for the powerful mix engine, capable of delivering the to every aspect of routing and monitoring no 88RS, the SP2 Scoring Panel and stem-maker legendary Neve sound across 1,000 audio signal matter how complex the mix. Channel strips delivers an astonishing increase in flexibility and paths at 96kHz 24-bit in a single, high-resolution, provide total control with the patented touch productivity. When tracking it easily handles DFC signal processing tower. sensitive Logicator™ pots, giving instant visual even the most complex scoring requirements AMS Neve’s wealth of experience in reference to each knob setting. Enhanced visual including full orchestra in several sections plus ergonomic design has created the most flexible feedback is provided by high res TFT monitors, pre-records and multiple reverbs. It speeds up surface in the industry designed to maximise powered by the AMS Neve proprietary ViewMix™ the mixing process, too, delivering multiple 5.1 both controllability and feedback to the user. engine, allowing you, for the first time, to see as stems plus a full mix in a single pass. well as hear and feel your mix. Through ease of When Abbey Road – one of Britain’s leading DFC GEMINI use the DFC Gemini has arisen as the market score-recording studios – specified its new Neve • High resolution TFT channel display leader in predominantly freelance markets. 88RS for Studio Two (which has a fairly narrow • Encore:2 automation system (compatible control room), the engineers were asked to with 1800 AMS Neve consoles) Encore Automation choose between a 72-fader console with no • Off-line edit options offering enormous When you work on AMS Neve consoles, you Scoring Panel or a 60-fader version including cost savings don’t just get a better result, you also get a the SP2. No contest. They’d have liked the extra • Neve EQ, dynamics and filters faster result. Top engineers are always pushing faders, but the SP2 was a must-have. • Expanded 12 Stem mixing the envelope, and our R&D team works tirelessly • Complete integrated machine control to give them more flexibility, more options, and DFC Gemini • Optional Monitor Facilities Rack increased throughput. AMS Neve’s proprietary DFC Gemini is by far the most accomplished • WavTrakTM display providing the user Encore automation software is a case in point. digital mixing console designed specifically for with level and dynamics metering, The latest version – Encore:2 v7, for USP (Ultra multi-format film dubbing and post production. graphical EQ curve and audio waveform Scale Processor) systems – not only adds several With an unrivalled installation base, DFC is information on a path by path basis new ‘beyond 7.1’ 3D surround options, but the standard among the world’s premier motion • ‘SuperstemTM’ system allows easy, delivers a massive hike in productivity. Increased picture facilities. native mixing for Dolby Atmos and bandwidth means that automation throughput From the outset, the DFC Gemini was Barco Auro 3D film sound formats is now three times greater than v6, with a designed for optimum mix performance. At the theoretical maximum of five million events per mix/pass (up from 1.5 million in v6). One of two Neve Genesys consoles in Tokyo’s Syn Studios, co-owned by Nick Wood and Simon Le Bon. CONTACT DETAILS AMS NEVE Ltd Billington Road, Burnley, Lancashire BB11 5UB, UK t +44 (0)1282 457 011 f +44 (0)1282 417 282 e info@ams-neve.com w www.ams-neve.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 15
  • 16. + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + Avid: A Revolution in Pro Mixing 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. Mixing has changed significantly from the days solutions that integrate when tracks were recorded onto analogue or traditional mixing with digital multi-track machines, and automated powerful DAW control to mixing only happened at the end with large address modern mixing consoles and outboard effects boxes. Today, workflows. S5 Fusion. with the evolution of powerful Pro Tools® Whether you mix automation, digital processing, and plug-ins, music, sound for film or and a high level of customisation that you won’t mixing begins the moment you record the television, news, sports shows, or live broadcast find anywhere else, enabling you to scale and first tracks, evolving throughout as the project events, we’ve got you covered with a wide range tailor the surface to your specific needs. Each moves between studios and desktop systems. of customisable surfaces for every budget and modular surface offers a variety of options, These advancements have enabled much more application. Meet the Avid Pro Mixing family. from extra faders and joystick panners, to creativity and time to explore ideas without PEC/Direct panels and video displays. Plus, you compromises or time limitations imposed by the System 5 Family can expand the surface to accommodate up traditional mixing process. In today’s ultra-demanding, content-hungry to three operators to handle the largest, Avid® and Euphonix® were both media world, you need an advanced audio most complex projects. groundbreakers in this evolution – Avid mixing system that can deliver the performance • System 5 – This scalable, large format console pioneering “mixing in the box” with highly required to take control of the biggest films, offers a powerful, expandable DSP SuperCore integrated Pro Tools control surfaces, and television shows, and album projects. engine (up to 450 audio channels), award- Euphonix, as a leading large-format console winning sound quality, an integrated router, With the versatile System 5 family of digital and unmatched DAW control, addressing the manufacturer, developing EUCON to control consoles and control surfaces, you’re armed needs of both traditional and ‘in the box’ multiple DAWs from its consoles. With Avid’s with the power and capabilities you need now – music and post mixers. recent acquisition of Euphonix and the product and in the future. • System 5-B – Geared for broadcast developments that have resulted, Avid has All System 5 consoles and control surfaces applications, this specialised System 5 console emerged as the clear leader in providing mixing offer advanced automation, rich visual feedback, offers full redundancy across the system, an N-1 mix-minus buss, programmable events, Avid System 5-MC. 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-Command If you’re strictly a Pro Tools user, ICON enables you to take unprecedented control over your 16 PROMOTIONAL FEATURE
  • 17. consoles 2013+ + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + AV I D + + + + MC Pro To 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. ICON Artist Series D-Control ES Get the deep DAW control made possible by EUCON in highly portable designs priced at mixes in ways not possible with any other a fraction of higher end consoles. The Artist control surface. That’s because ICON is purpose- Series of control surfaces packs serious, highly built to enhance and extend the functionality responsive control into three compact of Pro Tools|HD family systems, designs for music and audio post. Mix and maximising your efficiency so you have match them together to create a custom more time to try things and still turn slim-line surface that’ll free you from the around projects fast. tedium of working with a mouse and keyboard. All ICON control surfaces offer unparalleled • Artist Control – Perform a multitude of editing Pro Tools integration, motorised and touch- C|24. and mixing tasks fast with this four-fader sensitive controls, full recall over every project control surface, which features touch-sensitive parameter, central EQ and Dynamics sections, rotary encoders, transport controls, soft keys, and extensive visual feedback, so you’re always workflows, all in a streamlined surface that’s and a unique touchscreen with unlimited in tune with your mix. In addition, you can aggressively priced. programmability. customise the surface and controls for your • Compact footprint and affordability make • Artist Mix – Take mixing to a new level, with C|24 an easy fit in any professional studio. eight touch-sensitive, motorised faders and comfort and needs, whether you mix music or • Get fast access to Pro Tools recording, editing, encoders providing fast and easy access to sound for picture. routing, and mixing functions from the tracks, plug-ins, and more. • D-Control ES – For larger rooms, D-Control™ ES surface. • Artist Transport – Take one-handed control over offers the fastest, most creative way to work • 24-fader surface with bankable channel strips projects through the high-quality data wheel with bigger, more complex Pro Tools sessions, and touch-sensitive, motorised faders. and shuttle ring, plus get editing capabilities in up to 7.1 surround, with options that enable • Built-in 8x2 stereo line submixer and and programmable Soft Keys. you to expand the surface up to 80 faders. integrated 5.1 analogue monitoring system • D-Command ES – D-Command® ES enables can be used with Pro Tools or standalone. 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 Avid – US Headquarters (up to 40 faders) that fits nicely in any studio. 65-75 Network Drive, Burlington, MA 01803 USA t +1 978 640 6789 C|24 f +1 978 640 3366 Sleek and stylish, the C|24™ control surface enables you to take direct hands-on control Avid – European Headquarters of Pro Tools functions to greatly maximise Pinewood Studios, Pinewood Road your efficiency. The surface includes a full Iver Heath, Bucks, SL0 0NH UK complement of built-in analogue I/O, with 16 t +44 (0) 1753 655999 mic pres, a line submixer, and monitor section. You gain the speed, ease, and versatility Learn more at www.avid.com/promixing you need to accelerate your music and post Find your local reseller at: www.avid.com/find-reseller THE INTERNATIONAL CONSOLE BUYER’S GUIDE 17
  • 18. ++++CADAC++++CADAC++++CADAC++++CADAC++++CADAC++++CADAC++++CADAC++++CADAC++++CAD The Highest Quality Consoles For 45 Years 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 Cadac CDC Eight. Cadac CDC Eight: Digital Live Console The new Cadac flagship digital live production The high agility interface utilises a far less right, to make it even easier the faders follow the console, the CDC Eight. 128 channels with 256 menu-dependent operating system than screen giving you full control on the channels assignable inputs and up to 48 output busses, it other consoles in the market with the interface displayed. Movement through all 128 channels designed to be as intuitive and simple to operate becomes quick and simple. is specified for high-end sound touring and fixed Just like a fully featured analogue console, installation applications. The console boasts a as possible. The displays show an overview of 16 the input channels have all the features and unique ‘high agility’ user interface, accessed channels at any one time on each screen with capability you would expect and with the unique via either a single or twin 24-inch 16:10 high simple touch operations to access/interrogate screen control, it is designed to give you, the definition LCD touch screens; a further centrally each channel set-up and configuration options. user, the clearest interface to the comprehensive located six-inch LCD touch screen accesses the To access further channels you can with a single features available, including versatile gain set- system control and automation. movement of the hand scroll the display left or up, and four-band parametric equaliser with additional high and low pass filters give you six Cadac has earned itself bands to control. Dynamics include gate, limiters, an enviable reputation by and compression, all accessed by simple touch delivering products that screen access. embody the company’s The 48 output busses can be configured core tenets of providing exactly how you want them, as auxiliaries for sonic excellence, attention monitor mixing, or a combination of groups to end-user requirements, and matrix outputs. The CDC Eight system also and a superb return on features eight programmable mute groups, 16 investment. Cadac is internal VCA groups, and two grand master outputs. therefore recognised as I/O can be either onboard with the ability an industry standard for up to 64 input/output configurations locally choice for leading musical on the console rear panel, or via the high speed productions, prestigious Cadac proprietary Megacomms digital interface theatre installations, and system to connect to one or multiple stage racks the international touring giving access on stage to all input and output circuit. facilities. 18 PROMOTIONAL FEATURE
  • 19. consoles 2013DAC++++CADAC++++CADAC++++CADAC++++CADAC++++CADAC++++CADAC++++CADAC++++CADAC++++ 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 Cadac Live 1. sound and standards in 12 to 28 channel formats. As with all Cadac desks, sound quality is utilising the Cadac Megacomms digital interface technology and recall ability of digital. paramount. A wide dynamic range, with ultra system making it ideal for use as dedicated The console has 16 high speed premium low noise microphone pre-amplifiers combined stage rack, or it can equally be located next to quality motorised faders, and switching between with specially developed EQ and dynamic your desk making all input connections easily layers to control channels, groups, auxiliaries, algorithms set new standards and deliver the accessible. VCAs, and outputs is easily achieved with a press classic Cadac sound to rival any other console. Input channel features and controls of the of a button. CDC Four are accessed and adjusted using Cadac CDC Four: Compact Digital Live Console the clearly marked and analogue look and feel Bringing together the classic Cadac elements rotary encoders, with all parameters clearly and producing a high quality Cadac sounding displayed and able to be further interrogated via console has been achieved in the most compact the central screen. The large seven-inch high digital console Cadac produces. The CDC Four, resolution display allows direct adjustment offering big mixer features in a small, easy to of the channels, scene control, operate control surface. dynamics, graphic equalisers, and Based on a proprietary DSP mix platform, overall system and console the CDC Four is a fully featured digital console set-up. with the look, feel, and simplicity of using an Just like the analogue console. Featuring up to 56 channels input channel, of Cadac quality sound with 16 microphone the outputs channels and eight stereo channels on board also have their own as standard in the compact frame, a further dedicated controls to adjust Cadac 16 microphone channels can be added to the dynamics, equalisation, and levels. CDC desk with the addition of the CDC Four I/O rack, Just like an analogue console, but with the Four. 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 configure 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 Cadac Holdings Limited matched by exceptional reliability in the often hostile conditions that are typical of live sound One New Street, Luton, Bedfordshire, LU1 5DX applications. Cadac consoles have an impressive track record when it comes to delivering t +44 (0) 1582 404202 faultless performances night after night, year after year, on almost every imaginable type of f +44 (0) 1582 412799 production. The Cadac name signifies top quality audio within a rugged, reliable package. e info@cadac-sound.com w www.cadac-sound.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 19
