AUDIO-FOR-VIDEO • BROADCAST • GAMES AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING
THE INTERNATIONAL AUDIO MEDIA BUYER’S GUIDE
THE WORLD’S LEADING PROFESSIONAL AUDIO TECHNOLOGY MAGAZINE
A SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP
AUDIO CONSOLES
2010 PRODUCED 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
ICON…
Because everything else is just a console ICON is transforming how people mix the biggest shows. It’s more than just a console, it’s a completely integrated solution delivering all the power of Pro Tools sofware, right at your fingertips. Discover 10 reasons why customers love ICON at www.digidesign.com/ICON10 ®
Avid Post Production Solutions: Dream Big. Sleep Well. © 2009 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements and availability are subject to change with out notice. Avid, the Avid logo, and Pro Tools are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. All other trademarks are the property of their respective owners. Stage 1 - Icon Room; Westwind Studios Burbank, CA
Digidesign is Avid.
contents 6
The ‘Classic’ Console . . . . . . . . . . . . . . . . . . . . . . . . .
8
Digital Interfacing
.............................
10
Allen & Heath. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
AMS Neve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
Avid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
Calrec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
DiGiCo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
Euphonix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
Fairlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24
Lawo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Welcome to the updated Audio Consoles Buyer’s Guide 2010, an exposé of the finest the audio console market has to offer. Whether you’re in recording, post production, broadcast, or sound reinforcement, we’re sure there’s a selection of products here for you. This magazine is a collection of promotional articles looking at 13 of the world’s leading console manufacturers and their product ranges. Inside you’ll find the stories behind the gear – the ethos’ and design ethics that go into producing one of the core components in audio production – and details of the products themselves. The hands-on approach to audio mixing has not yet been beaten. It’s an art form in itself and a skill that sonic operatives treasure. Every console on the market offers something different to complement both the work at hand and the preferences of the operator, so sometimes it’s difficult to narrow down the wide choice on offer to those products that are best suited to your needs. There’s also new technology to consider – are you surround-sound ready? Has your current console got the extra horsepower or capacity needed to cope with modern production demands? Do you need a step up in signal intergrity and product pedigree? Could a more versatile board work harder for you or do you need a more specialist tool for a specialist job? Everybody needs to address at least a few of these issues, and probably more besides. That’s where this guide comes in. It’s a collaboration between several NewBay Media titles – Audio Media Worldwide www.audiomedia.com, Pro Audio Review www.proaudioreview.com, Radio World International www.rwonline.com, TV Technology (www.tvtechnology. com), and Broadcast & Production www.broadcast.it All of these publications concern themselves with the business of production, and production technology for professional creatives, operators, technicians, and engineers everywhere. Visit their respective websites to find out more. The NewBay Team
26
Mandozzi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1480 461555 - Fax: +44 (0)1480 461550
28
30
Midas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Solid State Logic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sales Graham Kirk
Editorial Manager (Europe) Lanna Marshall
g.kirk@audiomedia.com
l.marshall@audiomedia.com
Editor In Chief Paul Mac
Design & Production Manager John-Paul Shirreffs
p.mac@audiomedia.com
jp.shirreffs@audiomedia.com
Radio World International www.rwonline.com (Milan) Tel: + 39 02 7030 0310 - Fax: + 39 02 7030 0211
32
34
Stagetec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Studer Soundcraft
Publisher/Sales
Editor
Raffaella Calabrese
Carter Ross
rcalabrese@broadcast.it
cross@nbmedia.com
............................ www.nbmedia.com
36
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 any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. © 2010 NewBay Media. All rights reserved.
™ PowerStation: PowerStation: the™ new the new console console system system fromfrom Axia.Axia. Element shown in Silver/Charcoal color scheme. Also available: Bronze/Charcoal and Warm Gray.
Element shown in Silver/Charcoal color scheme. Also available: Bronze/Charcoal and Warm Gray.
Because Because there’s there’s no such no such thingthing as too as much too much uptime. uptime. All stops All stops removed removed • Twenty years •
E-I-E I/O E-I-E • Finding I/Ospace • inFinding the equipment space in racks the equipmentElement racks Element 2.0 • With 2.0 more• thanWith 1,000more consoles than already 1,000 consoles on the air, already Element on the is a air, huge Element hit. And is anow, hugethanks hit. And to suggestions now, thanks from to suggestions our clients,from it’s better our clients, than ever. it’s better Element than2.0 ever. hasElement cool features 2.0 has like cool Omnia™ features like Omnia™
Twenty years
from now, you’ll from have now, forgotten you’ll have this ad. forgotten But you’ll thisstill ad. have But you’ll your still have your
is like living in aisbarnyard: like livingtoo in amany barnyard: chickens, too many neverchickens, enough coops. never enough headphone coops. processing headphone presets processing to give talent presetsthat to give “air sound”, talent that super-accurate “air sound”, super-accurate metering with both metering peak with and average both peak displays, and average one-touch displays, phone one-touch recording phone withrecording automatic with split-channel automatic feed, split-channel automaticfeed, mix-minus automatic for mix-minus for
PowerStation, the PowerStation, full-featured theone-box full-featured IP-Audio one-box console/router IP-Audio console/router
So our team ofSoobsessive our teamdesigners of obsessive fit andesigners entire studio’s fit an entire worthstudio’s every worthfader, an eight-channel every fader, anVirtual eight-channel Mixer that Virtual lets you Mixer combine that lets multiple you combine audio streams multipleand audio control streams them and with control a single them fader, withand a single metallic fader, bronze and metallic or silverbronze moduleoroverlays. silver module And weoverlays. haven’tAnd evenwe begun haven’t to tell even you begun aboutto tell you about
system hardened systemwithhardened industrial-grade with industrial-grade components components and and
of inputs, outputs, of inputs, logic outputs, and network logic connections and network– connections plus an – plus Element’s an ShowElement’s Profiles that Show instantly Profiles recall that talent’s instantly favorite recall talent’s settings,favorite its built-in settings, Telcoitscontrols, built-in Telco fully-integrated controls, fully-integrated talkback/IFB and talkback/IFB Mic processing and Mic by Omnia. processing And durable? by Omnia.Element And durable? is nearly Element indestructible, is nearly ready indestructible, to take ready to take
redundant power redundant capabilities. power Tough capabilities. enough Tough to takeenough a football to take to a football to
advanced DSP mixing advanced engine DSP and mixing a massive engine console and a massive power console supply power supply whatever pounding whatever ham-fi pounding sted jocksham-fi dish out stedand jocks keep dish going. out and Youkeep wantgoing. examples? You want Element’s examples? avionics-grade Element’s avionics-grade switches are rated switches for more arethan ratedtwo for million more than operations. two million What operations. look like ordinary What look rotary like controls ordinary are, rotary in reality, controls are, in reality,
the groin and keep the groin on going. and keep PowerStation on going.minimizes PowerStation setup minimizes and setup and
– into just 4 RU. – into There’s justinputs 4 RU. for There’s 2 mics, inputs 4 analog for 2 mics, inputs4 and analog 2 inputs bullet-proof and 2 optical bullet-proof encoders optical — noencoders wipers to — wear no out wipers or get to wear noisy.out Theorsilky-smooth get noisy. The conductive-plastic silky-smooth conductive-plastic faders from side, notand the top, so dirt stay out. The high-impact Lexan module overlays faders actuate from theactuate side, not thethe top, so dirt grunge stayand out.grunge The high-impact Lexan module overlays
maximizes “bang maximizes for the buck.” “bang Engineered for the buck.” without Engineered compromise without compromise
AES/EBU inputs,AES/EBU with 6 analog inputs, and with 2 AES 6 analog outputs. and42GPI/O AES outputs. logic ports 4 GPI/O logichave portstheir colorhave their color and printing applied on the back,wear where can’t chipisoff . Thefrom frame is made from thick aluminum that aretruck-stop stronger than truck-stop coffeven ee. Tomore find about out even more about and printing applied on the back, where it can’t oritchip offwear . Theor frame made thick aluminum extrusions thatextrusions are stronger than coffee. To find out Element, visit Element, visit round things out. round Want things even out. more? Want Justeven connect more? the Just PowerStation connect the PowerStation AxiaAudio.com/Element/ Grab and prep a good, long readour — marketers remember,get ourpaid marketers paid by the word. AxiaAudio.com/Element/ . Grab some coff. ee andsome prepcoff for ee a good, longfor read — remember, by the get word.
for broadcastingfor without broadcasting interruption. without interruption.
Aux to instantlyAux double to instantly the I/O — double or plug the some I/O —Axia or plug Audio some Nodes Axia Audio Nodes
Easy as Easy π •asPowerStation π • combines PowerStation a console combines a console
into its built-in into Ethernet its built-in switch. Ethernet switch.
DSP engine with DSP audio engine andwith logicaudio and aand network logic and switch, a network all in one switch, all in one
Come together, Come together, right right now • now • know standalone The standalone network network • You want your • console Now that you Nowwhat that you youknow can what youThe can You want toyour be more console thanto be more than do with PowerStation, do withlet’s PowerStation, build a studio. let’sThe build diagram a studio. below The shows diagram how below a typical shows Talk how Studio a typical might Talk look. Studio might look. just reliable — you justwant reliable it built — you likewant a battleship. it built like You a battleship. want the absolute You want peace the absolute of mind that peace comes of mind fromthat comes from
Fan
box. As its name box. implies, As its there’s name implies, a wholethere’s lot o’ muscle a wholeinside lot o’that muscle inside that
free Fan •free PowerStation • isPowerStation silent and fanless. is silent and fanless. Mics and headphone Mics and feeds headphone plug into the feeds built-in plug into Mic the inputs built-in and Analog Mic inputs outputs... and Analog your playout outputs... PC,your using playout PC, using knowing your gear knowing will never your let gear you willdown. neverAnd let you if you down. take one Andstudio if you take down one forstudio maintenance, down foryou maintenance, want you want
burly frame, butburly that frame, doesn’tbut mean thatit’s doesn’t complicated. mean it’s Incomplicated. fact, setting In fact, setting
Because studiosBecause today are studios already today full are of PCs, already laptops full of and PCs, playout laptops and playout the Axia IP-Audio theDriver Axia IP-Audio for Windows®, Driverconnects for Windows®, to a built-in connects Ethernet to a built-in port... and Ethernet so does port... theand Telos soNx12 does the Telos Nx12 the rest to be completely the rest to unaff be completely ected. So we unaff designed ected. So PowerStation we designedtoPowerStation be the world’s to fibe rstthe networked world’s first networked
up PowerStation upcouldn’t PowerStation be easier: couldn’t connect be easier: your studio connect gearyour withstudio gear with
servers clicking,servers whirring clicking, and generating whirring and heatgenerating — who needs heat more — who needsTalkshow more System Talkshow (which sends System12(which lines of sends caller12audio, lines of mix-minus caller audio, and mix-minus take/drop/next and take/drop/next commands overcommands over broadcast console broadcast that doesn’t console need thata doesn’t network. need It’s completely a network.self-contained: It’s completely sure, self-contained: it plays nice sure, with it plays nice with
standard CAT-5standard cables, connect CAT-5 cables, your console connectwith yourjust console one cable, with just one cable,
of that? Not onlyofisthat? thereNot no only in-studio is there noise no with in-studio PowerStation, noise withthose PowerStation,one those skinny CAT-5 onecable). skinnySend CAT-5 a backup cable). Send audioa feed backup to your audio TOC feed for to extra your peace TOC for of mind. extra And peace after of mind. all And after others, all but unplug others, its network but unplug cable its and network it keeps cable right andonit truckin’ keeps right . Build onjust truckin’ one. studio, Build just or aone dozen, studio, at or a dozen, at
name your sources name and your setsources preferences and set with preferences a browser,with and ayou’re browser, and you’re
big extruded heat big extruded sinks are heat just plain sinkscool. are just No pun plainintended cool. No(or pun intended that,(or there’s stillthat, plenty there’s of I/Ostill leftplenty to plug of in I/Othe leftturntables to plug infor thethe turntables Saturdayfor night the Oldies Saturday show. night Oldies show.
ready to rock. PowerStation ready to rock. makes PowerStation building makes studiosbuilding about 3.14 studios timesabout 3.14 times
maybe it was. We’re maybe likeitthat, was.you We’re know). like that, you know).
any pace you choose any pace — your you choose PowerStation — yournetwork PowerStation is readynetwork to expand is ready whentoyou expand are. when you are.
easier than ever.easier than ever.
Built Built like alike tanka •tank Remember •
Remember
GPI Oh! GPI• Oh! GPIO ports •areGPIO built ports in to PowerStation are built in to PowerStation
when consoles when were built consoles to last? wereWe built do. to Atlast? Axia,We we’re do. all At about Axia, we’re all about
— no breakout— boxes no breakout or add-on boxes converters or add-on needed. converters One day, needed. you One day, you
the long haul. There the long arehaul. no compromises: There are no compromises: PowerStation uses PowerStation only uses only
might not evenmight need not logiceven ports: need more logic and ports: moremore products and more from products from
best-of-the-bestbest-of-the-best components. Like components. studio-grade LikeMic studio-grade preamps and Mic preamps and
companies likecompanies 25-Seven Systems, like 25-Seven AudioSystems, Science, Audio ENCO, Science, Google ENCO, Google
A/D converters.A/D A rigid, converters. steel-framed, A rigid,EM-tight steel-framed, chassisEM-tight that shrugs chassis that shrugs
Radio Automation, Radio International Automation,Datacasting, International Omnia Datacasting, Audio, Radio Omnia Audio, Radio
off RF like Walter off Payton RF like brushing Walter Payton off tackles. brushing An off industrial tackles.CPU An industrial CPU
TM standard Systems and Telos Systems (to name and Telos just a (to few) name use the justLivewire a few) use the LivewireTM standard
designed for high designed reliability for in high harsh reliability environments. in harsh Beefy environments. extruded Beefy extruded
directly toover Axiaanetworks over a to send their audio to send and their logic audio control and directly logic control to Axia networks
heat sinks. Big, brawny heat sinks. handles Big, brawny to makehandles rack-mounting to make easy. rack-mounting (And it easy. (And it
single CAT-5 connection. single CAT-5 connection.
looks cool, too.)looks cool, too.)
Everything’s Everything’s included included • Yeah, •
Host Mic
Redundant Redundant power redundancy power redundancy • •
Yeah,
we said everything: we said PowerStation everything:combines PowerStation half-a-dozen combinesessential half-a-dozen essential
The power supply Theispower the heart supply of any is the broadcast heart of equipment, any broadcast right? equipment, right?
tools into one compact tools intounit. oneNo compact hiddenunit. extras Noto hidden buy, no extras “gotchas” to buy, no “gotchas”
That’s why PowerStation That’s whyisPowerStation hardened against is hardened failureagainst with a superfailure with a super-
after purchase. Inside after purchase. that muscular Insidechassis that muscular you’ll find chassis a bulletproof you’ll find a bulletproof
duty power supply dutythat power sports supply enough thatamps sportstoenough power an amps arc to welder. power an arc welder.
capableengine of handling capable consoles of handling up toconsoles 40 faders, upa to 40 faders, a mixing enginemixing
And for those ofAnd youfor who those like of to you wearwho a belt likeand to wear suspenders, a belt and there’s suspenders, there’s
beefy power supply beefy (with poweroptional supply (with redundant optional power), redundant machine power), machine
even a connection evenfor a connection redundant for auxiliary redundant backup auxiliary powerbackup – with power – with
control ports, and control audio ports, I/O, all andinaudio one box. I/O,And all inofone course, box. since And of it’scourse, since it’s
automatic switchover, automatic naturally switchover, – that naturally kicks in if –it’s that ever kicks needed. in if it’s ever needed.
You’re You’re covered covered • •PORT/ 7 SUPPORT from Axia, the IP-Audio from Axia, experts, the IP-Audio a studioexperts, built with a studio PowerStation built withcan PowerStation can 7 SUP 24 / 24 Axia has theAxia mosthascomprehensive the most comprehensive ScreenScreen play •play Yep, that’s • a DVIYep, connector. that’s a Your DVI connector. Your stand alone — or stand it can alone become — oraitpart canof become a large anetwork part of aquite largeeasily. network quite easily. warranty in the warranty industryin — the5 industry years — 5 years Thanks to PowerStation Thanks to Simple PowerStation Networking, Simpleyou Networking, can daisy-chain you can daisy-chain
favorite monitor favorite – standard monitor or widescreen – standard–or plugs widescreen in to present – plugs thein to present the
parts and service. partsAnd and(not service. that you’ll And (not that you’ll up to 4 PowerStations up to 4 PowerStations directly for easy directly multi-studio for easyinstallation multi-studio installation
console operator console with Axia’s operator “so easy with an Axia’s overnight “so easyjock an could overnight do it” jock could do it”
without the need without for a separate the needcore for aswitch. separate Justcore another switch. way Just Axia another way Axia need it), free 24/7 need technical it), free 24/7 support, technical 365- support, 365-
info-center display. info-center Meters,display. timers, Meters, fader assignments, timers, fadermix-minus assignments, mix-minus
makes IP-Audiomakes easy. IP-Audio easy.
days-a-year. We’ve days-a-year. got your We’ve back, my gotfriend. your back, my friend.
settings and more, settings all on-screen, and more,on-demand. all on-screen, on-demand. 247 247 -622-0 1-216-622-0 +1-216 +
Host Host MicHeadphones Host Headphones Redundant Analog Redundant To core switch, AnalogTOC Program Feed to TOC Program Feed to TOC
To core switch, TOC
Talent Mics
Talent Mics
Power Station MainPower Station Main
Element Console Element Console
Talent HeadphonesTalent Headphones Desktop Director Desktop Director
AxiaAudio.com AxiaAudio.com
Telos Nx12 Talkshow Telos System Nx12 Talkshow System
Power Station Aux Power Station Aux Playout Computer Playout Computer CAT-5, 100BT
CAT-5, 100BT CAT-6, 1000BT
CANBus CAT-6, 1000BT
Analog or AES CANBus
Analog or AES Power
Power © 2009 TLS Corp. Axia, Element, © 2009 TLS PowerStation, Corp. Axia,Telos, Element, Omnia PowerStation, TM TLS Corp. Telos, Omnia TM TLS Corp.
consoles 2010
+ + + classic consoles+ + + + classic consoles+ + + + classic consoles+ + + + classic consoles+ + + + cla
It’s a Classic
Mac Vs. Eagles
Stephen Bennett asks what makes a classic console ‘classic’, and to what they owe their lasting appeal.
One of the classic API consoles at RAK Studios, London.