  • 20. ++++CALREC++++CALREC++++CALREC++++CALREC++++CALREC++++CALREC++++CALREC++++CALREC++ Putting Sound In The Picture 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. Broadcasters are increasingly demanding Fully Integrated Third Party Protocols more versatility and integration from their The Calrec Serial Control Protocol offers mixer control to audio equipment. In the current fast paced, technologically progressive era, TV companies third party video switchers and automated production want to ensure that their systems can produce controller technology, which allows visibility into and programmes efficiently and to the required control over a number of Calrec audio console settings such specifications. For their audio systems to be as fader position, PFL, and cut control for paths on faders, able to achieve this, greater consideration has routing to auxes from faders, output level control for auxes, to be given to their networks as a whole and routing to mains from faders, main output level/fader how efficiently they can be controlled. control, and LB/RB input switching for paths on faders. Calrec has designed its range of consoles to The SW-P-08 protocol allows router control from third meet these demands. party router panels. It enables remote control over input-to- output crosspoint patching. In addition to direct routing of Ahead of the Pack physical inputs to outputs, it can also route to and from a Throughout its history, Calrec’s team of console DSP via Calrec’s Hydra Patchbays. innovators has anticipated major changes, and EMBER protocol enables further system control consistently provided superior products that including loading user defined memories, selecting I/O port have allowed forward-thinking broadcasters to alias files used by control surfaces, editing H2O I/O box and port labels, viewing the available remain one step ahead: Calrec introduced the world’s first true stereo broadcast console and metadata sets and selecting them for insertion into any Hydra2 SDI embedder output stream, the first point-source surround microphone in and muting selected audio channels in an SDI embedder output stream. the 1970s, anticipating the growth of multi- channel broadcast audio. Calrec produced the separation of control surfaces from next generation of Calrec’s FPGA technology, the world’s first digitally controlled assignable networked processing hardware. In 2007 Calrec has been designed for surround operation broadcast console in the early 1980s, predicting launched Bluefin, the world’s first DSP processing from the outset. It utilises the powerful Hydra2 engine based network to create multi-studio solutions allowing on FPGA (Field third party control using a variety of protocols. Programmable The Calrec Apollo. Gate Array) The Next Generation technology, The Apollo and Artemis consoles leverage which enabled the power of modern FPGA technology. broadcast These consoles provide more digital audio consoles to channels than any other and more assignable, work efficiently more ergonomic control surfaces to deal with with true them. They are adaptable to accommodate the discrete- operator’s needs, while maintaining clear and channel 5.1 unambiguous visual feedback. This enhanced surround for flexibility and control allows consoles with the first time. relatively few physical controls to drive a much Bluefin2, the greater number of signals. 20 PROMOTIONAL FEATURE
  • 21. consoles 2013+++CALREC++++CALREC++++CALREC++++CALREC++++CALREC++++CALREC++++CALREC++++CALREC+++ 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 fibre 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 fixed and modular stageboxes are available, allowing flexible configuration 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. Solid Yet Flexible space saving, energy conscious 8U rack. Multiple Despite the shift control surfaces can also be connected to the towards networked same rack to allow multiple operators access audio solutions, to the same processing resources. A separate some things never submix can be created in another location, which change. Calrec feeds audio directly into the same buss output consoles have an as the main mix without ever leaving the system. excellent reputation This gives broadcasters increased flexibility for reliability and without the need for additional hardware. 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. The Calrec DSP, router, router Artemis. expansion, processing, Calrec Audio and PSU cards all Nutclough Mill, Hebden Bridge, HX7 8EZ have spares as t +44 (0) 1422 842159 standard, and are all f +44 (0) 1422 842244 contained within a e enquiries@dmh-global.com single, lightweight, w www.calrec.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 21
  • 22. ++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD DHD – Broadcast Consoles for You 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 Systems – Flexible and Modular If you need Audio-Over-IP connectivity, we This software license enables enhanced Our philosophy is simple: “Make it powerful, but provide the 52/XC Dante IP Audio Interface. custom configuration of the 52/DX hardware easy to use.” DHD products are a successful This module works as a bridge between any with the ‘Toolbox5’ software used with the combination of rock-solid hardware and Dante enabled system (hardware or software) 52/MX system. sophisticated software. All devices are based and DHD devices (see inset on next page). on the same hardware platform, and allow There is also an Ethernet connection with 52/SX – Compact Console you to choose the matching modules for your TCP/IP available. This is typically used for This compact console includes everything specific application. Of course, you can configuration, remote control, and to connect you need for building audio workstations, easily adapt or extend your DHD special DHD software to the hardware small to mid-sized On-Air studios or OB vans. systems in the future. devices. To integrate other systems, you Community and college radio stations can Our products consist of can use GPIO connections as well use the 52/SX as their main console, thanks to several compact modules as the open DHD Control its attractive pricing. The 52/SX is a complete for different tasks: Core Protocol on TCP/IP. console, which needs very little space. It is a Modules contain both audio real turn-key system; but there are software signal processing and logic options available to extend its functionality control – they are the heart of in larger set-ups. any DHD system. I/O Modules The console desk consists of a central control are responsible for getting signals in module, up to 16 faders, and a seven-inch TFT and out of the system – they are available Touch Display. You can mount the modules flat in different versions to meet your requirements. 52/DX. within the furniture or put them in at a slight For control, you can choose from several mixer Small footprint. angle on a table. Fader modules can also be consoles and single Control Modules. The split-mounted. dedicated hardware inside all modules uses very little power, there are no PCs and no hard disks 52/DX – inside. Small Footprint Desktop Mixer 52/SX. Compact The 52/DX can be used as a full, stand-alone and good value. RJ45 – Making the Net Work four-fader mixer. It consists of the Desktop All modules of a DHD system are connected to Control Unit, and both the XS DSP Core and the each other with standard CAT cables. They carry XS Multi I/O Module mounted together in a 1U audio and control signals, as well as PoE (Power rack case. This hardware bundle also includes over Ethernet) to power console modules – all the easy to use set-up software ‘DXConfig’. The in one cable. Audio signals are connected via optional DHD products ‘DSP Control Software’ analogue or AES inputs, MADI, or the 3G/HD and ‘Remote Control PC Software’ work with SDI De-embedder. In networked installations, the 52/DX, too. Core modules transport multi-channel audio However, if you want to integrate the 52/DX (up to 512 audio channels) between each other with other Series 52 set-ups or use Core and I/O over fibre optics connected to special DHD modules from other DHD product lines, there is Gigabit Audio Ports. an upgrade available. 22 PROMOTIONAL FEATURE
  • 23. consoles 2013++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD++++DHD 52/MX – Fully Flexible Console The 52/MX is the flagship 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 52/XC Dante™ IP Audio Interface need a small talkback box with a few buttons or This audio interface connects DHD devices a ‘big’ console with lots of faders, buttons, and to digital audio networks powered by TFT Touch Displays as fader over bridge – all Audinate’s Dante™ technology. It supports modules will work smoothly together. There are up to 48 input and 48 output channels. many different mounting options available. You These audio streams can be distributed can also mount the 52/MX modules in rack or over standard IT networks to other Dante table top cases, and of course use TFT Touch compliant nodes in software (PC and Displays where necessary. Mac) and hardware, like other DHD Dante However, the real power comes with the interfaces or third-party hardware. Toolbox configuration software. With this Windows application, you configure your DHD Dante technology enables monitoring, system exactly the way you want it. Signal talkback, and connection of remote flows, audio processing, control functions, GPIO facilities to the studio. functions, TFT views, and many things more are For redundancy, Dante devices entirely defined in software. The initial set-up is provide two separate network interfaces. easy, and future changes are often done with a These allow you to easily create few mouse clicks. error-tolerant set-ups. All 52/MX modules are connected with 52/RX. Fits your Furniture. power over Ethernet on standard Cat5 The signal processing modules of the cabling, enabling 52/SX are just 1U high and provide inputs for you to place them microphones, headphones, analogue and digital anywhere in your signals. There are GPIO ports available, as well as studio set-up. two USB connectors that work as pro grade USB 52/XD Core. sound cards on your PC. 52/XC and 52/XD Core – DSP powerhouse in just 1U. Mixing and Routing Made Easy 52/RX – Modular Console These core modules contain the processing The modular 52/RX allows you to build consoles power for all Series 52 devices. They have a small with up to 64 channels. Its fader modules are footprint (1U) and low power consumption. four faders wide and are available in different Still, together with console modules, they versions, including some with motor faders. provide audio and control processing for any Combine the fader modules of your choice mixer set-up – from a small 52/DX Desktop with the central control module and TFT Touch Mixer up to a large 32 fader 52/MX console. Displays and you get a solid hardware base for However, you can also use them stand-alone your studio. If necessary, you can also integrate as routing matrix or processing devices. modules from the 52/MX system to build special If used as an audio router, the core modules are talkback or control solutions. not only able to switch audio signals, but can The 52/RX is easy to integrate with other also fade and even apply DSP processing – like Series 52 devices. This works very well, because Gain, EQ, or Dynamics. The integrated control DHD Deubner Hoffmann Digital GmbH all systems are based on the same hardware functions allow you to create complex On-Air Haferkornstr. 5 platform and share the same software. switching systems or talkback applications. 04129 Leipzig, Germany That way, you can configure them within the For direct control, combine the 52/XC or t +49 341 5897020 same Toolbox 5 project. The 52/RX control 52/XD Cores with a great variety of DHD control f +49 341 5897022 modules are connected to the core modules modules, including fader modules, router control e dhd@dhd-audio.com with standard Cat5 cables and use power over panels, and TFT Touch Displays. All control Ethernet for their power supply. This makes it modules and TFT Touch Displays use standard Please find our international sales contacts at easy to use an existing cabling infrastructure. CAT cables for communication with the cores. www.dhd-audio.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 23
  • 24. ++++DIGICO++++DIGICO++++DIGICO++++DIGICO++++DIGICO++++DIGICO++++DIGICO++++DIGICO++ DiGiCo 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 flagship SD7 to the SD7 highly compact SD11, that can address the needs of just about every application and size of project you could think of... SD7 for remote connection or simply additional cameras and Dual Solo busses for PFL and On Air The SD7 is top of the range and the first DiGiCo operators. soloing in Mono, Stereo, LCRS, or 5.1 (SD7B). console to capture the power of Stealth Digital The theatre and broadcast specific versions Processing™. Its footprint is smaller than other of the SD7 give feature sets that provide SD5 consoles in its class, yet it is vastly more powerful. additions such as Delay on Matrix inputs per The next model in the range, and replacing the The SD7 has two engines for full redundancy, as node and complete integration of Cue Editor industry standard D5 Live, the SD5 also comes well as dual redundant power supplies. A 2GB for fast editing of VCA (SD7T); and complete with multiple touch screens, as well as interactive optical system allows up to two optical loops, 5.1 monitoring with a 48 by 6 source to speaker dynamic metering (IDM) and Hidden till lit (HTL) giving 14 racks per loop (a total of 28), each selection, multi-channel folding, user defined technology, developed and used on the SD7. It with 56 inputs and 56 outputs. Multiple touch stem order, Mix Minus buss – one per channel still has a huge input and buss count, although screens mean that the SD7 can accommodate – back stop PFL (over press) and Auto PFL, not quite as much as the SD7, and comes with a more than one operator, and the ability to have Audio Follow Video implementation for up to 32 single engine and optic loop. two expander units attached via CAT5E allows SD5 24 PROMOTIONAL FEATURE