T
he artistic Audio is one of the few areas of technology where older designs are not only revered by discerning people, but actively sought out and traded for high prices on the second-hand market. No one is going to lust over a 1970’s TV camera and, while classic cars are admired, not many of us would want to drive an Austin Riley on their daily commute. Technology moves on and improves – or does it? The first problem you come across when trying to put together an article on classic consoles is how to define exactly what a classic is. I could have spent many hours on research and pondered over what should or should not be considered a classic, but instead I chose to sidestep the issue completely and ask someone else. Mark Thompson runs Funky Junk in London (www.proaudioeurope.com), supplier of classic and not so classic hi-end gear to the famous and upcoming alike. Offering consultancy, a repair and restoration workshop, a retail shop, and sophisticated demonstration facilities with an acoustically accurate control room, Funky Junk has become Europe’s premier focus for those interested in classic consoles – so he should be in a decent position to define exactly what a ‘classic console’ is. “Generally, if you were to describe a console as ‘classic’ it would be built before 1980 using discrete components (i.e. no integrated circuits) and it would be made in a kind of sub-modular way,” says Thompson. “The classic EMI, Helios, and Neve consoles of the 60s and 70s were made so that the EQ was a separate module and the routing was a separate module and so on – and the same applies to the classic German ones such as the
6
Neumann and Telefunkens. In other words, the individual modules including the mic preamps and the line amps were all ‘cassettes’ that plugged into a mainframe. Of course, it is a slightly semantic problem as certain SSLs, for example, are often described as ‘classic’ – but if you take the example of cars, an old Rolls or Ferrari might be described as a classic, but the same epithet might also be applied to a more modern car – but the word then has a different connotation. It might be a classic of design or a modern classic – but that’s very different from a true classic car!” American humorist Carol burnet described comedy as ‘Tragedy plus time’ so might ‘classic’ just actually mean ‘certain design criteria plus time?’ Not according to Thompson. “The state of the analog(ue) audio art was probably reached in the 1970s and you have to bear in mind that this was on the end of a 60 to 70 year development period – so it’s not surprising that the state of the digital art has not yet been reached! I’m of the opinion that all the developments since the 1980s have been solely with the aim of reducing manufacturing costs and generally improving the ease of manufacture, rather than improving audio quality – with one or two minor exceptions. These are usually to do with automated processes – and I don’t just mean console automation.” Rupert Neve
In about 1965, a serious young man turned up at Penny & Giles, which was then a military equipment manufacturing company, with a box full of bits and said ‘Can you make me one of these?’ They were the
classic consoles
parts for a plastic conductive fader and the young man was Rupert Neve (www. rupertneve.com). These components are now part of a multi million-dollar business and no serious console would sport anything else. Similarly, many of Neve’s audio designs have never been superseded to this day, and Rupert Neve’s own company is still making modules brimming with circuits which first saw the light of day in the 1960s – and which are still regarded as offering the ultimate sound quality. Of the classic Neves, the 8078 is considered by most to sit at the zenith of Neve’s mastery of the audio signal path and arguably at the zenith of desk design. Used on countless records in the 1970s, it’s a hand wired 40-channel design that would be totally uneconomic to manufacture today. Only a handful remain in lucky studios such as Konk in London’s Tottenham Lane and the Village Recorder in Los Angeles. The console’s 31105 four-band combination pre-amplifiers/EQ are much sought after and often found racked separately – it’s a trend noted by Thompson. “I’ve recently been hunting out a vintage API for a ‘name’ band and have recently supplied classics to a number of other people. While the consoles in the ‘70s were rather large, these days, people with Pro Tools are happy with the limitations of routing and other facilities common on classics but want desks with smaller footprints. We’re now cutting down classic Neves and even ‘modern classics’ like SSLs to smaller channel counts.” Neve’s 8048 console was the last of the 80 series ‘hand wired’ desks and features the Neve 1081 EQ module – again much extracted, racked, and copied these days (www.ams-neve.com).
Though both Neve and API’s products featured heavily on many hit records recorded during the 1970s, they each had their singular signature sound – as Thompson explains. “Lets take one example – API. The USA-based company has made desks since the late 1960s and they were almost the American equivalent of Neve in that the design is a Class A with discrete, transformer balancing throughout. You’d tend to find on the west coast a kind of ‘Eagles’ sound – which was because of the trend for API desks, and on the East coast a ‘Fleetwood Mac’ sound, which was the results of the classic Neve desks.” He continues: “Personally, I’ve always loved classic Neves and have had no desire to use anything else – but the classic APIs are very nice too. However, their point-to-point wiring can cause problems and I’m also not personally the world’s biggest Helios fan – the build quality is poor and the frames don’t travel well. The Neve stuff has a very musical sound – as do the recordings made on them! But most of these desks have a signature sound – put anything through an EMI TG desk and it sounds like Pink Floyd’s Dark Side of The Moon. It’s a one trick pony but it’s a hell of a good trick! I’ve used every mic pre under the sun but I always go back to the Neve – though if I wanted a very clean sound I might go for something more modern. Transformers colour the sound in a very pleasing way.” An original 1976 48-channel API sits at the centrepiece of Studio One at RAK studios in London with a 56-channel model resting stately in Studio 2. EMI TG
The EMI TG12345 is a 24-input mixing console, designed to replace the unreliable valve mixers used in the early
A classic 80-series Neve console.
1960s – and is most famous for being the console not to have recorded The Beatles. Apparently only one album, Abbey Road, was captured through the dulcet faders of a TG – though these stories often get clouded by the (often drug induced) mists and myths of the past. The console used by Lennon and co has long since been broken up – but modules still exist dotted around the world. When people get ‘gear lust’ and track down a console that was used to record a particular favorite album, they are often disappointed that their efforts don’t reach the heady heights of expectation. Of course, a recording is more than a desk – it’s more than the gear – it’s the rooms, the instruments, the performers, and the attitude of the times, and it’s unlikely that you’ll get anywhere near the sound you imagine by just using a classic console. The TG series was innovative in many ways. It was the first to feature a compressor on every microphone channel, an all balanced transformer input and output design, and each modular ‘cassette’ had its own DC power supply. The console series went through several revisions and most of the Abbey Road-based consoles are still in UK studios with one in Los Angeles – though many other TGs make claim to the Abbey Road crown! Mark Knopfler’s British Grove Studios sports a couple of TG consoles along with some more modern Neve and APIs (www.tgmixers.co.uk/). Trident
Trident’s A Range is incredibly well respected but, according to the Thompson definition, inhabits a bit of a grey area. “The Trident A range came out in about 1973 and, although the compressors were separate, the rest of the channels were single channel strips – but it was a completely discrete transformer balanced design – so it would be classified as a classic console,” he says. It was designed by Malcolm Toft (www. toftaudiodesigns.com), who now has his own range of classic recreations, for Trident studios in London. The console features a particularly attractive and colourful EQ section. The console’s fame spread rapidly and many made it to the States to be heard doing the duties on David
the international console buyer’s guide
Bowie’s The Rise and Fall of Ziggy Stardust, Lou Reed’s Transformer and Queen’s Sheer Heart Attack – so its place in the hall of console fame is assured. Helios
Richard Swettenham built the first Helios console at Olympic studios in 1960’s London. It proved a popular desk, providing the centrepiece for some seminal recordings and artists such as Jimi Hendrix. Chris Blackwell of Island Records decided to build a studio around the same desk, and so he put up the finance for Swettenham to go into business – and so the company Helios was born. The desk’s iconic wraparound format became a common sight in many of the UK’s top recording studios, but most of the remaining ones are no longer in the land of Blighty. The EQ of the desk was particularly sought after and the ’69 version, which graced Island’s Basing Street studio, is considered the most musical sounding. Strangely enough, Tony Arnold of Helios Electronics’ (www. helios-electronics.com) favorite Helios is the one at Heleocentric studios in East Sussex – and it’s an all-new discrete component-based recreation of the ‘69 console using an original chassis. While tracking down classics is a fun game for the affluent few, those with more modest budgets need not despair. “A few years ago, Neve came out with a small 16-channel desk which is based on the classic lines,” says Thompson. “They’ve gone back to building a desk that replicates the ones they were making in the early 70s – that’s because demand for these consoles has gone through the roof.” These recreations and replications, along with the availability of excellent modelled plug-ins of classic designs such as Universal Audio’s Neve 1081 and Trident A range EQs, mean that more engineers than ever can get, at least, a taste of the classic sound. Though these emulations may fall short of the true experience of running audio through a steaming vintage Neve, they do at least offer upcoming engineers the chance to experience some of the audio excellence of these designs and make them hungry to experience the real thing. The classic console is dead! Long live the classic console!
7
consoles 2010
+ + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + + + PROTOCOLS+ + +
Technology Snapshot: Digital Network & Transmission Protocols Getting sound from one place to another is a lot more complicated than it sounds. Luckily, quite a few clever people have done the hard work for us, and there are now a good choice of systems and protocols for the digital journey. Stephen Bennett picks out the gems…
P
rotocols – don’t you love ‘em? Just as you’ve got used to one, along comes another younger, better, faster, and sexier standard to knock the socket on the back of your desk into touch. With the increased popularity of digital consoles in the live and broadcast worlds, faster and more capable interfacing has proliferated. However, it’s common for many manufacturers to have different ideas of what constitutes the perfect connection for their digital audio gear.
Protocol Genealogy
The great granddaddy of connection protocols was, of course, MIDI (Musical Instrument Digital Interface). It’s hard to imagine in these days of digital cooperation what a revelation the ability to connect and control the equipment from many different manufacturers was. It’s proved amazingly resilient to the developments in audio technology, and is still used to control DAWs and other software and hardware directly from control surfaces. Of course, MIDI is an 8-bit data-only protocol, so when you want to distribute digital audio along with your data, things need to be speeded up a bit. S/PDIF (Sony/Philips Digital Interconnect Format) and the AES/ EBU (Audio Engineering Society/European Broadcasting Union) protocols were created to distribute stereo audio data at varying sample and bit rates, while Alesis’s ADAT connection allows for the transfer of eight tracks at 48kHz down a single fibre optic cable. All are well established – but today’s
multi-channel, high data rate world requires new improved protocols to get the audio from A to B via C, and possibly D. The advantages of using digital transmission for multi-channel audio over the long distances used in live and broadcast applications are that the signals are immune to radio frequency and mainsborne interference because the systems don’t need to use thick, expensive, audio grade multi-core cables – usually just a simple CAT 5 cable will do. Lower cost is also a factor, with some companies implementing the less expensive solutions (or their own propriety protocols) in their cheaper consoles and other hardware. Most of these technologies are based on bog-standard Ethernet hardware and audio transmission, and can often work together with existing distributed networks. However, the need for asynchronous multichannel data transfer requires software and hardware that needs to be able to cope with these transmissions without drop-outs and at useable low latencies. Physically, most of the available systems are similar, but differ in their software implementations, with some using standard networking protocols, some proprietary, and some ‘standard’ transmission protocols. They are usually available directly via consoles, on computer-based cards or as stand-alone rack mount hardware. Data is sent via standard CAT 5 Ethernet cables or fibre optics. On either end of the system lurks a mixing console and/or stage or distribution boxes, or hardware interfaces for RSS by Roland’s direct connection of REAC-based line, microphone, and snake system. digital signals. MADI
MADI (Multichannel Audio Digital Interface) is an obvious successor to the 8
PROTOCOLS
basic stereo interfaces described above. The AES document AES10-2003 describes the protocol that has features in common with AES/EBU, and is capable of coping with up to 64 channels of 24-bit audio at sample rates of up to 96kHz over various cable types and over long distances. Use of optical fibres makes transmission of large numbers of channels a doddle, and several companies feature MADI in their consoles including Studer, AMS, Neve, Fairlight, and Lawo. REAC
Roland’s S-4000 series of digital snakes use the REAC (Roland Ethernet Audio Communication) protocol (www. rolandsystemsgroup.net/en/0111d.htm). The REAC specification provides a high quality, redundant digital audio transfer system that can be easily installed or integrated for any audio snake application. REAC is a ‘plug and play’ system that is easy to configure and requires no complex setup via computer operation. Running over Ethernet, REAC has extremely low latency and is capable of transferring up to 40 channels of 24-bit linear audio at 96kHz while generating a latency of only 0.375ms. CobraNet
Cirrus Logic’s CobraNet (www. cobranet.info) was the first successful implementation of multi-channel audio transmission over Ethernet. Sixty four channels of uncompressed audio can be transmitted over a single CAT 5 cable, and Cobranet is particularly useful in networked or distributed systems. However latency in CobraNet is relatively high (1.33 to 5.33ms) which may make it unsuitable in live situations. CobraNet is a licensed technology and OEM implementations are available for use in third-party products such as Yamaha’s MY-16 compatible digital consoles, D&R broadcast digital consoles, and SoundCraft’s Vi Series.