  • 25. consoles 2013+++DIGICO++++DIGICO++++DIGICO++++DIGICO++++DIGICO++++DIGICO++++DIGICO++++DIGICO++ SD10 SD9 This is the highest specified single screen console Next in the range is the SD9, in the SD Range. Its metering is integrated into a powerful replacement the fader panels, allowing a better line of sight for standard for critical monitor situations and venues such as 48-channel performing arts centres where console locations digital or can be awkward. As with all consoles in the SD analogue Range, the SD10 is tailored to both Front Of consoles. Remote House and monitor mixing. pre-amps, a digital The SD10B’s broadcast specific feature set multicore, and D-Rack digital includes innovations such as multi-channel stage interface via a CAT5E connection ‘folding’ under a single fader, allowing users come as standard, but its sonic performance is to configure stereo, LCR, 5.1, or up to 11 mono identical to rest of the SD Range. This means channels under a single fader strip. the SD9 – and particularly the special Rack Pack The SD10-24 and SD10-24B are ideal for configuration – comes at a price that makes SD10 situations where space is at a premium. Both it ideal for applications where exceptional measure under a metre in width, but still benefit performance and flexibility are needed on a from all the advanced features of the standard tight budget. SD10 and files are fully compatible between SD9 both frame sizes. SD11 This compact, 19-inch rackmount or tabletop SD8 console comes with the same size touch This was the first of the SD Range to benefit screens as all other DiGiCo consoles. Despite its from Flexi Channels, allowing the creation exceptionally small size, the SD11 has incredible of stereo channels without eating into the power in terms of channel count and processing. existing channel count. As with the SD10, the The SD11i gives more Flexi Channels (a full SD8 has the option of fitting an optic loop but 32), more dynamic EQ, more FX processing, and comes with MADI as standard, providing a cost the addition of DiGiTuBes and multi-channel effective, multi-channel digital interface. inputs (previously only available on the SD7); SD11 The SD8 has a similar footprint from left to the broadcast specific SD11B gives all this plus right as the SD7. In fact, the majority of DiGiCo the addition of multi-channel folding and sets consoles are the same width, which has been and can handle 5.1 surround, previously unheard specifically set to make it easy to reach the of in a console of this size. faders at the extremes of either side without moving from a central position. UB MADI UB 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. UB MADI SD8 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 info@digiconsoles.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 25
  • 26. Product Max no of Input Processing Channels SD11i 32 Flexi* SD9 Supercharged 48 Flexi*Comparison Maximum Buss Count Max aux / sub-group busses 39*** 12 Flexi* (full processing**) 47*** 16 Flexi* (full processing**) Matrix (in addition to aux / sub - group) 8 x 8 (full processing**) 12 x 8 (full processing**) Solo busses 2 2 Max no. of inputs - Non optic consoles 130 180 Max no. of inputs - 1 console on optic loop N/A N/A Max no. inputs - 2 consoles on optic loop N/A N/A Local I/O spec 16x mic/line inputs, 8x line 8x mic/line, 8x line outputs , 4x outputs, 2x AES/EBU I/O (mono AES/EBU I/O (mono streams) streams) Max no. of outputs 122 180 Max no. of faders 12 24 Screen 1x 15" touch 1x 15" touch Ext. overview screen Yes Yes I/O expandability Yes Yes Insert points / channel 1 1 On Board FX 6 8 Graphic Eqs (32-Band) 12 16 Dynamic EQ 6 8 Buss 8-band Parametric EQ No (4 band only) No (4 band only) Multiband Compression 6 8 DiGiTubes 6 8 Multi-channels Yes Yes VCA - style control groups 8 8 Set Spill Yes Yes Mute Groups (part of control groups) 8 8 Reorder Busses Yes Yes Multi-operator By remote only By remote only Surround No No MADI connectivity 1x Port 1x Port Optics No No Snapshot Offline Yes Yes Snapshot Auto-Update No No Sampling rates 48 kHz 48 kHz Signal processing FPGA, up to 40-bit floating-point FPGA, up to 40-bit floating-point Audio processing and OS location Surface Surface Redundant Processing and Computer No No Redundant PSUs Yes - by remote PSU option only Yes - Option Stage Rack spec D-Rack - 32/8 I/O (expandable D-Rack - 32/8 I/O (expandable to 16 O) to 16 O) Max no of Racks 2 (with Little Red Box) 3 (With Little Red Box) Rack Interface MADI / RJ45 CAT 5 MADI / RJ45 CAT 5 Connector type for racks BNC / CAT 5 BNC / CAT 5 Rack sharing FOH/MON Gain Tracking Gain Tracking Offline Software Yes Yes Recording Virtual Soundcheck up to 56 Virtual Soundcheck up to 56 channels channels Dimensions (mm) and Weight (kg) 483(w) x 577(d) x 232(h) - 24Kgs 878(w) x 785(d) x 262(h) - 36Kgs Dimensions (inches) and Weights (Ibs) 19.02(w) x 22.72(d) x 9.13(h) - 34.57(w) x 30.90(d) x 10.31(h) - 53Ibs 80Ibs
  • 27. SD8 Overdrive II SD10 Nitrous SD5 SD7 MACH 3 60 Flexi* 96 channels, 12 Flexi* 124 253 67*** 71*** 98*** 160** 24 Flexi* (full processing**) 48 (full processing**) 56 (full processing**) 128 (full processing**) (inc 2x solo buss) 16 x 12 (full processing**) 16 x 16 (full processing**) 24 x 24 (full processing**) 32 x 32 (full processing**) 2 2 2 22 N/A N/A N/A N/A 576 576 632 696 632 632 688 752 8x mic/line, 8x line outputs, 8x 8x mic/line, 8x line outputs, 8x 8x mic/line, 8x line outputs, 8x 12x mic/line, 12x line outputs, 12x AES/ AES/EBU I/O (mono streams) AES/EBU I/O (mono streams) AES/EBU I/O (mono streams) EBU I/O (mono streams) 576 576 632 696 37 37 37 52 (plus 48 if used with 2 x EX007) 1 x 15" touch 1x 15" touch 3 x 15" touch 3 x 15" touch Yes Yes Yes Yes Yes Yes Yes Yes 2 2 2 2 12 16 24 48 24 24 32 32 10 16 24 256 No (4 band only) Yes Yes Yes 10 16 24 256 10 16 24 256 Yes Yes Yes Yes 12 24 24 36 Yes Yes Yes Yes 12 24 24 36 Yes Yes Yes Yes By remote only By remote only Yes Yes No No Yes Yes 2x Redundant ports 2x Redundant ports 3x Redundant ports 4x Redundant ports Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes 48 / 96 kHz 48 / 96 kHz 48 / 96 / 192 kHz 48 / 96 / 192 kHz 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 Surface Surface Surface Surface No No No Standard Yes Yes Yes Yes Up to 56 in / 56 out / MADI split Up to 56 in / 56 out / MADI split Up to 56 in / 56 out / MADI split Up to 56 in / 56 out / MADI split x2 (@ x2 (@ 48kHz) x2 (@ 48kHz) x2 (@ 48kHz) 48kHz) 16 16 17. On 2 loops = 31 18. On 2 loops = 32 MADI / Optocore (option) MADI / Optocore (option) MADI / Optocore MADI / Optocore BNC / HMA optics / ST / Opticon BNC / HMA optics / ST / Opticon BNC / HMA optics / ST / Opticon BNC / HMA optics / ST / Opticon (option) (option) Gain Tracking Gain Tracking Gain Tracking Gain Tracking Yes Yes Yes Yes Virtual Soundcheck up to 112 Virtual Soundcheck up to 112 Virtual Soundcheck up to 168 Virtual Soundcheck up to 224 channels channels channels channels 1347(w) x 811(d) x 254(h) - 1398(w) x 818(d) x 285(h) - 60Kgs 1465(w) x 850(d) x 753(h) - 1496(w) x 875(d) x 503(h) - 107Kgs 71.3Kgs 116Kgs 53.03(w) x 31.93(d) x 10(h) - 55.04(w) x 32.2(d) x 11.22(h) - 57.68(w) x 33.46(d) x 29.65(h) - 58.9(w) x 34.45(d) x 19.8(h) 236Ibs 157Ibs 132Ibs 256Ibs* 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 5.1depending on product)
  • 28. ++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LA Lawo – New Perspectives in Broadcast Lawo consoles and routers have gained an international reputation for quality, user-friendliness, flexibility, capacity, and reliability; Lawo stands for customer partnership, efficient 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. Power, Flexibility, Intuitive Operation – signal processing. Changes to the DSP path Loudness Metering the mc² Series can be made without any clicks, and even Loudness metering is designed to help With more than 8000 x 8000 crosspoints and delay settings can be made noiselessly during eliminate jumps in audio loudness between even more in networked systems, plus up to runtime. For modern productions that require 888 DSP channels, the mc² series is ready to different TV/radio programmes, or even 5.1 Surround, mc² consoles are the ideal answer. handle all the requirements for modern OB during a single programme. Based on the It’s their reliability and experience that made vans and studios – and more. Transferring EBU R128 and ATSC A/85 standards, Lawo the first choice for the 2012 sports TV snapshots from an mc²66 MKII to an mc²56 or Lawo has incorporated loudness metering productions in Poland/Ukraine and London. mc²90, loading a snapshot from a console to in the mc² series consoles. This can be Lawo is continuously expanding the toolbox provide a completely different DSP capacity or combined at any time with a True Peak for modern surround productions. The latest fader count, underlines the principle of the mc² display, and enables loudness metering in software architecture: we are absolutely certain advancements are the AMBIT Upmix, providing any individual channel in Momentary or that flexibility is one of the major contributors to a high-quality upmix in every surround channel, Short-term mode, with each main output cost efficiency, due to easy and fast adaptation, creating a 100% downmix compatible, fully- facilitating the integration of loudness whatever the production. fledged surround sound image. Innovative metering over time. For ease of use, Lawo’s Lawo’s ‘Dual Star Technology’ has found front processing algorithms, the HD Core DSP Loudness Metering can be operated using its way into mixing console design, which has redundancy, and very low latency make this presets for the two standards. Furthermore, enabled Lawo to establish a further milestone in Upmix tool superior. Loudness Metering throughout a complete reliability and redundancy for mixing consoles These qualities and the number of production can be permanently displayed and HD cores. installations have made the mc² in the GUI header display. The mc² series impresses with its precise series a standard around the world. mc²90 – mc²66 MKII – The New mc²56 – Performance, Pure & Simple Optimum Control and Maximum Flexibility Inspired by Your Needs This console brings you the same The mc²90 offers a modular central control Thanks to its lightweight construction, processing power that already section to position the most significant low power consumption, and compact distinguishes the mc²66 and mc²90. modules where you need them. In addition, dimensions, the mc²66 is ideally suited What makes the new mc²56 different to its external control devices can be integrated for OB vans, studios, broadcast, and live/ siblings is its compact layout. In a width of smoothly. There are no compromises theatre applications. Twenty four to 104 only 1.2 metres, it provides 32 faders regarding flexibility. fader sizes are available. (64 faders fit in an OB van). 28 PROMOTIONAL FEATURE
  • 29. consoles 2013AWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++++LAWO++ 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 sapphire core it is possible to create a fibre-optically – A Step Ahead crystal – linked network infrastructure, or to connect multiple Nova73s over WANs. The sapphire, Lawo’s top of the line on Welcome to Digital Broadcasting Nova73 HD integrates seamlessly into air and production console, combines Introduced in late 2008, crystal has an existing infrastructure, and can be proven cutting edge technology and developed to become a proven standard controlled remotely – this enables complex an eye-catching new design. Up to console in many broadcast and production switching and workflows to be 60 motor faders may be housed in an studios around the world. reduced to the simple push of a impressively shallow chassis that can Breaking new ground with button. Via an intuitive display, be placed on your desk or fixed into a highly ergonomic and the mxGUI package enables the furniture. The sapphire comes with revolutionary design, and control from any PC of all networking capabilities unparalleled with a price range that should functions, offline preparation, or when creating radio or production studio allow everyone to invest in even online operation. Nova73 environments – for example using the professional equipment, HD is based on Lawo’s STAR² Nova29, Lawo’s small format router crystal is characterised by technology with an internal that can be seamlessly integrated with its easy to operate surface – dual star architecture that all radio products. The advantage: while guaranteeing a short training supports comprehensive redundancy technicians will be assured by maximum curve and the best operational security. options for almost every active component. flexibility and sophisticated functionality, Hot-plugging, status monitoring of all broadcasters will be continually impressed The V__pro8 audio/video components, or reconfiguration and by the modern control surface, which processor is the perfect expansion of the system during run-time is makes working with the new sapphire fun. bridge builder for broadcast environments, possible, even when on-air. sapphire delivers top quality, intuitive user thanks to an 8x8 video matrix with 3G SDI guidance and neat solutions, all of which I/Os and a 384x384 audio matrix using guarantee even greater working efficiency. MADI or RAVENNA for audio connection mxGUI plus comprehensive video processing. The mc² series is equipped with an mxGUI Highlights: colour correction per video providing many useful features: channel, up to two channels of high quality format conversion, video and audio delay • Offline preparation: from console for any channel, framestore per input, layout to matrix control, partial 2x downmix per output, Quadsplit and snapshots and preamplifier settings, CONTACT DETAILS Thumbnail preview of all video outputs, through to the creation of complete Lawo AG (Headquarters) and Waveform and Vectorscope for the snapshot and production data. Am Oberwald 8, 76437 Rastatt, GERMANY selected video. The V__pro8 is operated by using a • Online remote: maintenance, service, t +49 7222 1002 0 simple web browser on a modern touch or configuration. Access to the console e info@lawo.de GUI based on HTML5. via a laptop. Up to 16 mxGUI clients w www.lawo.de can simultaneously sign on to the Sales control system for secondary users t +49 7222 1002 0 and service technicians to support e sales@lawo.de the audio engineer, even during live broadcasts. For international sales contacts please consult the Lawo website. THE INTERNATIONAL CONSOLE BUYER’S GUIDE 29
  • 30. ++++MANDOZZI++++MANDOZZI++++MANDOZZI++++MANDOZZI++++MANDOZZI++++MANDOZZI++++M Intelligent Mixer And GMIX console in Sweden. Router Systems The 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. Custom Designed Products house. They are known for their extremely Mandozzi’s developing engineers are used to high reliability that is reached, among others, listening to customers and understanding their by redundant vital modules, and for the individual requirements, and they are ready comfortable control surfaces. The two redundant to adapt the hardware and software of their halves of the router can be installed in separate proven products to the special operational and rooms for immunity against incidents. technical needs of their clients. The IDEA routers offer sophisticated scheduling Due to close contact with the customers over functions and a great variety of interface the last forty years, Mandozzi’s audio routers Sixteen IP codecs installed into an IDEA router. modules including 2Mbps and Audio over and mixers have matured to offer a lot of IP modules with integrated audio codecs. comfortable features that facilitate the tasks of IDEA routers are the ideal heart of complex All routers offer comfortable scheduling the operators. radio house installations. functions, and contain DSP power for performing Mandozzi Elettronica is the ideal partner for any signal processing up to complete mixer The Digital Mixers GMIX realising custom designed audio products. functions. The routers of several radio stations Mandozzi designed the GMIX system to allow can be interconnected to control each other, radio stations maximum interoperability The Intelligent Audio Routers IDEA they can be monitored via SNMP, and between their mixers. The mixer consoles are Mandozzi’s routers are best suited for switching controlled by other systems via IP, serial simply remote control elements of the DSP and centres, or for serving several mixers in a radio interfaces, GPIO, etc. 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 fibres 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 SERIX console with fader in a private memory or in a public memory extension modules in Sweden. that is accessible by all other mixers as well. Therefore it is possible to load into any mixer 30 PROMOTIONAL FEATURE
  • 31. consoles 2013MANDOZZI++++MANDOZZI++++MANDOZZI++++MANDOZZI++++MANDOZZI++++MANDOZZI++++MANDO 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 configuration 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 SERIX The SERIX mixers were developed to satisfy the customers looking for stand alone mixers SERIX console in that work autonomously and do not necessarily Switzerland. depend on a central router. These mixers allow the customers to start by installing a few single communication, and monitoring; plus a touch freely configurable by the user. SERIX also mixers and to expand the station step by step screen to display the parameters, timers, etc, offers the processing of 5.1 signals and audio later on. SERIX mixers are well suited to realise and to set up the mixer. The modules are either measurements according to R128. complex radio house installations with a central supplied as individual mixer units that can be For every SERIX mixer, up to three router. In this case, the SERIX mixers remotely built into the console furniture at any place satellite or split mixers control the router in order to select the input desired by the customer, or assembled into a can be installed at a and output lines, for intercom connections metal frame to obtain a table top mixer. distance from the main between the mixers, as well as to remotely The SERIX consoles offer an easy and surface, e.g., in the control the microphone pre-amplifiers, the comfortable operation due to studios. The operator mute and the GPIO of the other mixers, etc. the touch screen. can decide whether Mandozzi’s audio over IP codecs can also be The functions of the satellite mixers shall controlled by the SERIX mixers. the control function as an integral The SERIX mixer surface is composed keys and part of the of modules of four motorised faders and knobs main console of a central module for configuration, are (but with independent intercom and Some Milestones of Mandozzi Elettronica SA monitoring), or as Mandozzi Elettronica SA was founded 1965. In 2009, Mandozzi developed the autonomous mixers. Due to its close contacts with its customers, Audio over IP codecs UMAC, that can be the enterprise realised the following integrated into and controlled by Mandozzi’s SERIX mixers are best milestones during its evolution: routers and mixers and have the unique suited for small to large SERIX table broadcast installations, for DJ The first analogue audio router was feature of self-configuring. Since 2009, top mixer with installed in 1980, and the first digital routers Mandozzi has successfully promoted a 16 faders. and assisted operation. in 1993. In 2001 Mandozzi supplied the first software tool to generate RDS texts for FM radio station with five interlinked routers and transmission and PAD contents for DAB. 11 GMIX mixers to the German ORB. In 2010, Mandozzi supplied a redundant Since 2002, Mandozzi has supplied router to Austrian Telecom, with 240 CONTACT DETAILS redundant central matrixes and up to 12 integrated redundant analogue line Mandozzi Elettronica SA GMIX mixers and six SERIX mixers, to 25 equalisers. In 2012, Mandozzi received the Via Volta 2, CH-6946 Ponte Capriasca, digital Swedish Radio stations. order from Hessischer Rundfunk Frankfurt to Switzerland In 2007 the Swiss Broadcasting replace the whole audio system of its radio t +41 91 935 78 00 Corporation commissioned a radio house house with a redundant matrix installed in f +41 91 935 78 10 with a redundant central router and 33 two separate rooms, and up to 20 SERIX e contact@mandozzi.ch SERIX mixers for Lausanne. mixers. w www.mandozzi.ch THE INTERNATIONAL CONSOLE BUYER’S GUIDE 31
  • 32. ++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDA MIDAS – The Audio Gold Standard An audio console is, first and foremost, all about audio. MIDAS has always set the gold standard for live sound, and continues to ensure that the adoption of new MIDAS Digital: XL8, PRO6, technologies does not compromise audio PRO2C and PRO1. quality in any way. MIDAS Digital Systems Overview The MIDAS XL8 and the recently expanded MIDAS PRO1 range of PRO series digital mixing systems and Mixtender consist of a control centre and a number of fixed iPad App. or configurable 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 fibre 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 five 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 specification, offering the PRO1, MIDAS’ first aluminium framed stand- 432 inputs and 432 outputs in 18 different up to 88 simultaneous input channels and 35 alone digital console. It features 24 mic inputs, locations, up to 144 simultaneous channels busses. PR02 and PR02C offer the same MIDAS 40 input channels, and a maximum network and 51 mix busses, plus built-in tolerance to audio quality and performance with the PRO2 capacity of 100 inputs and 102 outputs. any failure scenario. Although the XL8 has been offering eight more faders than the compact unsurpassed for seven years as the benchmark PRO2C. Both have 56 primary inputs, with an The flagship XL8 is the perfect solution for for digital audio performance, the recent launch expanded network of up to 156 inputs and 166 high-capacity, high profile touring and install of Generation-II software has brought this well- outputs. The latest addition to the PRO Series is applications. It has a network capacity of up to established system right up to date, adding a KLARK TEKNIK DN9650 audio network bridge. 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-configurable modular I/O, and finally the fixed-format DL251 and DL252 analogue I/O units. 32 PROMOTIONAL FEATURE
  • 33. consoles 2013AS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++MIDAS++++M In addition to the MIDAS AES50 products, digital) gain stages enable you to shape the there are a number of devices from MIDAS’ mic amps’ character according to your own sister company KLARK TEKNIK that have been preference. designed to expand the scope and functionality Mix engineers working on analogue consoles of MIDAS’ already impressive digital audio routinely combine signals with different signal network. This includes products ranging from a paths and processing and expect to do the dedicated audio recorder, the DN9696, to an same with digital. On many current digital audio network bridge, the DN9650, which will consoles, combining signals in this way leads to connect any AES50 device to a multitude of the summing of signals that are in effect partly different digital audio protocols. out of phase. This causes undesirable ‘comb filtering’ effects, where specific frequencies are MIDAS Sound Quality cancelled out completely. MIDAS are the only MIDAS digital systems are the only live sound live digital consoles to have comprehensive FX available with Generation-II software. systems in the world to have a comprehensive automatic time alignment to correct any path and automatic latency management system. related delays, including latency introduced one of the console’s on-board KT DN370 GEQs. Which, in addition to managing all internal by additional A to D conversion on external The Mixtender also provides simple, fast local routing and processing latency, also includes analogue inserts. stage mix adjustment by accessing the consoles’ compensation for external analogue inserts. This The remote processing engines for both XL8 MCA (Mix Control Association). Multiple iPads means that all audio samples are synchronised and PRO3, 6, and 9 systems are of modular can be used simultaneously and each one can be before summing, resulting in absolute phase design, which provides N+1 redundancy of locked to a single mix, so artists can create their coherency at all outputs. hardware in the form of a redundant module, own monitor mixes without changing any other MIDAS digital feels, as well as sounds, removing the cost of an entire back-up DSP console settings. superb. All the variable controls on the engine. MIDAS also offers modular I/O units that The MIDAS Mixtender is free to download console are genuine analogue high precision can be freely distributed into multiple locations from Apple’s App Store. potentiometers, not mechanical encoders. These with a digital audio network, which is easily access the FPGA-DSP engine through precision configurable to route signals from where and by Innovation instrumentation A-D converters and MIDAS’ when they are needed, with patching done on a Equally important to MIDAS is the design custom interpolation algorithms. This means scene-by-scene basis. and implementation of many new areas of that as well as all audio; the entire operator input technology, specifically in the area of digital is fully interpolated to ensure a linear, analogue- iPad App: MIDAS Mixtender audio networking and advanced console style, silky smooth ‘feel’ to your mix. MIDAS’ Mixtender iPad App provides wireless navigation methods, including the latest concept The MIDAS microphone pre-amp is the one remote control for key functions of the of MCAs. by which all others are judged. Still built from MIDAS PRO Series and XL8 consoles. The app MIDAS continues to anticipate and discrete components, the current expressions automatically selects the right console type so accommodate the rapidly changing and in the XL8 and PRO Series sound better than there is no difficult set-up procedure. expanding needs of audio professionals who ever. Whether you want pristine, transparent With the Mixtender you can monitor ALL specify Midas consoles for their major tours, reproduction, or that renowned MIDAS warmth input and output metering simultaneously in real festivals, international events, broadcast projects, and colouration, MIDAS’ dual (analogue and time, and can remotely EQ any speaker mix with and high-profile fixed installations. 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. MIDAS Consoles Klark Industrial Park, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ, England t +44 (0) 1562 741515 f +44 (0) 1562 745371 e mkt.info@music-group.com w www.midasconsoles.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 33
  • 34. ++++PRESONUS++++PRESONUS++++PRESONUS++++PRESONUS++++PRESONUS++++PRESONUS++++PRES StudioLive Systems – The Power of Integration 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. 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. PreSonus® StudioLive™ 24.4.2, 16.4.2, and Analogue Feel, Digital Performance with clearly labelled physical knobs, a multi- 16.0.2 digital mixers integrate hardware and The StudioLive operates much like an analogue function, 16-ladder LED display; an in-your-face software to seamlessly handle mixing, recording, console. You use a familiar mixing surface for Selected Channel display, and a horizontal pan wireless control, and audio analysis. These core mixing functions, not a menu-based screen. display. It’s easy to instantly access any function surprisingly affordable mixers are designed for Analogue-console users need learn only one new and get clear, visible feedback. both live sound and studio recording, without button, ‘Select’, which enables the Fat Channel Two programmable, 32-bit, stereo effects compromising the requirements for either. section. engines come loaded with 50 reverbs, delays, All StudioLive mixers incorporate a multi- The Fat Channel features extensive and time-based effects that you can really channel FireWire interface and come with equalisation and dynamics processing – a use. These effects have easy-to-use parameter PreSonus Capture™ recording software for separate compressor, limiter, and gate/expander adjustment, tap tempo, store, and recall. Mac® and Windows®, which is preconfigured – for every input channel, every aux output, the The StudioLive 24.4.2 and 16.4.2 offer eight so it needs no set-up. Capture is, essentially, the FX outputs, and the main outputs. Every channel channels of 31-band graphic EQ for the main, mixer’s recording section. You also get PreSonus’ also has a high-pass filter. subgroup, and aux outputs. The StudioLive Studio One® Artist DAW, which auto-configures To let you get the most from all of this 16.0.2 offers a stereo graphic EQ on the main to the mixer using a template. That’s just the processing power without descending into menu bus. start. purgatory, PreSonus designed the Fat Channel Welcome To The Future Using the included Virtual StudioLive (VSL) bidirectional control and editor/librarian software for Mac and Windows®, you begin Virtual StudioLive to see the advantages of hardware-software presents a visual integration. Control almost the entire mixer from representation a FireWire-connected laptop, load and save of the StudioLive mixer. Quickly named mixer scenes and individual processor and easily load and channel presets via drag-and-drop, visually and save named edit signal processing, lock all or parts of the mixer scenes via drag-and-drop, mixer with a password—quickly and easily. visually edit signal VSL also integrates Smaart Measurement processing, use Technology™ from Rational Acoustics. Smaart® the integrated is a collection of visual audio-measurement tools Smaart audio- analysis features, for sound-system analysis and optimisation that and much more. makes tuning the system, squelching feedback, 34 PROMOTIONAL FEATURE