Ethersound
Digigram’s Ethersound (www.ethersound. com) is another protocol designed to carry multiple channels of audio over standard networking cables. Up to 64 channels of 24-bit/48 kHz PCM audio plus various embedded control and monitoring data are transported via a single cable, and the protocol is designed to provide low-value, predictable latency figures. Companies implementing the Ethersound protocol include Allen and Heath, Focusrite, DiGiCo and, of course, Digigram itself. Optocore
Optocore (www.optocore.com) is a standalone modular optical fibre network technology that features a synchronous, redundant, optical ring network capable of transporting audio, video, data, and word clock over long distances. All the various Optocore modules can be combined to offer the maximum flexibility in terms of layout, number of channels, and types of signals. SANE (www.optocore.com) is a low cost Ethernet based implementation of Opticore’s core technologies consisting of hardware interfaces with AES/EBU, microphone, line level, and Ethernet connections. Further hardware interfaces sport Opticore’s fibre optic transmission connections for creating larger networks. One of Opticore’s suggested layouts uses the fibre network for building-to-building connections, while CAT 5 Ethernet cables are used for breakouts for distribution within each location. SANE and Opticore can be used together in all their synchronised word clocked glory for maximum flexibility. Optocore has been incorporated into Yamaha’s product range, including its YG2 and YS2 digital audio distribution cards. AES 50
As always, as soon as a protocol becomes a ‘standard’ some upstart steps up to the front and tries to improve it. The AES 50 – 2005 protocol, an Ethernet based system and the associated SuperMAC and HyperMAC technologies (www.supermachypermac.com) were initially developed by Sony. However, both Klark Teknik and Midas have been closely involved in its recent development, while Lynx Studio Technology’s AES16e-50 PCI card features AES50, enabling it to offer up to 32 channels via a standard network cable.
accurate synchronisation The implementation and industry-leading low of the protocol in latency’, which must Midas’s XL8 is called have been a challenge MidasNET, and uses when using open source a CAT 5 or 6 cable industry standard data for connectivity. communication protocols. All digital audio There are no stand-alone is transmitted using the AES50 Optocore system components. interfaces announced as yet, but a couple of those and a CAT5 protocol (implemented cable may be all you need in the as SuperMac) and studio of the future – and short network the HyperMac high-capacity system. cables at that! These protocols benefit from extremely low latency, robust feed-forward error Nexus connection, and advanced system clocking. Stagetec’s (www.stagetec.com) Nexus The use of this AES standard means is a (or ‘the’ according to the company!) simple, straightforward interfacing with versatile audio network and routing system any third party hardware that features for controlling studio or mixing-console this connection. resources, for routing arenas, broadcastingDante complex networking, outside broadcast Audinate’s statement on its website that trucks, sound reinforcement, and, indeed, its technology is ‘the future of audio and for all other professional audio applications. video technology….’ Is quite a claim! (www. Distances of up to 100km can be spanned audinate.com) DANTE does its business using optical fibres and its 19-inch rack using bog standard Ethernet hardware and mount interfaces allow for any audio TCP/IP protocols (which is exactly what signal to be sent over these distances. the Internet uses to swish data packets The system is capable of transmitting data around), and the company states that other than audio, and is controlled by a PC‘digital audio networking is easy, intuitive, based software program. Systems can be cost-effective, and error-free with no need configured with a high level of redundancy, for any specialised knowledge.’ and every device includes a dedicated Blakes Seven fans will be please to controller board. 24-bit audio can also be know that Zen, the Liberator’s shipboard processed using DSP, can be routed to computer, seems to have been repurposed wherever signal processing is needed, as a utility for detecting DANTE-aware and provides all necessary controls for hardware on the network. The company EQ, delay, dynamics, faders, and so on, all aims to remove the proprietary nature of controlled from the NEXUS user interface. digital distribution solutions and provide a low latency, easy to use universal protocol. Conclusion Using TCP/IP means that DANTE is routable As with any interfacing technology its through standard data networks (or even wider acceptance depends on its ability the Internet) and allows for the direct to deliver the required results with the connection of personal computers. Having performance required in real-life situations. just spent a week soldering an analogue All of the current protocols achieve multi-core cable to a batch of XLRs, the these goals at their respective price and thought of sending the lot through the CAT performance levels. If devices from 5 sockets in both recording and control different manufacturers are going to be rooms is mouthwatering. It’s early days, connected together, it’s obviously important but apparently Yamaha is already involved that they all speak the same communication in the DANTE project with the Dante-MY16language. But in this area, a plethora of AUD card, and it can’t be long before protocols shouldn’t be too much of a bind others come on board. It’ll be interesting and improvements in technology, bringing to see how Roland respond as its REAC higher channel counts and sample rates technology is similar in many ways – and with lower latency should mean that new also allows for direct computer connection. protocols are a welcome sign that the Audinate claims that DANTE has ‘Sampleindustry is moving forward.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
9
consoles 2010
+ + + ALLEN & HEATH+ + + + ALLEN & HEATH+ + + + ALLEN & HEATH+ + + + ALLEN & HEATH+ + + + ALLEN & HEATH+ + + +
Classic British Mixing Allen & Heath has always been a key player in pro audio, and now in its 40th year, its current portfolio is no exception to the high reputation that the company has built up. Currently celebrating its 40th year, Allen & Heath has always been a key player in professional sound, and the brand is renowned internationally for its British designed, high quality products. In recent years, the company has expanded its product base to encompass all elements of live sound, designing industry standard products for the DJ and small PA markets, gaining a coveted reputation for its digital mixing systems, and branching once again into the professional broadcast and recording sectors. Allen & Heath started out providing mixing consoles for bands like The Who, Genesis, and Pink Floyd, while current users include Florence & the Machine, Supergrass, AIR, John Digweed, Paul van Dyk and Deadmau5. A number of products are recognised as industry standards in their sector, and the portfolio is a diverse and robust selection, including the iLive digital mixing family, iDR digital installation series, Xone DJ range, ZED USB compact mixers, ML VCA series, GL multi-purpose series, MixWizard compact series, and PA portable series.
extensive experience in live sound and digital technology. There are several Control Surface and MixRack variants, which can be mixed and matched in any combination and share the same firmware, so that show files are transferable between systems via a USB key. They connect together with CAT5 cable and use the Ethernet protocol for control. iLive-T Series racks and surfaces connect using Allen & Heath’s proprietary ACE (Audio Control Ethernet) link, which allows cost effective long distance point to point control and audio communication over a single CAT5 cable up to 120m in length by combining digital audio and Ethernet traffic. All MixRacks feature the same 64x32 RackExtra DSP mix engine architecture, providing processing for 64 channels, 32 mixes, and eight stereo FX processors. The latest dualcore DSP technology handles all the FX and mixing along with the full dynamics, EQ, and delay for all inputs and outputs simultaneously. The flagship iDR10 MixRack is modular, with ten slots for eight-channel analogue or digital audio interface cards, while the more compact iDR-32 and iDR-48 MixRacks iLive Digital Mixing System have fixed I/O arrangements. Developed for live sound applications, The Port B option slot allows further audio Allen & Heath’s iLive digital mixing system networking possibilities, for example digital has built a strong reputation for audio mic splitting and multi-track recording, with quality and ease of use. Featuring an ACE, EtherSound, MADI, ADAT, and Aviom™ extremely flexible architecture with largeinterfaces available, while a built-in network scale audio distribution and control, iLive switch and MIDI ports at each end allow is designed to bring an analogue feel to remote control using laptops, touch tablets, digital mixing and draws on the company’s and MIDI devices. The racks are also compatible with the Allen & Heath PL Series remote controllers and iLive Editor software, a user-friendly JAVAbased program that enables both offline set up and online real time operation An iLive-T mixing system. of the system with or
10
ALLEN & HEATH
without a Surface connected. There are six iLive Control Surfaces – the iLive-80, iLive-112, iLive-144, the iLive-176, iLive-T80, and iLive-T112 – which are designed to reflect the look and feel of an analogue console and which an experienced sound engineer would be able to walk up and use immediately. The faders are motorised and grouped into sections and layers, giving up to 176 control strips on the largest size surface. There is an LCD with multi-colour backlight above each fader for labelling and colour-coding channel information. The channel controls for preamp, filter, gate, EQ, compressor, and limiter/de-esser are laid out across the top of the surface on rotary controls with LED indicators, while a colour TFT touch screen presents a graphical view of the processing and access to the automation and set up screens. Audio at the surface is also available for convenient interfacing. iLive is derived from the iDR digital installation mixers, the iDR-8 and iDR-4, which are also compatible with an iLive system, enabling the configuration of comprehensive, integrated venue audio systems. ZED Series
The ZED range of small format, USBequipped mixers is designed to be flexible and affordable for the modern working musician to use on the road or in the studio. The series comprises the ZED-14 and ZED-24 stereo mixers; the ZED-12FX and ZED-22FX containing a comprehensive
matrix or the aux busses, with the USB return signal available as a stereo source. Cakewalk’s SONAR LE music production software is bundled with ZED mixers, enabling the user to perform many different tasks, for live performance, live recording, The ZED-R16 Firewire recording mixer. studio recording, or studio mixing. SONAR LE software and beautifully-crafted set of in-house is a Digital Audio Workstation that runs on designed effects; the ZED 4-Bus range, Windows Vista and XP, and includes two designed for professional live sound instruments, six MIDI effects, and 14 audio applications which require more detailed EQ effects, with support for up to 64 tracks and control, audio groups, longer throw faders, 24 track effects, and eight physical input/ and extra matrix outputs; and the ZED-R16 outputs at up to 24-bit/192kHz. dedicated recording mixer, which combines The combination of ZED and SONAR LE Firewire with multi-mode MIDI/audio faders, allows the user to conduct a straightforward MIDI controls, and ‘home-studio’ routing. recording of a stereo mix, record tracks All the ZED mixers feature the same individually to build up a song, or insert high performance DuoPre TM padless an FX plug-in from SONAR LE. ZED’s pre-amp, which is a quality microphone USB output can be configured as a circuit and an optimised line input circuit, recording send from either pair of rather than one pre-amp handling both mic auxes or the pre-fade LR master. and line signals. It uses a two-stage design with carefully controlled amounts of gain in each stage, offering high headroom and a low noise, clean signal path. Other than the Firewire-enabled ZED-R16, all ZED mixers feature a USB send and return for PC or Mac recording, playback, and effects; a unique dual stereo input capability; and advanced monitoring facilities. ZED’s USB output can be configured to allow different signals to be sent to USB, from the LR master, the
GL Series
Based on dual-function capability, which Allen & Heath pioneered in the early 1990s, the GL range – comprising the GL2400, GL2800, GL3800, GL4800, and dedicated monitors GL2800M – has been developed with a feature set dedicated to modern sound engineering, such as ambient matrix recording, fast IEM mixing, aux-fed sub, and engineer’s wedge monitor.