  • 35. consoles 2013SONUS++++PRESONUS++++PRESONUS++++PRESONUS++++PRESONUS++++PRESONUS++++PRESONUS++ and much more easy and precise. It includes a We’re Off to See the Wizards! StudioLive 16.4.2 system outputs are routed spectrograph and a real-time analyser (RTA) that PreSonus Virtual StudioLive includes three correctly and are passing signal. It’s a simple make fine-tuning your mix easy because you can Smaart Wizards to help you solve thorny tool compared to the other wizards, but it see what you’re hearing. These features work sound-system problems. can save you a lot of headaches! with all three StudioLive models. In addition, VSL includes three Smaart System Smaart Room Analysis Wizard Smaart System Delay Wizard Check Wizards and a pink-noise generator The Smaart Room Analysis (SRA) Wizard The Smaart System Delay (SSD) Wizard with which StudioLive 24.4.2 and 16.4.2 users can view the frequency-response trace of a is an automated process that guides you calculates and sets the correct amount of venue and adjust the parametric EQs to get through the steps of acquiring a frequency- delay time between two full-range speaker rid of unwanted room anomalies, verify that response trace and then overlays the systems, using the StudioLive 24.4.2 or StudioLive system outputs are routed correctly resulting trace on the VSL display for a StudioLive 16.4.2 subgroup-output delays. and are passing signal, and calculate and StudioLive 24.4.2 or StudioLive 16.4.2 Fat This helps you to time-align the outputs of set delay-system timing for satellite speaker Channel parametric EQ. You can then adjust secondary (generally, side and rear) speaker systems using the StudioLive’s subgroup-output the parametric EQ to get rid of unwanted systems with the output of the main front delays. (Note that the Wizards are not available anomalies in the room. speakers in a front-of-house P.A. system. for the StudioLive 16.0.2 due to its different architecture). Smaart Output Check Wizard For more information about VSL’s Smaart For more information about Smaart Wizards The Smaart Output Check (SOC) Wizard features, visit www.presonus.com/products/ for StudioLive mixers, see the sidebar ‘We’re Off verifies that your StudioLive 24.4.2 or Virtual-StudioLive/Smaart-M. to See the Wizards’. Go Remote Give Them The Rope With most mixers, it’s risky to leave front-of- Increasingly, musicians want to create their QMix for iPhone/iPod house to check the monitors and listen to the own monitor mixes, but most personal monitor touch enables musicians system in various parts of the room. But with free to control their own systems are expensive and require wiring. But monitor mixes. Once StudioLive Remote control software for iPad®, with free PreSonus QMix™ software, musicians you have chosen which you can control VSL – including Smaart – and can simultaneously control their StudioLive channels are ‘me’ – say, in turn, any StudioLive mixer, wirelessly, from monitor (aux) mixes using an iPhone® or iPod your vocal and guitar anywhere in a venue. channels – you can use touch®. the Wheel of Me (shown) You also can control VSL, and hence, the QMix works a lot like StudioLive Remote: up to control the blend mixer, over a network – including the Internet to ten iPhones running QMix network wirelessly between ‘me’ and the – using third-party VPN software. Contractors with a computer and control VSL, which controls rest of the band. can create and load scenes and presets for the FireWire-connected StudioLive. Portrait view clients and can, to a large extent, troubleshoot a presents the Wheel of Me, which lets you select You can easily save and recall full mixer scenes StudioLive system from a remote office. multiple ‘Me’ channels and turn them all up in and presets. your monitor at the same time, while controlling This combination of analogue-like design, the relative balance between ‘Me’ and the rest fast workflow, high-definition audio, integrated of the band. Landscape view provides control of StudioLive Remote for iPad provides almost complete recording, computer control, wireless control, control over VSL and hence, the StudioLive mixer. This the aux-mix send level and panning (for linked Smaart analysis and optimisation, and network- Overview screen presents the channel faders, mutes, auxes) for each channel and aux. Here, you based control sets the PreSonus StudioLive series and panning and the StudioLive 24.4.2’s four-band set up your monitor mix. Using VSL’s security fully parametric EQ (top). apart. And it does so at an amazingly low price. features, you can let each musician create a personal monitor mix – or restrict them to the Wheel of Me while you create their mix. PreSonus Audio Electronics Sounds Like A Winner! 7257 Florida Blvd., Baton Rouge, LA 70806 USA Ease of use, remote control, and generous t +1 225 216 7887 amounts of signal processing are very important, w www.presonus.com but the bottom line for audio equipment is still the sound. The StudioLive’s outstanding sound Source Distribution quality, with Class A XMAX™ pre-amps and high- Unit 7 Pembroke Buildings, Cumberland House definition converters with 118dB dynamic range, Business Park, London, NW10 6RE, UK makes it suitable for studio use, yet its feature t +44 (0) 208 962 5080 set and layout fully support live applications. w www.sourcedistribution.co.uk THE INTERNATIONAL CONSOLE BUYER’S GUIDE 35
  • 36. controlable PoweRfuL Mixing now wiTh iPaD ConTRoL 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» 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
  • 37. consoles 2013++++SONIFEX++++SONIFEX++++SONIFEX++++SONIFEX++++SONIFEX++++SONIFEX++++SONIFEX++++S Simple Radio Mixers for Novice & Professional Users 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 film studios, before moving into the radio broadcast market. Sonifex S0 Radio Broadcast Mixer Iso View. Sonifex manufactures three analogue radio • 1x telephone balance unit (with line and Outputs, Monitoring, and Metering mixers targeting the small-scale commercial, handset ports)/stereo unbalanced RCA The S0 has separate stereo PGM (balanced community, education, and Internet radio phono auxiliary input with a parallel 3.5mm stereo XLRs) and REC (unbalanced stereo markets. The most recent of these mixers is the stereo jack input on the front panel. RCA phono ) buss outputs. There are monitor S0 (pronounced ‘S zero’) nine-channel fixed outputs for presenter and guest headphones format analogue desk. The Sonifex S0 mixer Input Channels and loudspeakers. An adjustable limit level is a compact, low cost, fixed format broadcast Input source buttons at the top of each channel potentiometer is a great idea which limits the mixing console designed for on-air radio use, strip select the required mono or stereo source maximum level of the audio routed to the and it uses the same high quality circuitry and the mixer has two main stereo buses, PGM headphone outputs to protect the hearing of and components as the larger Sonifex S2 (Program) and REC (Record). Any channel the users, especially important when used in and S1 mixers. which has the fader up is routed to the selected schools and colleges. The uncomplicated, intuitive front panel output, either PGM or REC or both. Other features include automatic monitor layout ensures that the unit appeals to The XLR microphone inputs on channels 1-4 muting on MIC LIVE, integration of a MIC novices and broadcast professionals alike, and have individually selectable +48V phantom LIVE light output with MUTE LED, monitoring user configurable options allow very flexible power and a gain calibration potentiometer of off-air signals or studio output, automatic operation. providing up to 65dB of gain for the pre- monitoring of pre-fade channels, and SPLIT The console consists of nine input channels amp. The stereo RCA phono line inputs on CUE/PFL. A pair of bright 21-segment LED providing in total four mic, 12 stereo line, one channels 1-8 have 10dB of gain at the input to meters show either VU or PPM metering, and TBU, and one stereo auxiliary inputs: compensate for unbalanced consumer inputs. the remote outputs for each channel are highly • 4x mono balanced XLR mic/stereo Input channel 9 is a TBU and stereo auxiliary configurable providing a comprehensive range unbalanced RCA phono line inputs. input channel. The TBU allows direct connection of options to start and stop external equipment, • 4x dual stereo unbalanced RCA line inputs. to a telephone line and allows calls to be made programmed via USB and Windows® software. and received through the mixer using the For the majority of community and Features List: educational radio stations where a high handset connection. A TRIM control on each • User friendly broadcast mixer. channel provides ±15dB of gain and a PAN/ number of different users need to get up and • Clear, simple layout with no jargon. BAL(ance) control facilitates stereo imaging. running with a mixer very quickly, the S0 is the • Built in telephone interface. The use of VCAs controlled by the ALPS perfect combination of simplicity and required • Built in headphone volume limiter. long throw 100mm faders gives a smooth, broadcast functionality. All manufactured to the • Large, simple LED volume display. repeatable response, and ensures tight stereo highest quality in the UK. • Remote output for fader starts. tracking while eliminating mechanical and • Speaker muting when ‘Mics’ are on. electronic noise. • External mic-light switching output. • ‘Programme’ and ‘record’ outputs. USB Audio for Playback and Recording Sonifex Ltd • ‘Aux’ input for iPod or MP3 players. The S0 can send and receive audio over USB. 61 Station Road, Irthlingborough, • Stereo USB audio to and from a PC. This allows the audio on the REC bus to be sent Northants, NN9 5QE, UK • Guest headphone ‘talkback’. to a PC for recording or monitoring purposes. t +44 (0) 1933 650700 • Rack or flush mountable. Also, the S0 can receive a USB audio stream f +44 (0) 1933 650726 from a PC and route it to the auxiliary inputs. e sales@sonifex.co.uk • Integrated AC power supply. w www.sonifex.co.uk THE INTERNATIONAL CONSOLE BUYER’S GUIDE 37
  • 38. ++++SOUNDCRAFT STUDER++++SOUNDCRAFT STUDER++++SOUNDCRAFT STUDER++++SOUNDCRAFT S Small Is Just A Concept 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! Soundcraft Si Performer four stereo matrix mixes, four dedicated FX It takes something completely different to make busses, and three master Mix busses with true a digital audio console stand out from the crowd LCR mode, plus eight VCA Groups and eight these days, but the Soundcraft® Si Performer mute groups. range of mixers does exactly that, thanks to the Each channel features a custom LCD screen integrated DMX functionality, by adding lighting to identify channel name, assignments, graphic control options to an already impressive and EQ frequencies, DMX data, and signal metering. powerful audio feature set. The Si Performer builds upon the successful Si Si Compact Compact range, providing almost twice as much The Soundcraft® Si Compact offers DSP power and increased functionality, with an unrivalled processing power in its price input capacity of 80 inputs to mix on all models. class and is available in 16 (rackmount), The Si Performer 2 has 24 mic and eight line 24 and 32 input models, all catering for Naturally, the Vi1 inherits many of the inputs, the Si Performer 3 has 32 mic/eight up to 40 inputs to mix, with routing to 14 facilities of its larger siblings, including line inputs, plus the four FX return channels. buses, four integral Lexicon FX engines, Soundcraft FaderGlow™, four stereo Lexicon Two option card slots allow I/O expansion via Soundcraft FaderGlow™, graphic EQs on effects engines, BSS Audio graphic EQs on all any of the Soundcraft stageboxes and option all output busses, and a palette of delays output busses, and integral dynamics on all cards from the Soundcraft® ViSi Connect range, and parametric EQ to cater for almost any channels. The desk is giving the possibility of patching up to 80 processing requirement. also compatible with inputs to mix. Vi2, 4 and 6 show The unique integration of a DMX512 files and the Virtual Vi port offers core lighting control. Currently offline editor, along this provides four scene masters (A-D) with Soundcraft Vi1 Digital Live Sound Console with the Soundcraft associated slave channels on the ALT fader The Soundcraft Vi provides an all-in-one box ViSi Remote iPad® app. layers, individual colour intensities or parameters solution for smaller events where the input count are set on the slave faders with an overall master Soundcraft Vi Series and power of the larger Vi Series is not needed. level fader, which itself may be assigned to The Soundcraft Vi Series™ use the In a very compact chassis, the Vi1 still any of the main fader layers for simultaneous Vistonics™ II user interface to allow the provides a simple user interface via the access to audio and lighting levels. DMX settings engineer to operate the desk intuitively. Widescreen Vistonics™ II interface, which may be stored alongside audio settings in All Vi Series consoles now have controls the 16 surface channels. Full input the snapshot system, so both may be recalled an input-to-mix capacity of up to 96 automatically by a single button press or via an and output connections for 32 inputs and 27 inputs, mapped out on user-configurable external MIDI command. outputs are found on the rear of the Vi1, along motorised fader layers. Using the integral Fourteen mixes may be configured in various with two standard expansion slots to attach a MADI connections, Vi Series can be easily combinations of mono and stereo to a total stagebox to increase the input capacity to 64 interfaced with plug-in and/or of 20 mix busses; great for mixing in-ear and or other interfaces. DAW systems. wedge monitors. These are supplemented by 38 PROMOTIONAL FEATURE
  • 39. consoles 2013STUDER++++SOUNDCRAFT STUDER++++SOUNDCRAFT STUDER++++SOUNDCRAFT STUDER++++SOUNDC Studer OnAir 1500 the right. Preset buttons also allow Radio Production/ one-touch control of all monitoring. On-Air Console The Studer OnAir 1500 is Studer NANO SCORE the compact solution for on-air and The separate core of the OnAir 1500 production, combining a small and simple contains the audio and control engine. work surface with sophisticated underlying Its design provides standard connectors making functionality along with a powerful external any additional breakout panel unnecessary. core and I/O unit. Integrated USB playback and Two card slots can be equipped with any Studer Vista 1 record functions make the OnAir 1500 a very optional D21m I/O module, such as MADI, The newest console in the Studer portfolio, compact yet complete mixer. ADAT, AES, or additional MIC inputs. The front the Studer® Vista 1, is a compact and low-cost Flexibility is increased with the addition panel carries USB ports, which can host a USB configuration that will surprise many engineers. of a six-fader extension bay, creating a 12- stick for recording and playout, while one can be The desk comes complete with control fader surface. switched to deliver an additional eight channels surface, I/O connections and DSP all integral, Input channel parameters such as EQ and of I/O to/from a USB device or DAW system. considerably reducing weight and footprint. dynamics can be comfortably edited using The desk is highly suited to both fixed and console controls in combination with the OLED Soundcraft FX-based Consoles portable systems, such as newsrooms and game channel displays without requiring an additional Soundcraft offers a range of multi-purpose shows, while its compact size makes it a natural screen or PC. For more advanced operation, the mixers with integral effects, ranging from six choice for OB and ENG vans. console provides interfaces for connecting a PC to 24 inputs. From the EFX, MFXi, and FX16ii The Vista 1 is based largely on the Vista 5, screen, keyboard, and mouse. consoles equipped with world-leading Lexicon so existing users will be immediately familiar Unique features such as Headphone Split FX, every model delivers uncompromising with all the functionality of the Vistonics™ user allow the user to listen to two different sources, Soundcraft audio quality and high standards of interface and control surface, plus features one through the left earpiece, the other through mechanical construction. such as Studer FaderGlow™, true broadcast monitoring, talkback, red light control, GPIO, Studer Vista 5 M2 More From Studer N-x (Mix Minus) busses, snapshot automation, Successfully established for five years, Studer also offers consoles for theatre and and DAW control. the Vista 5 M2 gains the unique and live such as the Vista 9 and Vista 5 SR, with With an integral DSP engine of over 100 powerful TFT metering from the flagship software specifically developed for high-end channels, the Vista 1 can handle mono, stereo, Vista 9 console, and the range has been musical theatre applications, which enables and 5.1 inputs with ease, and is provided with extended with the addition of the compact faster and more accurate workflow for scenes 32 mic/line inputs, 16 line outputs, and four 22-fader model. and actor management. pairs of AES inputs and outputs on rear panel The TFT-based metering system is Broadcast production applications are served connections, with both 32-fader and 22-fader capable of being configured to show by the OnAir 2500 and OnAir 3000 consoles, models available. channel metering from mono to 7.1 and the Route 6000 routing system. I/O can be expanded using the standard sources, along with buss assignment and Studer D21m card slot on the rear, to allow a unique ‘history’ mode that shows a MADI, AES, AoIP, ADAT, TDIF, CobraNet, Dolby time-based waveform showing in red any E/Digital, SDI connections, etc. A MADI link can unusual events such as overloads. Soundcraft Studer connect to any of the Studer Stagebox range for Supplementing the Vista range are Cranborne House, Cranborne Road, XLR connectivity as well as other formats, while two new stagebox solutions, the Studer Potters Bar, Herts, EN6 3JN, UK an integral MADI port allows connections to a Compact Stagebox and the Studer Vi t +44 (0) 1707 665000 DAW recording system or router Stagebox, which offer out-of-the box f +44 (0) 1707 668159 New with the Vista 1 is an integral jingle cost-effective I/O solutions for small e soundcraft@harman.com player, played from audio files on a USB jingle and medium scale systems. e studer@harman.com stick (such as station ID or background FX), w www.soundcraft.com / www.studer.ch and triggered by a series of eight dedicated keys in the master section. Soundcraft Studer USA The Studer Vista 1 also features a 8500 Balboa Boulevard, redundant PSU for peace of mind, Northridge CA 91329 USA and RELINK integration with other Studer Vista t +1 818 920 3212 and OnAir consoles means the Vista 1 f +1 818 920 3209 can easily share signals across an entire e soundcraft-usa@harman.com console network. e studer-usa@harman.com w http://usa.soundcraft.com / www: http://usa.studer.ch THE INTERNATIONAL CONSOLE BUYER’S GUIDE 39
  • 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 + + Proven Excellence in Music, Broadcast, and Post Over three decades SSL has established its status as a market leader by developing new technology that enables engineers and producers to work faster and sound better. A deep understanding of the needs of users remains at the heart of SSL’s ongoing evolution and its strong legacy delivering tools for music, broadcast, and post continues with leading edge solutions in all three areas. AWS 948. SSL For Music In 2004, when SSL launched the original AWS 900, it was the first product to combine an analogue mixing console and a comprehensive DAW Controller. This hybrid approach to production workflow delivers the best of both worlds; the workflow advantages of hardware controlled DA W production and the sonic depth, precision, and character of analogue processing and summing. Today SSL’s Hybrid Workflow Technology is available in a range of SuperAnalogue™ Consoles with integrated DAW control to suit everybody from the pro project studio to the large scale commercial facility. AWS has become the choice of leading international artists, producers, About SSL DAW Control and engineers with more than 700 units sold. The AWS 924/948 SSL DAW Control employs high speed MIDI over Ethernet and USB offers two console/controller options; the AWS 924 and AWS 948. Keyboard Emulation with HUI & MCU to control all leading DAWs Both consoles use the same 24-fader frame and feature the proven including Pro Tools®, Logic®, Cubase/Nuendo®, etc. Digital scribble formula of 24 ultra-clean mic pres, classic SSL dual curve EQ, assignable strips provide comprehensive visual feedback and are combined with SSL dynamics, in-built Stereo Buss Compressor, 5.1 monitoring, and assignable encoders, motorised faders, soft keys, and heavy duty TotalRecall™. The AWS 948 features stereo channel strips enabling up transport controls to deliver ergonomically elegant and comprehensive to 48 inputs with stereo EQ and dual path channel strip. DAW Control. SSL DAW control is multi-layer, enabling control over multiple applications simultaneously. AWS and Duality also feature a Duality SE – The Analogue Console For The Digital Age dedicated on-board TFT and soft key system for plug-in control. Duality SE is a large format console/controller that is in use in hundreds Both AWS and Duality also features SSL’s unique ‘A-FADA ’ system of commercial recording facilities worldwide. It is available in 24-, where DAW Automation data controls the consoles motorised 48-, 72-, or 96-channel configurations. A new version of the console analogue faders. 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 Matrix – SSL At The Heart Of Your Studio retractable arm to facilitate producer/engineers who wish to perform Matrix is a console/controller designed for smaller production DAW editing/arrangement activity from the monitoring sweet spot. suites where a DAW is used in conjunction with a collection of Duality is everything you would expect from a classic SSL console with boutique analogue outboard. Its analogue side features a 40-input a number of key added benefits. Each channel features transparent SSL SuperAnalogue™ summing mixer, a software controlled analogue mic pre and full channel strip processing, but the input stage also offers routing matrix (any of up to 16 analogue outboard processors can be the option to add warmth or punch with SSL’s VHD™ system. inserted in chains on any channel), and fully featured monitoring. A unique ‘dual path’ channel enables use of console processing within AWS 924 & AWS 948 the DAW mixer signal path. Duality is highly suited to surround The original Analogue Workstation System… Evolved production. TFT displays provide comprehensive visual feedback on Designed for mid-scale commercial recording and production, levels, routing, etc, and enable multi-operator Total Recall™. 40 PROMOTIONAL FEATURE
  • 41. consoles 2013+ + 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 + + + + Nucleus Designed for music and post applications Nucleus re-defines 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 efficiently without resorting to your mouse. SSL Matrix @ Timbaland Tour Bus, USA. SSL For Broadcast SSL 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 refined and elegant control surfaces. There are three consoles available, meeting the requirements of large scale, mid scale, and mobile applications. SSL C100 HDS @ Comcast Sportsnet, USA. and sophistication of C100 technology and presents it in an affordable C100 HDS – Scalable On-Air Mixing And Routing System system designed for the smaller budget broadcast market. C10 solves The C100 HDS is designed for on-air production applications many broadcast and production challenges with operational features where audio quality matters and operators deal with sophisticated that simplify and/or automate key tasks, helping users of all skill levels configurations in fast paced workflow. The control surface combines deliver professional results with a simple, logical interface that is easy assignable hardware controls, strong visual feedback, and touch to operate. 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 The C200 HD – Hands-On Digital Production Console depth and power of the C100 can be accessed and editing quickly and C200 HD is a digital console with a dedicated ‘knob per function’ easily when the need arises. control surface, making it ideal for creative mixing applications, such as music or entertainment, where ‘hands on’ access to a large C10 HD – Compact, Affordable On-Air Mixing number of controls is essential, and the benefits of instant and The C10 HD brings an unprecedented combination of size, price, complete parameter recall is also a key factor. and performance to the broadcast console market. It takes the power SSL For Post The C300 HD, which has been adopted by over 40 post facilities worldwide, is a fully configurable, multi-format stem-based digital mixing console and CONTACT DETAILS DAW controller. It provides 500 mix inputs, 80 mix Solid State Logic busses, comprehensive multi-format monitoring, 25 Springhill Road, Begbroke, Oxford, England multi-system machine control, and highly evolved hands- OX5 1RU on control of both the console and multiple DAWs. t +44 (0)1865 842 300. C300 HD offers unrivalled control of the modern e sales@solidstatelogic.com studio environment. w www.solidstatelogic.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 41
  • 42. + + + + 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 High Quality Desks in Every Shape and Size 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. combined with user-friendliness, CRESCENDO – The Digital Production Console AURUS adapts to all kinds of CRESCENDO is AURUS’ smaller sibling. Using applications. the same audio processing, CRESCENDO offers AURUS almost as many mixing features as AURUS but features with an even smaller footprint. The console itself up to 300 is more compact with less knobs and buttons input channels in response to increased demand for slimmed accessible via a down user interfaces. CRESCENDO is freely configurable, in respect control surface of both the number of channels and busses. providing STAGETEC AURUS. Configurations of up to 300 audio channels and from 16 to 128 summing busses are supported. Using the All STAGETEC consoles use the NEXUS 96 assignable channel strips, plus a master same dual-concentric encoders as all STAGETEC audio routing system as an I/O matrix. section. The console can also be controlled by consoles, CRESCENDO offers extended channel This intelligent division between mixing a wifi PC, offering remote access, for example, parameters, as well as a central panel approach and routing enables consoles to be built during rehearsals. The desk is fitted as standard where there is one-knob-per-function. that integrate effectively into with luxurious snapshot, scene, and dynamic digital studio environments. This console can be found in small OB trucks, automation, and is fully equipped for surround as well as in theatres and multi-purpose venues. Functionality includes: Dolby productions in formats up to 7.1. The system E®, HD SDI embedding, provides many additional features such as AURATUS – The Compact Broadcast Console and modern IP networking control protocols for the most common DAW AURATUS is a compact digital console used such as Dante™ as well as loudness metering in accordance with all international standards. systems. principally in pre-defined workflows for radio NEXUS provides extensive logic control for The AURUS reference list includes the and TV production. Therefore, it features not internal and external control functions. Console most prestigious venues e.g., BBC Scotland only a straightforward bus layout but also a audio processing and control cards are also headquarters in Glasgow (UK), or the Guthrie user interface optimised for quick and simple hosted by NEXUS Base Devices or the larger Theaters (Minneapolis, Minnesota). operation. NEXUS STAR routing node. All consoles have very low power consumption. They are fan-free, light, and start up rapidly. STAGETEC CRESCENDO. AURUS – The Direct Access Console AURUS 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 configurability and modularity 42 PROMOTIONAL FEATURE
  • 43. consoles 2013T 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 STAGETEC All Consoles offer: NEXUS. • Extreme flexibility • 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 floating point processing • Up and running in less than 30 seconds from power on! The surface is available in 8, 16, and 24 fader self-op use in the best possible way. The PC GUI • Proven STAGETEC reliability desktop or built-in versions. All important audio- makes many configuration options available and • Control PC is used only for configuration channel parameters can be set using the dual can be used for full remote control. purposes, not required for mixing encoders on the channel strip familiar from the Even though ON AIR 24 is the smallest • Light-weight with low power consumption CRESCENDO, as well as from the master section. STAGETEC console, it offers the same • Completely silent: no fans, no hard disks AURATUS’ entire functionality including control exceptional audio quality, reliability, and easy and DSP power is accommodated on a single integration familiar from other STAGETEC card hosted by any NEXUS Base Device within products. the audio network. ON AIR 24 also integrates perfectly into video post-pro suites and small audio production ON AIR 24 – Compact Broadcast Solution suites. ON AIR 24 is a highly modular mixing console system designed for self-op studios for 24/7 NEXUS – The Audio Backbone radio applications. The user interface is based The fully digital NEXUS is one of most versatile on compact panels with only four faders audio network and routing systems available, each, enabling really small mixing units to and is a core STAGETEC product. It is the host be assembled. ON AIR 24 is very easy to use, for STAGETEC mixing consoles’ audio processing highly configurable and, thanks to its snapshot and can also be used independently without a automation and extensive logic control mixer. functionality, supports even complex on-air With a completely modular structure and productions. The processing power of the connected via fibre-optics, NEXUS forms console is provided by a single mixer card. decentralised audio networks of any size. A wide An additional PC software application enables choice of boards configured individually and the technical supervisor to prepare and support 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. SALZBRENNER STAGETEC MEDIAGROUP For its outstanding Industriegebiet See functionality, NEXUS D-96155 Buttenheim was awarded an t +49 9545 4400 Emmy® in 2010. e marketing@stagetec.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 43