MIXWIZARD
The multi-purpose and compact MixWizard series still retains its market leading status due to a strong blend of professional features, including an all-metal chassis, individual circuit boards, nutted rotary controls, smooth 100mm faders, LED metering, as well as six aux sends, four-band EQ, digital FX, and expansion capability. A new mic pre-amp design and advanced grounding scheme further enhance the range’s sonic quality. Models comprise the WZ3 12:2 and WZ3 16:2, the WZ3 12M dedicated monitor mixer, WZ3 14:4:2 matrix mixer, and WZ3 20S stereo mixer. To provide the best sound quality, the new GL models benefit from the latest audio circuit developments, a responsive ‘musically-tailored’ EQ, extended pre-amp gain range of 74dB with input on XLR or jack, and a new ultra-quiet mix head amp design for optimum dynamic range. Frame sizes vary from 16 to 48 channels, in all-metal space saving frames that feature individual card and nutted pot construction; the GL3800 and GL4800 are also available in different combinations of mono and stereo channels. All models now include back-up power supply facility, multi-function mic/line stereo channels, and an option for the Sys-Link V2 expander system.
XB-14
Designed for a broad range of applications from small radio or Internet broadcast studios, to hospital radio, university radio, community radio, and larger studios with multiple rooms, the XB-14 is equipped with a wealth of features specifically for broadcasters. Features include Telco inputs for telephone callers, mic fader open sensing for external connection and internal automatic muting of the speaker outputs, stereo channel start/ cue outputs for CD deck transport control, multiple headphone outputs, and an additional stereo bus (Mix B).
UK / HQ Allen & Heath Ltd. Kernick Industrial Estate, Penryn, Cornwall TR10 9LU, UK t +44 (0)1326 372 070 f +44 (0)1326 377 097 e sales@allen-heath.com w www.allen-heath.com USA American Music & Sound t +1 800 431 2609 f +1 800 431 3129 e info@allen-heath-usa.com w www.americanmusicandsound.com
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
11
consoles 2010
+ + + AMS NEVE+ + + + AMS NEVE+ + + + AMS NEVE+ + + + AMS NEVE+ + + + AMS NEVE+ + + + AMS NEVE+ + + + AMS NEVE
Legendary Sound
DFC Gemini
Founded in 1961, AMS Neve is one of the most famous names in the international audio industry. The company’s custom-crafted, British-designed, and hand-built mixing consoles, both analogue and digital, have been recognised for decades as the standard, and the Neve sound is sought-after in top recording studios, broadcast facilities, and sound stages in every corner of the globe. Genesys A hand-built expandable analogue recording console with digital workstation control and a base configuration starting under GB£30,000, Genesys represents a new beginning for Neve – a console that builds upon Neve’s 40 years of technical heritage, including legendary mic preamplifiers and highly revered analogue circuit design. But Genesys also accommodates the seismic changes in the methods of music recording, with extensive digital control and connectivity. In its basic configuration, Genesys offers 16 channels of mic/line preamps, 16-channel DAW monitoring, handson DAW control for Pro Tools, Logic, Nuendo and more, eight auxiliary buses, eight group One of two Neve Genesys consoles in Tokyo’s Syn Studios, buses, two main co-owned by Nick Wood and Simon Le Bon. outputs, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, and talkback services. Genesys can be expanded to 64 channels in a straight or articulated frame, with options
‘Neve consoles are the Rolls Royce of the industry.’ So said Sir George Martin, adding that, ‘the Neve has the edge on any other.’ That’s true throughout the AMS Neve product portfolio. The only choice in large-format analogue boards, the 88RS’s client list encompasses the cream of the world’s recording and film studios; the DFC Gemini, a dedicated digital film console, is similarly first choice for the likes of Buena Vista, Skywalker, Fox, Warner Bros, Yash Raj, De Lane Lea, and Goldcrest. Whether it’s our flagship consoles, our classic outboard units, CineFile and AudioFile dubbers and editors, or the new modular Genesys, the same values always apply: sonic excellence, handmade-in-Britain quality, and workflow-enhancing ease of operation.
12
AMS NEVE
including motorised fader automation, Total Recall™, mastering-grade 192kHz A/D and D/A converters, digitally controlled EQ and dynamics, remote mic amp control, and much more. In any configuration, Genesys offers an excellent studio control surface with comprehensive monitoring and signal routing capabilities. This eliminates the typical mixture of awkwardly interfaced devices, and puts a proper console back in the heart of the studio. As with all Neve products, Genesys offers sound and build quality beyond reproach.
The AMS Neve DFC Gemini at Alvernia Studios, Poland.
88RS With its unmistakeable Neve qualities of exquisite design, peerless craftsmanship, and legendary Neve sound, the 88RS continues the Neve bloodline of analogue consoles with a remarkable advance on anything heard before.
The Neve 88RS in Fox’s scoring studio.
88RS
GENESYS • New ground-up Neve analogue design • Up to 64-faders/128 inputs • DAW control, 5.1 monitoring • Eight auxes, groups, two main outputs • Four effect returns, two cue mixes • 16-ch, 8-track and 2-track metering • Optional Neve EQ & Dynamics and transformer-coupled microphone pre-amp inputs • Optional digital inputs & outputs, motorised faders (with Encore automation software) • Optional Total Recall™ software
• Designed for full surround from the ground-up • Motorised large and small faders • AFL surround solo monitor • Overpress PFL on each channel fader • Four main output faders, L/R, C, S, and LS/RS • Acoustically optimised frame • Supplied with or without patch • Enhanced ‘S’ channel strip • Enhanced spectral Neve format equalisation • Legendary Neve soft knee compression • Audio performance beyond 24/192 digital SP-2 option for enormous scoring power and flexibility
The Neve 88RS has set new standards as the ultimate analogue console and has become the signature of excellence for the world’s premier engineers, producers, and studios including Abbey Road, The Village, Fox, Ocean Way, Skywalker, and Warner Bros. Professionals throughout the world have chosen the full clean sound of the 88RS console. Its high bandwidth, pure audio path, superior dynamics, greater dynamic range, and greater control make the 88RS the first choice for recording and mixing the purest fidelity recordings. DFC Gemini DFC Gemini is by far the most accomplished digital mixing console designed specifically for multi-format film dubbing and post production. With an unrivalled installation base, DFC is the standard among the world’s premier motion picture facilities. From the outset, the DFC Gemini was designed for optimum mix performance. At the heart of the DFC Gemini is USP, the world’s most powerful mix engine, capable of delivering the legendary Neve sound across 1,000 audio signal paths at 96kHz 24-bit in a single, high-resolution, DFC signalprocessing tower. AMS Neve’s wealth of experience in ergonomic design has created
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
• High resolution TFT Channel display. • Encore Plus automation system (compatible with 1800 AMS Neve consoles). • Off-line edit options offering enormous cost savings • Neve EQ, Dynamics and filters • Expanded 12 Stem Mixing. • Complete integrated machine control • Optional Monitor Facilities Rack • WavTrak™ display providing the user with level and dynamics metering, graphical EQ curve and audio waveform information on a path by path basis.
the most flexible surface in the industry designed to maximise both controllability and feedback to the user. The control surface provides rapid access to every aspect of routing and monitoring no matter how complex the mix. Channel strips provide total control with the patented touch sensitive Logicator™ pots, giving instant visual reference to each knob setting. Enhanced visual feedback is provided by high resolution TFT monitors, powered by the AMS Neve proprietary ViewMix™ engine, allowing you, for the first time, to see as well as hear and feel your mix. Through ease of use the DFC Gemini has arisen as the market leader in predominantly freelance markets.
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 13
consoles 2010
+ + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + AVID+ + + + A
Consoles For Studio & Live Sound Avid Digidesign ICON integrated console system and VENUE live sound environment provide the most creative, flexible, and comprehensive set of tools for the music, post, broadcast, and live sound industries.
VENUE Consoles Available VENUE D-Show
The result of several years of design and ergonomic refinement, the console offers an intuitive and manageable interface to enable control of a large number of inputs from a smaller mixing surface while giving you the flexibility to expand the console surface with up to three Sidecars to reduce the need for layering or assignment by the user.
fully integrated live sound system that combines all I/O, digital signal processing, and tactile control into a single console, making it the most affordable and portable VENUE system yet.
VENUE D-Show Profile
This compact mixing console is a size conscious alternative to its acclaimed big brother D-Show. VENUE SC48
Top 10 Reasons Professionals Choose ICON Audio Mixing
ICON customers make their living working on world-class entertainment media, so they need the best for less. Here are the 10 reasons they choose ICON: 1. Affordable and Accessible
Pro Tools® and ICON have put high quality recording and production into the hands of more producers, musicians, and post pros than ever before – at previously unheard of prices. With unmatched editing, automation, and recall capabilities, not to mention costs that dwarf old-school studio time, they are today’s sound solutions of choice.
how to record, edit, and mix, but lead them to more financially rewarding real-world opportunities after school.
without a mouse or even a Pro Tools screen. It’s the perfect mix of traditional technology and automation innovation.
5. Customise Your Mixing World
8. Ultimate Recall
Pro Tools has evolved into an extremely powerful mixing solution that has ‘virtually’ defined the idea of customisation. Appealing to the heart and soul of the mixer, the tactile ICON surface adds to that by allowing you to slide any channel wherever you want it, layout any group of faders in any order, and custom map any group of knobs and faders to layout a plug-in. Maps created on ICON can also be exported for transportation and sharing.
Everything can be recalled in a matter of seconds, from settings and automation moves to alternate takes and multiple versions of every mix. And the best part is, you can take it all with you wherever you want to mix, send it over the Internet to other people, and have them return it back to you mixed even further. It’s a game-changer that buys back a significant portion of your creative life by letting computers do what they do best – remember huge, detailed pieces of data with unparalleled exactness.
6. Sound Quality 2. Plug-In Power and Performance
Forever changing the sound industry, plug-ins allow ICON consoles to remain untethered to a single equaliser or dynamics type. The sheer horsepower of Pro Tools|HD® and available plug-in selection have opened the door to endless creative possibilities.
Even with all its flexibility and functionality, Pro Tools|HD preserves the highest order of sonic integrity. Delivering pristine clarity, quality, and fidelity, Pro Tools|HD provides a 48-bit mixing architecture, high-resolution 24-bit/192 kHz audio interfaces, and nearly 300dB of dynamic range that make clipping and distorting the internal summing bus nearly impossible.
9. Work Lean and Green
Yesterday’s console is never powered down. It just goes on consuming a tremendous amount of power, which, even in a passive state, requires a copious amount of cooling. ICON and Pro Tools, on the other hand, are extremely energy efficient.
3. Extend Life Expectancy
The Pro Tools session format lives on, allowing mixes to be recalled from as far back as the mid 90s.
7. Speed and Control Through Automation
Based on its position as the industry standard for recording, editing, and interchange, the educational world has made Pro Tools an integral part of its core creative curriculum. Command|8®, C|24™, and/or ICON consoles with Pro Tools not only excite students about learning
Pro Tools with ICON gives you the speed you need with moving faders, touch-sensitive knobs (and encoders), and automation of nearly everything. Choosing to tie your automation to the audio regions offers you the perfect system for dealing with big song or movie changes. Incorporating time-tested Big (Six Figure) Mixing console features like Auto-Join, Join, Capture, Snapshots, Punch Capture, Preview, Suspend Preview, Punch Preview, and Touch-Latch allows you to work
14
AVID
4. Core Creative Curriculum
Get the amazing sound quality and rock-solid reliability of VENUE all in one compact console. VENUE SC48 is a
The VENUE Concept
bulky, costly analogue snakes.
VENUE is a state-of-the-art live sound production environment that delivers studiograde audio, unprecedented reliability, and maximum flexibility for today’s most demanding mixers and engineers in touring sound, theatre, houses of worship, and fixed installations. This highly expandable and customisable system comprises the D-Show® or D-Show Profile™ mixing console, I/O racks, artist-driven PQ monitoring, and Pro Tools recording interfaces. With numerous hardware options for every system component, VENUE offers the ultimate in flexibility for all types of live sound applications.
Access to industry-standard TDM plug-in effects, developed by the best names in the audio industry, turns the concept of replacing all external processing racks into a reality. Remote control of the D-Show mixing surface via dedicated personal controllers allows artists and monitor mixers to truly work hand in hand. Pro Tools Integration VENUE offers the most streamlined, reliable, and economical integration of industrystandard Pro Tools recording and playback capabilities. Since VENUE can also serve as the audio interface for Pro Tools, you can make professional 128-track recordings without the need for additional I/O or
Live Sound Reinvented
The VENUE system architecture establishes a new paradigm in live audio. Remotecontrolled, studio-grade preamps connect to the console via a redundant multi-channel digital cable system, eliminating the need for
pre-amps. Using Pro Tools as a playback source, you can augment live performances with studio tracks or conduct ‘virtual soundchecks’ to refine console settings without the presence of performers.
10. Pro Tools + ICON = Integrated Console
ICON gives you the deciding advantage over any other console. With an editor/recorder/ composing/video playback tool that is completely integrated with touch-sensitive, configurable, and customisable surface, ICON lets you do things other non-integrated consoles just won’t let you do. The bottom line is, today’s client is more tech-savvy and cost-conscious than ever before, so you need the kind of workflow that helps customers get the most out of their ‘paid studio experience’.
Avid – Headquarters 1925 Andover St. - B2, Tewksbury, MA 01876 USA t +1 978 640 6789 f +1 978 640 3366 Avid – European Headquarters Pinewood Studios, Pinewood Road Iver Heath, Bucks, SL0 0NH UK t +44 (0) 1753 655999 f +44 (0) 1753 654999 International Offices Visit the Avid or Digidesign website for information w www.avid.com
The new VENUE SC48.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
w www.digidesign.com
15
consoles 2010
+ + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + CALREC AUDIO+ + + + C
Putting Sound In The Picture
Bluefin2
In 2006 Calrec’s Bluefin High-Density Signal Processing changed the way broadcasters regarded DSP. A truly revolutionary technology, it provided vastly superior levels of signal processing in a fraction of the space of conventional systems. Bluefin was the world’s first implementation of Field Programmable Gate Array (FPGA) technology for total DSP processing, providing enough processing on one DSP card to power an entire mixing console running surround-sound productions. Bluefin2 is the next generation of Calrec’s FPGA technology, and has
As broadcast specialists for more than 35 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. HD audio for broadcast demands cuttingedge technology. The global transition to HD is nothing short of revolutionary – perhaps the most radical change in the broadcasting arena since the move from black-and-white TV to colour. High-resolution 5.1 is emerging as the standard for HD audio – six channels are required for true 5.1 where there used to be two, and there is steady pressure to move from 48kHz to 96kHz and beyond. Neither broadcasters or broadcast equipment manufacturers can afford to fall behind. Ahead of the Pack
Throughout the company’s history, Calrec’s team of innovators has anticipated such major changes, and consistently provided superior products that have allowed forward-thinking broadcasters to remain one step ahead: Calrec introduced the world’s first true stereo broadcast console and the first point-source surround microphone in the 1970s, anticipating the growth of multichannel broadcast audio. Calrec produced the world’s first digitally controlled assignable broadcast console in the early 1980s, predicting the separation of control surfaces from networked processing hardware. In 2007 Calrec launched Bluefin, the world’s first DSP processing engine based on FPGA (Field Programmable Gate Array) technology, which enabled broadcast consoles to work efficiently with true discretechannel 5.1 surround for the first time.
the increased power of modern FPGA technology. This generation of consoles differs from the awardwinning Alpha platform in three main areas; Bluefin2, Hydra2, and a uniquely intuitive user interface. With the benefit of almost three decades of user interface design, Apollo and Artemis represent Calrec’s sixth generation control surface. The introduction of colour, OLED displays, and elegant touchscreens enable the surface to adapt to different user layouts and provide different functionality depending on the operator’s preferences. Multi-coloured knobs also indicate function, with control parameters displayed on their associated OLED displays. In short, the control surface changes to be whatever the operator needs it to be, while visual feedback is always clear and unambiguous. This enhanced flexibility and control allows consoles with relatively few physical controls to drive a much greater number of channels, tracks, busses, and other outputs.
surround buss on a single fader, and have processing or dynamics applied to it just like a mono or stereo source. However, if individual control is required over the constituent channels of the surround signal, that’s also possible. Surround channels automatically split into their component channels (L/R, Ls/Rs, Centre and LFE) for individual adjustment where control is assigned to a surround buss and managed on four faders of a dedicated Spill panel. Processing may then be controlled on each leg of the surround mix individually.
Working in Surround
Backbone
The Apollo and Artemis consoles form the basis of the next generation of Calrec consoles, building on the success of the Alpha platform of consoles and leveraging
The switch to a multi-channel surround environment also demands more from the mixing console, not just in terms of processing but also in providing an elegant and intuitive way of manipulating those surround signals. Calrec’s surround channels give operators the ability to control a complete six-channel
16
CALREC AUDIO
The Future
Hydra2
Nevertheless, despite this huge shift towards enhanced HD audio, some things never change. Calrec consoles have an excellent reputation for reliability, and the company still doesn’t take any chances when it comes to on-air stability. Where many so-called redundant systems only protect part of the system and may
require closing the system down to reboot, Calrec provides on-line redundant hardware for ALL critical systems as standard. Takeover is automatic and seamless, and all these elements are hot-pluggable for easy replacement. DSP, router, router expansion, processing, and PSU cards all have spares as standard, and are all contained within a solitary 8U rack. With this rack, Calrec is also helping to reduce weight, space, and power consumption for its customers. Unusually, multiple control surfaces can also be connected to the same rack to allow multiple operators access to the same processing resources. It is also possible to have a separate submix created in a separate location which feeds audio directly into the same buss output as the main mix without ever leaving the same system. This gives broadcasters increased flexibility without the need for additional hardware.
been designed for surround operation at both 48kHz and 96kHz from the outset. It gives the Apollo console a staggering 1020 channel processing paths, and the Artemis console up to 640. It provides up to 16 Main and up to 48 Group outputs (from a pool of 128 resources), up to 96 track busses (64 on the Artemis), up to 48 Aux busses (32 on the Artemis), 12 dual layers, a six-band parametric EQ, more than 70 minutes of assignable delay, and up to three independent APFL systems. As with all Calrec designs, the facilities do not share resources so that they are available to the user at all times It is the DSP powerhouse for the next generation of Calrec consoles, and provides enough processing muscle to cope with the biggest, boldest 5.1 projects.