  • 44. + + + + W H E AT S T O N E + + + + W H E AT S T O N E + + + + W H E AT S T O N E + + + + W H E AT S T O N E + + + + W H E AT S T O N E + + + + W H E Rock-Solid Studio Performance 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. No surprise then that the biggest names in All Wheatstone studio products are U.S. and Canadian broadcasting run their manufactured at the company’s operations on Wheatstone digital consoles New Bern, North Carolina factory – and through WheatNet-IP audio-over-IP no second sourcing, no outsourcing, (AoIP) or TDM Bridge routing. In fact, Clear no exceptions. The company machines Channel’s largest networked studio operation is its own parts to exact tolerances powered by Wheatstone digital control surfaces whenever possible, and uses the very and the Wheatstone WheatNet-IP Intelligent latest surface mount technology for Network with more than a million crosspoints – zero defects all the time, every time. and growing. Wheatstone is a company of audio engineers, Form And Function At The Controls Dimension One or D-5.2 digital audio console musicians, and manufacturing craftsmen, and it The best digital consoles are uncluttered, for television, audio engineers find Wheatstone shows in the feel and clean lines of Wheatstone functional beyond reproach, and easy to digital consoles readily accessible for the task consoles as well as the easy navigation of understand. These are the surfaces that can do at hand, but with plenty of function and power Wheatstone studio routing. Over the years, any job at hand, yet fit the needs of a specific just under the surface for use whenever needed. the Wheatstone studio has grown in power studio or application like a glove. Designing a Wheatstone’s new LX-24, for example, returns and scope and ingenuity to outsize even the digital control surface of this form and function radio operators to the intuitive simplicity of most demanding studio project. takes the kind of legacy experience and forward analogue sound engineering, but with all the This engineering company hasn’t missed a engineering that is uniquely Wheatstone. features and form of the digital realm. Whether it’s a Wheatstone Evolution Extremely tactile and in a small footprint beat in the last 30+ years – not in design, and that’s easy to navigate, the LX-24 has forward- certainly not in quality. digital control surface, the new LX-24 modular thinking features such as onboard VGA and USB digital console for radio, or the popular 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 configure 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, filtering, 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, 44 PROMOTIONAL FEATURE
  • 45. consoles 2013AT S T O N E + + + + W H E AT S T O N E + + + + W H E AT S T O N E + + + + W H E AT S T O N E + + + + W H E AT S T O N E + + + + W H E AT S T O N E Intelligent Network BLADE Routing Access Units. and TDM Bridge There’s a lot of technology, engineering, routing as well as and power inside this sleek, all-metal processing modules, housing used to connect radio studios rack utilities, and and Wheatstone control surfaces in even software the WheatNet-IP Intelligent Network. applications. Wheatstone Each of these access units, or BLADEs, audio drivers, for example, communicates at lightning speed across offer 24-bit processing at D-5.2 Digital Audio Television Console. the network via gigabit interface, and selectable audio sampling rates (complete with A popular surface for fast-paced live includes logic control, utility mixers, and a 64 bi-directional soft logic elements) for a huge television or other environments in which dedicated controller that gives it its own jump in studio sound quality. changes happen on the fly, the D-5.2 puts intelligence. Each BLADE holds the entire The Wheatstone studio architecture includes all controls and indicators within easy brain trust of the studio operation for all manner and variation of mixing, routing, reach. This digital console offers seven exceptional redundancy and scalability. processing, and utilities – even utility mixers alpha displays on each input fader strip in AoIP access units – that can be located for quick visual feedback and has more anywhere along the studio path for than enough IFB capability, with all the shaping sound, controlling devices, and mix-minuses and tools needed for live, channelling audio. Even MADI access units time-sensitive event coverage. can be added to the WheatNet-IP architecture a blindingly powerful DSP engine that gives to link in existing MADI gear and to provide and devices are always communicating about these consoles incredibly rich features, such a communication path between IP routing command and control, not just streaming audio as built-in upmixing and downmixing between systems in the radio studio and existing between them. This is why operators sitting stereo and 5.1 surround sources along with a TDM Bridge routers in television studios, at a playout or automation PC networked by full complement of stereo and 5.1 surround for example. Likewise, newer IP routing WheatNet-IP can bring audio up on a console panning controls. applications are blurring studio boundaries, such channel, turn the channel on, pot up the Best of all, Wheatstone digital control as Wheatstone’s Glass-E virtual mixer interface fader, and then turn the channel off when it’s surfaces are part of the Wheatstone studio for laptop control of Wheatstone consoles from through… all done remotely and from one architecture that includes routing, processing, any offsite location with wireless access. seat. Moreover, the WheatNet-IP Intelligent and a vast network of resources, capabilities, In fact, the WheatNet-IP Intelligent Network Network integrates easily with automation and studio intelligence. for radio operations is the only audio router of systems, loggers, codecs, and other third-party The Architecture For Routing Intelligence its kind to distribute system awareness to all of devices and sources by way of Wheatstone’s While Wheatstone consoles have evolved to its access points. This means that every BLADE Automation Control Interface (ACI). Wheatstone handle tight spaces and venues large and small, access unit has intelligence built in so that partners with a wide variety of third-party the true driving force behind studio productivity sources, devices, PCs, and control surfaces share providers of automation systems, audio playout today is the architecture that underpins command and control across the whole network. systems, audio processors, and other equipment Wheatstone digital consoles. Because the WheatNet-IP system distributes for a fully integrated studio solution. Wheatstone studio architecture includes intelligence to all BLADEs throughout the Overall, the Wheatstone studio is the most routing such as its audio-over-IP WheatNet-IP network, routing is more dynamic complete audio infrastructure available to audio engineers with all studio activity handled New LX-24 Modular Console. through one common system interface, from The LX-24 is an audio routing, metering, and levelling to mixing entirely new digital control, logic control, and audio processing. console design for radio operation, combining a sleek, low-profile, 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 Wheatstone construction, this console has it all. The LX-24 t +1 252 638 7000 is designed specifically for use with the WheatNet-IP Intelligent Network. e sales@wheatstone.com w www.wheatstone.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 45
  • 46. + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M CL Series Captures The Imagination 2012 was a landmark year for Yamaha with the introduction of the CL series digital mixing system. Bringing unprecedented levels of flexibility, reliability and audio quality to both live and installed audio applications, it has truly captured the imagination of the professional sound industry. Combining an ergonomic user interface with the consoles’ onboard eight elegant, contemporary design, the CL series mic inputs and eight line comprises the CL1, CL3, and CL5. These are outputs. The Rio3224-D also complemented by a pair of accompanying I/O includes four stereo AES-EBU racks, the Rio3224-D and Rio1608-D. Linked outputs, keeping signals in the by built-in Dante networking, the CL system is digital domain right through exceptionally flexible and scalable. to the amplifier. Ranging in capacity from 48 to 72 mono, A scalable system is easily plus eight stereo, inputs per CL series console, constructed by simultaneously all feature 16 DCAs, 24 mix and eight matrix attaching up to eight I/O racks busses, as well as stereo and mono output via Dante, providing up to 256 CL5s were used at four Polish busses. Three Yamaha MY card slots feature input sources. Rio units and stadiums during UEFA Euro 2012. on the rear panel of all the mixers, maintaining CL consoles can be placed compatibility with every existing audio format anywhere on the Dante series is the remarkable audio quality and sound as well as newer cards like the MY8-Lake speaker network, meaning that remarkable flexibility shaping features. As well as featuring newly- processing card and the MY16-Dugan auto is possible, while pairs of CL series consoles designed mic pre-amps and delays on every mixing card. can also be cascaded to handle larger mixing input channel and output port, the CL Effects The card slots also allow for other Yamaha requirements. Rack provides the equivalent of eight SPX2000 digital consoles to be incorporated into the Critically, Yamaha’s Auto Gain Compensation effects processors, along with a range of VCM Dante network and for additional I/O alongside feature means that multiple consoles can EQs and dynamics, while two further virtual racks share the inputs from one provide access to up to 32 channels of graphic The CL series is also making major inroads into the corporate set of I/O racks without EQs. market, such as with Manchester-based Sterling Event Group. any fear of unexpected But probably the most exciting sonic level changes. With innovation is the Premium Rack, which provides the new Dante 32-bit extremely high quality dynamic processors and mode of operation, gain EQs. Here Yamaha has collaborated closely with compensation can be Rupert Neve to incorporate the highly acclaimed provided without audibly Portico 5033 EQ and 5043 Compressor as key, affecting the dynamic standard elements. range. “For the first time we have the capability of bringing Rupert Neve sound into the live audio Sonic Innovation field, entirely due to Yamaha VCM technology. One of the most talked I believe that it is indistinguishable from the about aspects of the CL original analogue sound,” says Neve. 46 PROMOTIONAL FEATURE
  • 47. consoles 2013M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA M A H A + + + + YA 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 profile 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 Tell Das Musical. 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 specified for church and theatre installations, while two CL1s brought all the facilities of their bigger brothers within financial 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 flying colours. Software Success runs on both Macs and Windows PCs, while found in any other live recording software. Of course, offline a new version of StageMix for iPad offers When combined with Audinate’s Dante Virtual editing is a comprehensive wireless remote control and Soundcard*, engineers can easily use the Dante fundamental includes features like channel naming, DCA network to record up to 64 tracks of audio to feature. CL Editor fader control, and tap tempo. Yamaha’s File either a Mac or Windows PC. Stereo recordings is a standalone Converter software has also been upgraded to can also be done via a convenient two track USB online/offline allow straightforward exchange of console files recording/playback function. editor which between the CL series, PM5D, M7CL, and LS9. * A copy of Nuendo Live and Dante Virtual Another significant piece of software is Soundcard is included with every CL series Yamaha CL5s on primetime Steinberg Nuendo Live*, which has been console. Spanish TV show designed specifically for live recording El Hormiguero. applications and includes unique features not Gear Of The Year Yamaha Corporation The success of the CL series, and its popularity with sound aUDIOMeDIA 10-1 Nakazawa-cho Hamamatsu engineers, has seen it deservingly awarded the accolade of gear of the year P.O. Box 1, Shizuoka, Japan Audio Media ‘Gear of the Year’. 2012 t +81 53 460 1111 “Yamaha pioneered the live digital console, which has most definitely come of age. We’re way past the whizz-bang and into the age of refinement. Yamaha Commercial Audio Systems, Inc. Yamaha is explicit in addressing the remaining big concerns with this new generation – aUDIOMeDIA reliability, standardised networking, cross-product compatibility, and well-designed control 6600 Orangethorpe Avenue gear of the year Buena Park, CA 90620, USA options,” says Audio Media editor Paul Mac. 2012 t +1 714 522 9011 “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 Yamaha Music Europe GmbH for over 25 years and, over the past few years, we were constantly asked about what our next Siemensstraße 22-34 aUDIOMeDIA major development would be. We firmly believed that the CL series would be a game-changer 25462 Rellingen, Germany and it is tremendously rewarding to see how completely the professional r o f tindustry r g e a audio h e y e a has t +49 4101 3030 2012 embraced it.” w www.yamahacommercialaudio.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 47
  • 48. Console Manufacturers DirectoryADT AUDIO SYSTEMS that includes the Lynx and compressors in the 1970s, AXIA AUDIO DATEQADT offers a range of AMX Series of mixers. but has today evolved to Axia is the studio audio DATEQ was started in themodular mixing consoles and www.altoproaudio.com become one of the major division of Telos Systems, 1970s with production ofprocessing modules for the pro consultants and installers for specialising in digital audio equipment for DJs andindustry, claiming ‘the very AMS NEVE the broadcast market. audio routing, mixing, and pro end users; and today thehighest level of sonic and build www.proaudio.uk.com distribution systems. Its company’s mixers are stillquality’ at a reasonable price. modular Element is a popular aimed squarely at broadcastwww.adt-audio.com AUDIO DEVELOPMENTS console, with fully mixable, and disco markets. A leading manufacturer of matchable, and combinable www.dateq.nlAEQ portable audio mixers, Audio componentsManufacturing for the Developments has been for individuality. CLYDE BROADCASTbroadcast industry for over 25 established for over 35 years www.axiaaudio.com Clyde Broadcast is a radioyears from its Madrid HQ, top AMS Neve boasts an and has supplied mixers to specialist, operating as aquality AEQ products including enviable reputation, with its every continent in the world. BEHRINGER manufacturer, consultant, andthe Phoenix Studio Codec and uncompromising recording www.audio.co.uk Founded 20 years ago system integrator forTitan router are used by audio and mixing equipment because Uli Behringer couldn’t the industry’s radio stationspros around the world. used in countless top-name AUDIONICS afford good equipment to big and small.www.aeqbroadcast.com productions. The Genesys Founded in 1987 In Yorkshire, become a sound engineer, www.clydebroadcast.com and DFC Gemini are just two England, Audionics initially Behringer’s aim today is toALESIS consoles that have epitomised designed and built products offer the best equipment at CREST AUDIOEstablished in 1980, Alesis was the pinnacle of AMS Neve’s for its own Yorkshire Radio fair prices. Its range covers Founded in the 1970sfounded on innovative semi- award-winning achievements Network. With its skills everything from mixers to producing amplifiers for tours,conductor chip technology over its 40 years. growing in demand by outside instruments. Crest Audio has expandedthat brought hi-end products www.ams-neve.com customers, Audionics has www.behringer.com