Using these innovative new technologies, Calrec consoles provide unparalleled processing power and a significantly smaller physical footprint than any other product in the broadcast audio market. This technology’s flexible architecture means that the control surface can be updated to display anything Calrec’s customers require. The DSP architecture is similarly designed to upscale to handle any possible changes in multi-channel audio broadcast standards, for example 7.1 surround. Today, broadcasters need more and more digital audio channels at ever-higher resolutions. They need more and more processing power to handle the increase, and more assignable, more ergonomic control surfaces to deal with the increased workload that HD broadcasting demands. Naturally, Calrec already has the answer to all of these concerns.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
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 – the control software recognises the changes and informs all parts of the network so that new resources are made available to console operators instantaneously.
Calrec Audio Nutclough Mill, Hebden Bridge, West Yorkshire, HX7 8EZ, UK t +44 (0) 1422 842159 f +44 (0) 1422 845244 e enquiries@calrec.com w www.calrec.com
17
consoles 2010
+ + + DIGICO+ + + + DIGICO + + + + DIGICO + + + + DIGICO + + + + DIGICO + + + + DIGICO + + + + DIGICO + + + + DIGICO +
Ultimate Control In 2002, DiGiCo launched the first truly user-friendly digital live mixing console into the audio market. The technology quickly became an established part of live sound production and ever since the company has strived to continually improve its product range. Although DiGiCo’s live digital mixing consoles have been in existence for seven years, the product line has been going for over ten, the live range having been developed from Soundtracs digital studio desk. The portfolio currently includes the SD7 and its theatre specific derivative, the SD7T, the D5 Live, D5T/12, CS-D5, D1 Live, SD8 and SD8-24 for both permanent installations and live events - ranging from corporate functions to rock ‘n’ roll concerts. Meanwhile the DS-00 and D4 have dynamic automation for post-production facilities, live on-air broadcasts and full surround Dolby monitoring functions. All DiGiCo consoles have a common design from engine to surface interface and all run MADI and/or Optocore. Once an engineer knows how to work one console in the range, any other will be instantly familiar. The original surface concept of Soundtracs consoles was deliberately designed to be simple and easy to use. It has changed little since - although below the surface many changes and refinements have taken place, including the advent of Stealth Digital Processing™ via a Super FPGA engine in the SD range - with the emphasis
always being on allowing engineers to get their job done quickly and easily. With the D-Series, efficient coding and DSP engines and means that DiGiCo products still achieve more channels/busses per processor than many other manufacturers. Using floating-point processors gives vastly increased headroom and a system that is almost impossible to clip. Even low-frequency signals maintain their integrity, with Optocore allowing the transfer of up to 512 channels over distances in excess of 1000 metres in a redundant loop DiGiCo is the only manufacturer that employs Gain Tracking™ to allow up to four consoles to share inputs/house racks without affecting each other’s gain structure, requiring splitters or conversion from digital to analogue. This is ideal for the live and broadcast environment where there may be a front of house, monitor and mobile broadcast/record console. DiGiCo consoles also have a different approach for accessing channels, providing a visual indication of what is happening on all the console’s faders. With the exception of the I/O racks, DiGiCo consoles are a one-box solution, allowing engineers to
turn up, turn on and mix. A range of I/O rack options is available with full redundancy provided, both in terms of power supply and the MADI or optical connection to the racks. DiGiCo has always championed the use of remote stage racks as they minimise signal degradation from onstage sources. Digital multicores also eliminate the need for bulky analogue snakes. SD Series consoles also provide integrated I/O within the surface, eliminating the need for an external local I/O rack for front of house applications. The common I/O MADI or Optocore interface provides a seamless interface between racks, providing up to 224 inputs and 224 outputs with the D Series consoles and up to 696 inputs / 696 outputs with the SD7. I/O cards include analogue, AES/EBU, Aviom, Ether Sound and D-TuBe. Recording and playing back performances has never been easier than when the desks are teamed up with various third-party MADI interfaces and DAW software. Offline software allows preparation to be done on an off-site computer, allowing huge savings in venue times and all DiGiCo consoles are software upgradeable.
Selected DiGiCo/Soundtracs Users Live: Aerosmith, Duran Duran, Eric Clapton, Foo
Stereophonics, Take That, The Who, U2.
Dreamgirls, Fame, Les Miserables, Mamma Mia,
Fighters, George Michael, Il-Divo, Jean Michele
Festivals: Big Chill, Bonaroo, Download,
Mary Poppins, Quadrophenia, Spamalot, Thriller
Glastonbury, Hyde Park Calling , Live8, Live
Live, We Will Rock You.
Earth, Montreux and Monte Carlo Jazz Festivals,
Studio/Broadcast: Alchemy, BBC, Molinaire,
O2 Wireless, Rock In Rio, V Festivals.
Endemol, Sphere Studios, Yellow Cab, BSkyB,
Theatre: A Chorus Line, Billy Elliot, Dirty Dancing,
DR Radio Denmark.
Jarre, Kylie Minogue, Leona Lewis, Lenny Kravitz, Madonna, Mariah Carey, Michael Buble, Mika, Oasis, Pavarotti, Robbie Williams, Spice Girls,
18
DIGICO
SD7
D1 Live
The SD7 is the first digital mixing console to use Stealth Digital Processing™, making it the most powerful live performance console to date, with more than eight times the processing power of its nearest rival. The flexible bussing structure features a possible 128 busses and 256 processing paths, plus a 32 x 32 Matrix, 32 x 32 band graphic EQ and a plethora of internal effects. Packing all this power into just four chips the SD7’s efficiency is remarkable, also freeing space to allow two redundant processing engines to be accommodated. SD7 options include the EX-007 expander unit.
The D1 Live system has all the extensive features of the D5 Live, providing the high quality synonymous with DiGiCo/Soundtracs brands, but in a smaller, lighter package. The D1 system comprises the D1 Live 40, 48DP, 56EX, Custom and is the perfect addition to an installation or rental system.
D5 Live
Comprising the D5 Live console itself, a front-of-house DiGiRack containing A/D converters and I/Os, a matching stage DiGiRack and 100m of fibre optic cable, it is a complete, self-contained system. No need for a multicore, splitters, line drivers, dynamics processors or even an effects rack. The D5 Live can record to multitrack with a single MADI cable and harddisk multitrack recorder or to a laptop with the RME MADIface. The D5 Live system includes the D5 56, 56EX, 112EX and FMX.
DS-00
Aimed at the broadcast post-production and music production markets, the modular, expandable DS-00 offers an exceptional package of features and flexibility for its price point. The optional EX-00 is an eight-fader expansion unit, allowing the work surface to accommodate more physical faders. D4
The D4 provides the ideal combination of DiGiCo’s unique touch-screen work surface, interfaced with a powerful digital engine. It simultaneously provides for up to 20 full audio channels and 124 output busses, all controlled by a very fast and intuitive automation systems. SD8
CS-D5
The CS-D5 Live provides the full feature set of the D5 Live with the exception of the optical I/O, creating a D5 Live at a price competitive with much more basic consoles. It includes 48 busses, up to 160 input channels, 224 inputs and 224 outputs, enabling large routing capabilities for multi-stage events and orchestral performances. D5T
The D5T is a theatre-specific system based on the D5 Live platform. The D5T system comprises the D5T, D5Tc and the D5T12, a hybrid of the D5T, giving 12 faders rather than the standard eight, to provide more VCA control within the standard console surface and footprint.
Company Ethos
Listening to engineers and understanding their desires is fundamental to DiGiCo’s ethos. This means that the company produces what the market wants, not just what it thinks it needs. The DiGiCo team is as important as its products. The R&D department probably has more digital experience than any other, with Technical Director
The SD8 is an entry-level console with the power of Stealth Digital Processing™ via a single chip super FPGA engine. It provides the same audio quality as the flagship SD7, up to 60 stereo inputs (equivalent to 120 channels of DSP), 24 busses (stereo or mono) plus two solo busses and master, four band parametric EQ (with dynamic EQ on up to 8 channels), hi / lo pass filters and dynamics on all inputs and outputs, 24 graphic EQs, 8 stereo effects and a 16 x 12 matrix. When fitted with the optical option, the SD8 can have up to four racks connected to it, providing up to 240 I/O. SD8-24
At under a metre in width, the SD8-24 is ideal in situations where space is at a premium. It benefits from all the advanced features of the standard SD8 and files are fully compatible between both frame sizes.
John Stadius having been with the company for 30 years, including his time at Soundtracs. Add Managing Director James Gordon, Marketing Director David Webster , the behindthe-scenes skills of Helen Culleton and Maria Fiorellino plus a knowledgeable sales force in Tim Shaxson and James ‘Digger’ Bradley and you know that the company is staffed by the very best in the business.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
CONTACT DETAILS
DiGiCo UK Ltd. Unit 10, Silverglade Business Park Leatherhead Road, Chessington Surrey KT9 2QL t +44 (0)1372 845 600 f +44 (0)1372 845 656 e info@digiconsoles.com 19
consoles 2010
+ + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EUPHONIX+ + + + EUPH
Euphonix: Reach a New Level of Creativity
Artist Series
Euphonix consoles and control surfaces provide unrivalled integration with the industry’s leading audio and video applications. EuCon: Connect and Control
EuCon, Euphonix’s proprietary high-speed Ethernet control protocol not only provides deep integration with software applications, but also enables the control surface to switch between multiple workstations that directly support the protocol. EuCon recognises each software application and intelligently switches control to match your favourite applications including Logic, Soundtrack Pro, Final Cut, Cubase, Digital Performer, Pyramix, Sonar, Maestro, MIO Console, and Nuendo, as well as applications such as Pro Tools that support HUI. EuCon for the Artist Series works on Mac OSX; EuCon for the Pro Series works with Mac OSX and Windows. EuCon can manage multiple networked workstations and works with any application, mapping keystroke commands to the displays and dedicated soft keys of Euphonix control surfaces.