and since 1989 has beento entry-level musicians built up a reputation as an producing consoles alongsideand recording artists. Today APB-DYNASONICS innovative and practical CADAC ELECTRONICS many other products designedAlesis remains committed Designing and manufacturing broadcast manufacturer. ‘to address every aspect ofto delivering innovative and its Spectra series analogue www.audionics.co.uk installation configurationinspiring pro gear to all audio consoles in New Jersey since and control’.levels, including the MultiMix 2004, APB-DynaSonics has AVID www.crestaudio.comrange of mixers. come to receive recent criticalwww.alesis.com acclaim. It now has a solid DEVIL TECHNOLOGIES range of new mix products. Founded as recently as 2005ALLEN & HEATH www.apb-dynasonics.com Cadac consoles, manufactured and building on talent and Avid in the UK, are famous for their high-standards, Devil has API (Digidesign) use in large-scale musicals, but recently introduced the DRT- solutions can be found at the have in previous years been 101, an advanced DAW control (AUDIO PROCESSES INC.) heart of most studios around renowned for studio use. The surface that the company API launched in 1968 and the world, not least through company specialises in live describes as the first building became known for its 2520 its ubiquitous ProTools. sound mixing consoles such as block in its networkable digital amplifier, which still forms There’s much more to Digi the S-Type and X16. environment. the heart of all its discrete though, and ICON and VENUE www.cadac-sound.com www.deviltechnologies.net products. It now has over 700A UK-based company, Allen API consoles around represent the company at the& Heath has been building the world, and forms part fore of the consoles market. CALREC DHDmixers for 40 years and of the ATI group. Avid acquired Euphonix inremains passionate about its www.apiaudio.com mid 2010.consoles, each of which has www.digidesign.coma ‘uniquely fabulous’ sound. AUDIENTMakers of the XB-14, Zed and Audient was formed in 1997, AXEL TECHNOLOGYGL series mixers, Allen & Heath with its founders setting the An Italian broadcast solutionshas a reputation for keeping performance standard of company founded in 1996,its customers happy. mixing consoles in the 80s Axel’s client list includeswww.allen-heath.co.uk Deutsche Telekom Germany, Calrec’s focus has been on and 90s. Its new Zen console Virgin Radio Italy, and broadcast audio mixing looks to follow this lead, beingALTO PROFESSIONAL Radiotelevisione Italiana. consoles since 1971, although With technologies especially named as one of the top 20A relatively new Taiwanese www.axeltechnology.com has been manufacturing adapted for radio and TV hits at AES NY 09.brand launched in 2000, but a www.audient.co.uk high-quality audio products broadcasting studios, DHD’sfast grower and accumulator since 1964. Its well-respected focus is digital broadcastof positive market feedback, consoles today include the mixing and routing systems AUDIO & DESIGNALTO has built a complete Apollo, Alpha, X2, Bluefin, that include the RM4200D, Audio & Design was successfulproduct line-up to meet the and S2. and 52/MX and RX. with its range of transistor-growing needs of audio pros www.calrec.com www.dhd-audio.de designed limiters and48 CONSOLE MANUFACTURERS DIRECTORY
  • 49. consoles 2013DIGICO FBT ELECTRONICA INNOVASON Houston, Texas. CBS, NBC, and MIDAS Musically-orientated, FBT is Launched in 1993 by two The Disney Channel, as well an Italian manufacturer that brothers, InnovaSON is an as Sony and Warner Bros. use has been around for over 45 acronym from French that Logitek systems. years and claims to be one of means ‘Innovative Sound’. www.logitekaudio.com the few manufacturers whose Focused on SR applications, products, such as the new the company designs all- LOLA AUDIO Formula mixer, are entirely digital consoles such as the Lola Audio is the leading made in its home country. Eclipse and Sy48. Yugoslav firm in the AV mediaSome might claim DiGiCo as www.fbt.it www.innovason.com field, and for over 25 years has Midas consoles are amongsta bit of a pioneer, and this been producing modular audio the most popular in thewas certainly the case when FOCUSRITE QPHONICS mixing consoles among other market, and have been foundthe company launched its D5 Focusrite was established in Describing itself as a hi-tech products. in live applications aroundLive system that re-aligned 1985, and today produces ‘technological trailblazer’, www.lolaudio.com the world since the 1970s.the expectations of digital a range of products for the QPhonics (formerly Klotz Its current console line-upconsoles. Its latest consoles audio pro including the Digital) was formed in 1990 M AUDIO includes the XL8 and theinclude the SD8 and SD9. Focusrite Control 2802, a with a high-customer service ProjectMix I/O, Torq Xponent, new PRO2.www.digiconsoles.com combined small-format philosophy that continues www.midasconsoles.com and X-Session Pro form the analogue recording console to this day with products console sector of M-Audio’sD&R ELECTRONICA and a DAW control surface. including the Xenon and Vadis product range. OTARIComing from a pop star www.focusrite.com D.C.II consoles. www.m-audio.com Although its European branchbackground, Duco de Rijk www.klotz-digital.com has closed, Otari is stilland Ronnie Goene built their FORMULA SOUND MACKIE producing out of Japan asfirst tube mixing console in Started by the Cockell LAFONT AUDIO LABS Mackie is part of the LOUD it has for over 40 years, and1972, and in 1973, D&R was husband-and-wife team French Designer Jean-Pierre Technologies family of brands, distributing worldwide. Itsofficially founded. Based in in the late 1970s, Formula Lafont gave his name to the whose logo reads ‘Small consoles include theWeesp, D&R’s approach is Sound has since grown and high-quality audio company footprints, big features, great DB-10 and DB-32.informal and customer-centric. won numerous awards for its over 20 years ago; the current www.otari.com sound’, and this is epitomisedwww.d-r.nl technologies. Its ‘reputation product line-up includes by the Onyx and VLZ3 Series. outstrips its actual size in the Panoramix and FTC84 www.mackie.com PEAVEYEELA AUDIO manufacturing terms’ – a consoles. The PV, FX, and XR Series of sentiment that reflects the www.lafontaudio.com consoles are among Peavey’sEELA has been developing MANDOZZI company’s personal ethos. SR line-up that is produced outproducts for the radio www.formula-sound.co.uk LAWO of Corby in Northamptonshire,broadcast industry for the past UK.30 years, and prides itself in www.peavey.comtaking an individual approach FOSTEXto each customer. Founded in 1973 bywww.eela-audio.com the earlier developer PHONIC CORPORATION of EOM speaker Phonic is a real customer- and transducer products, centric company; its mixersEQUIPSON Foster Electric Co., the Fostex include the AM, Helix, andEquipson is based in Spain, Company first built high Located in the sunny Swiss Impact Series.and its range includes the quality speaker components. Based in Germany, Lawo corner of Ticino, Mandozzi www.phonic.comDigiline 8, XP 20 PRO, andWEF 1010. Today, the company was founded in 1970 as an Electronics was founded inwww.equipson.es distributes its products engineer’s office for electronic 1965. Its user-friendly GMIX PRESONUS including the LR16 and LM16 equipment and later began and Serix mixers form the mixers in over 50 territories manufacturing mixing console backbone of its range.FAIRLIGHT worldwide. consoles. It now has five www.mandozzi.chBased in Australia and www.fostex.jp subsidiaries around the world,one of the oldest digital and its consoles include the MEDIA ENGINEERINGpioneers, Fairlight is now HARRISON CONSOLES respected mc290, mc266, and Founded in 1987 and basedtaking initiatives in forward- Harrison’s first console was mc256. in Switzerland, Medialooking green technology delivered in 1975, and to date www.lawo.de Engineering has since 2001in its manufacture of high-quality consoles such as the over 1,500 have since been concentrated its efforts on PreSonus has come far sinceConstellation and Xynergy. installed. The PP-1 became LOGITEK ELECTRONIC developing pro audio products. the days of trading fromwww.fairlightau.com the ‘Hollywood standard’ for SYSTEMS Memix is its modular analogue Jim Odom’s garage in 1995. modern film console designs Manufacturers of the Mosaic mixing console, designed to be Highlights of its path are the in 1979, although its current and Remora consoles, Logitek used in radio and production DigiMax and FireStudio; while flagship is the MPC4-D. designs and develops its studios. today its products include www.glw.com products in-house using local www.mediaengineering.com/ the StudioLive 16.4.2 digital manufacturers based around console. > www.presonus.com THE INTERNATIONAL CONSOLE BUYER’S GUIDE 49
  • 50. > PROFESSIONAL SOUND CORP SAMSON AUDIO SONOSAX STUDER TONELUX 1986 was the year PSC was Starting out designing wireless Swiss Sonosax brought its first Since 1948, the name Paul Wolff in Vegas is the born, and based in Valencia, mics, and now with three mixing console to market in of Studer has become mastermind behind Tonelux’s USA, the company’s range brands under the Samson 1980, the Sonosax SX-B. The synonymous with range of audio gear, including includes the Solica mixer. banner; 26 years has led to new addition to the Sonosax broadcasting and recording the models 3, 4, 5, and 6 rack www.professionalsound.com a huge range of products range is the just-released equipment. Its product range, consoles, and the Tonelux including the L-Series consoles. SX-ES64. which includes the OnAir and Universal Console Series. PUBLISON SYSTEMS www.samsontech.com www.sonosax.ch Vista lines, is totally designed www.tonelux.com Publison designs and in Switzerland. manufactures integrated post SEEMIX SOUND SOUNDCRAFT www.studer.ch TRIDENT AUDIO production systems, whose Seemix is a Norwegian Malcolm Toft and Barry products include the Edimix II company founded in 2001, TAPCO Porter developed their first and Prod’Mix. whose offerings include the Based in WA, USA, Tapo console, the A Range, for use www.publison.fr Seeport and Seelect mixers. creates mixers for recording at Trident Recording Studios www.seemix.no and live sound (the Blend in the 1970s. Trident is now RAINDIRK AUDIO Series), as well as compact designing and manufacturing Raindirk’s first console created SMART AV and ultra-compact mixers in new ideas under the PMI flag. by Cyril Jones was sold to Smart’s respected consoles the Mix. range. www.tridentaudio.co.uk Kingsway Studios back in include the Tango and Smart www.tapcoworld.com 1972. Today’s rm4 modular Professional Series, designed A Harman company, WHEATSTONE CORPORATION series means a full console for the most demanding Soundcraft made its mark TASCAM/TEAC can be created using Raindirk applications using ARC and in the early 1970s with the PROFESSIONAL components, while the MonARC technology. Series 1, the first mixing Tascam/TEAC products company also supports Helios www.smartav.net console in a flight case. It deliver to the whole desks. remains a dedicated pro spectrum of musicians and www.raindirk.com mixing console designer and engineers, from the hobbyist SOLID STATE LOGIC manufacturer with consoles to pro. Headquartered in RAMI including the Si1-3, Vi4 and 6, Japan and founded in 1953, The Compact II and RP 2000S Live 8, Ghost LE, and EFX. its consoles today include are two of Rami’s French- www.soundcraft.co.uk the DM-3200, DM-4800, Founded in the 1970s, made broadcasting consoles, and M-164 (plus FX and UF Wheatstone is a world among a range of other pro SPECK ELECTRONICS derivatives). supplier of radio and television audio products. Speck’s LiLo is not a www.tascam.com audio equipment, including www.ramiaudio.com conventional mixer, but rather analogue and digital mixing SSL has had a long and designed with minimalist TL AUDIO consoles, digital signal ROLAND SYSTEMS GROUP note-worthy history since its ideals perfected for routing TL Audio began in the processing, and networked Roland Systems Group is a formation in 1977, which via and blending external gear 1990s, restoring and re- audio systems – all designed forward-looking company the Axiom, Aysis, XLogic, and and DAW. selling vintage equipment, and manufactured in New whose breakthrough V-Mixing C-Series, has led to today’s www.speck.com and discovered a hole in the Bern, NC, USA under the system (combined digital popular Matrix, Duende, and market for new, affordable, Wheatstone and Audioarts snake and mixing console) Duality consoles. STAGETEC valve products – spawning the Engineering brand names. is still building its fan base, www.solid-state-logic.com ‘Classic’ range. The M1-F, VTC, www.wheatstone.com now with several options and M4 are consoles based on in both mixing and snake tube technology. YAMAHA SONIFEX departments. Among its www.tlaudio.co.uk most recent releases is the M480 live mixing console, TOFT AUDIO DESIGNS the flagship of the V-Mixing American-based Toft Audio system. produces the ATB analogue www.rolandsystemsgroup.co.uk The Cantus was Stagetec’s mixers, a platform that is first digital console, a success continuously being developed RUPERT NEVE DESIGNS Sonifex began as a family of the 1990s; although today under the guiding hand of Rupert Neve, founder of the company back in 1969, which the Aurus is taking the crown Malcolm Toft. Yamaha’s is a long and wide- company that bears his name, today boasts that over 90% as Stagetec’s first class mixing www.toftaudiodesigns.com reaching story, and similarly, it has a discriminating career in of British radio broadcast console. produces mixers for just about audio spanning 80 years. A studios have used Sonifex www.stagetec.com every field of audio. The PM5D brand that implies excellence, products in the past. The S1 and LS9 are just two of these the 5088 is Neve’s flagship and s@ are the company’s many. console. current broadcast mixers. www.yamahacommercialaudio. www.rupertneve.com www.sonifex.co.uk com 50 CONSOLE MANUFACTURERS DIRECTORY
  • 51. A U D I O F O R T E L E V I S I O N. E V O LV E D. the finest audio for broadcast Pictured: Wheatstone’s D-5.2 console, built for a major US sports producer 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 forextreme 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. TELEVISION phone +1 252.638-7000 | wheatstone.com | sales@wheatstone.com
  • 52. SD5 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 fitssnugly 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 colourTFT LCD screens, three of which are touch sensitive, have a new configuration that allows easy access to single or multiple users. Thereare also two interactive dynamic metering displays (IDM) and quick access buttons are positioned down the left side of the channelscreens for fast and easy navigation.Incorporating the master screen into the worksurface design has allowed for complete user feedback, but maintained a lower profilemeter 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 otherconsole in its class.The Brand New all SInging & All Dancing, SD5 Digital Console. Shipping Now. DiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600 www.digico.biz/sd5

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