System 5 is easy to set up and use with a highly intuitive control surface that is simple, yet powerful enough, to get the job done. System 5 includes all the professional surround monitoring and machine control functions needed for even the most complex project. Its modular design can be tailored to any application, from commercial and project music all the way through large systems for live venue music recording and mixing. The complete mixing solution includes control surface, I/O, DSP SuperCore, router, monitoring, full automation, and machine control. With the EuCon Hybrid option, System 5 easily controls multiple music DAWs as well as its own DSP channels simultaneously. S5 Fusion
Music and Audio Post-Production
Euphonix provides audio production solutions at every level – from top professional studios to personal home studios. Euphonix‘s products – the System 5, S5 Fusion, MC Pro, System 5-MC, and Artist Series – are perfect for every level of audio production. All Euphonix control surfaces are ergonomically designed, giving users simplified control of all aspects of the project. Euphonix improves the quality of any project, enhances the sound, speeds up the process, and provides users with tools to allow creativity to reign.
S5 Fusion
The flagship digital audio mixing system Euphonix System 5 features high quality EQ and compression on every channel, surround capability, hundreds of DSP channels, and high resolution metering using on-screen displays.
The competitively priced S5 Fusion is a complete digital mixing system package. What makes S5 Fusion really powerful is the coupling of Euphonix’s processing DSP SuperCore engine with EuCon Hybrid, a technology that allows the console surface to control its own DSP channels as well as channels from multiple external DAWs simultaneously. S5 Fusion boasts pristine sound quality, powerful automation features, and extensive surround sound mixing capability that easily satisfy the rigorous demands of music production.
20
EUPHONIX
System 5
MC Pro
Thanks to EuCon, the MC Pro is truly the first universal workstation controller; its surface instantly changes to match the current active application. It has faders, knobs, jog wheel, full-sized keyboard, touch-screen, and a professional monitoring section. It works equally well with audio and video applications. The 56 programmable LCD SmartSwitches send out keyboard commands and can be tailored to your way of working – no more ‘keyboard shortcuts’ that are impossible to remember. System 5-MC
Take an MC Pro and add the powerful System 5 channel strip modules to make a System 5-MC, the most powerful and elegant DAW mixing and editing controller available. When you need the editorial control and the speed of the MC Pro, it’s right there at your fingertips in the centre of the console. When it’s time to mix, the System 5 channel strips, with moving faders, eight touchsensitive knobs, and the high-res touchscreens come into their own and let you fully blend all the tracks for the perfect mix. The whole surface connects to multiple workstations via EuCon to control any application. Switch to a new application, and the whole surface changes to match. The ‘Layouts’ feature lets you store your favorite track layouts on the surface for instant recall.
System 5-MC.
Max Air
Artist Series
Max Air
The new and innovative Artist Series media controllers bring the unparalleled speed, resolution and DAW integration of Euphonix’s pro consoles to the personal studio in a revolutionary ergonomic, slimline design. The heart of the Artist Series is EuCon, enabling each of the controllers to connect via Ethernet to any Mac application. MC Mix, with its eight faders and knobs, provides high quality level and plug-in control with features previously only available in high-end consoles. A single MC Mix is perfect for fast level control during recording, editing, and mixing. Multiple units can be used together to build a larger mixing system. MC Control not only features faders and knobs like MC Mix, but also offers touch-screen soft keys to quickly trigger keystroke commands. Custom programmable soft keys suit your particular workflow, which is especially helpful in music where there are so many different keystroke commands to remember. MC Transport provides an ultra-high resolution jog wheel, a host of transport controls and soft keys, making onehanded navigation and editing a breeze. MC Transport can be used on its own or with any combination of MC Control and MC Mix units. The Artist Series can be used for all aspects of music creation, from writing, recording, and editing, to mixing and
mastering. With full EuCon integration with Final Cut Studio, the Artist Series now offers video editors and colourists a whole new way to interact with their favourite software. The new MC Color is designed specifically with Apple’s Color. Broadcast
From news to sports to production, in the studio or on the road, Euphonix has a range of flexible and modular digital audio mixing broadcast solutions, from 32 to over 1,000 channels that can be tailored to match any facility’s requirements.
The Max Air offers a more compact control surface with four knobs per channel and a central touch-screen interface. It also has the new lightweight and compact DF66 DSP SuperCore signal-processing engine and router. With 100% redundancy and abundant DSP horsepower, the DF66 satisfies today’s demanding broadcast applications. Max Air is ideal for one operator to handle everything from on-air news to production and outside broadcasts.
System 5-B
The most advanced digital broadcast mixing system available, the System 5-B is designed for audio professionals who demand the best. Its dual DF66 DSP SuperCore processors, each with up to six plug-in SP662 DSP cards and a CO660 changeover switch, guarantees 100% on-air redundancy. With eight knobs per channel and TFT displays for metering, routing, and parameter display, System 5 offers the ultimate in operational flexibility and visual feedback. The System 5-B features Ross OverDrive integration providing centralised control of many studio devices including servers, routers, robotic cameras, and the audio console.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
Sales
Euphonix has direct sales offices in Los Angeles, New York, Tokyo, and London. A wide distributor network handles sales in many regions throughout the world. Euphonix Inc. 1330 W. Middlefield Road, Mountain View, CA 94043 t +1 (650) 855 0400 f +1 (650) 969 3840 w www.euphonix.com
21
consoles 2010
+ + + FAIRLIGHT+ + + + FAIRLIGHT+ + + + FAIRLIGHT+ + + + FAIRLIGHT+ + + + FAIRLIGHT+ + + + FAIRLIGHT+ + + + FAIRL
Fairlight Consoles Fairlight consoles are chosen by the world’s leading post-production and broadcast clients for their ability to handle seamless audio/video file workflows and for their intuitive tactile control. Steve Finnegan (Images and Sound, New Zealand).
is usability, with the emphasis on fast access to mixing tools. Fairlight console range is aimed at achieving industry leadership in price/performance for a platform integrating recording, editing, mixing, and video.
NEW for 2010!
Fairlight continues to lower the entry level to feature sets more in common with highend console investments through the revolutionary Constellation-XCS. Joining XCS and Xynergi for the 2010 line-up is the brand new Xe6 fader extension which combines with Xynergi to offer the user a configurable mixing surface. Fairlight consoles continue to set the benchmark for integrated audio mixing systems, and inherent in the design
The Fairlight Advantage
Fairlight consoles continue to deliver unrivalled price/performance advantages by including all aspects of full audio for video production in their design. Workflow and file
Xynergi Media Production Centre
The Xynergi MPC is a desktop production system that organises and delivers all the media processing tools needed for high end audio for video production in all widely used surround formats. The system is based around the Xynergi tactile controller and new Xe6 fader extension units. In common with all Fairlight production systems, Xynergi runs on the CC-1 digital media engine which delivers immaculate audio processing for recording, editing, and mixing, as well as comprehensive video record and playback in virtually all SD and HD file formats. The separate Xynergi and Xe6 fader units provide the building blocks to create your very own surface layout with the number of faders of your choice. Xynergi’s versatility and cost effectiveness has seen it chosen not only by mainstream audio post clients but for a wide diversity of applications including Foley production, multi-track music recording, film dubbing, live to tape shop recording, ADR, and media education programs.
22
FAIRLIGHT
exchange support is central to the system design, as is Fairlight’s belief that productivity and creativity is best achieved through tactile user interfaces. All consoles combine a highly evolved tactile control surface with the awesome power of the CC-1 digital media engine. Every console system is capable of being grown to support multi-format mixing of up to 230 channels of high resolution audio with eight bands of EQ and three stages of dynamics on every channel. In addition, there are up to 192 tracks of integrated disk recording, full editing, 7.1 surround mixing, full monitoring, dynamic automation of over 70,000 parameters, advanced fader management, machine control, an integral routing and patching matrix, and flexible I/O options. To complement the array of audio production tools, Fairlight consoles integrate a digital HD video player/recorder. Overall, Fairlight’s consoles are the benchmark for professional HD audio production in terms of both price and performance. Constellation-XCS
Constellation-XCS is a ‘next generation’ console designed to leverage the company’s recent innovations – Crystal Core Processing, the SX range of I/O options, and the Xynergi self-labelling key technology. The XCS is a ‘no compromise’ console system that delivers Fairlight’s rich feature set at a new benchmark price point. The surface delivers fast and intuitive operational control over all aspects of
CC-1 Engine
Fairlight’s revolutionary Crystal Core technology (CC-1) is an FPGA-based multi-media engine which provides the processing platform for all Fairlight console surfaces. The CC-1 is the world’s most powerful hardware acceleration card and consists of a PCIe card installed in any compliant host PC.
Fairlight’s integrated production environment in a freestanding console housed in a solid, professional frame. It is completely modular, offering a variety of sizes, panels, and layouts for different purposes. It combines tactile control with screen-based visual feedback to provide the feel of a traditional console with the expansive feature set that only software tools can provide. Key XCS Components
MCP – The Master Control Panel operates like a Xynergi controller and provides the central focus of the console. Its innovative use of self-labelling keys allows quick task switching between editing, recording, mixing, monitoring, and setup operations. All QWERTY functions are handled on the same keys, popping up automatically whenever a naming operation is initiated. FP – Each Fader Panel provides support for twelve motorised touch sensitive faders and panning controls, and includes soft button control over all aspects of the automation system. A tri-level LED system provides instant feedback on the channel automation status (write, trim, read, touch, latch, safe) as well as channel bus assignment, and is complemented by the OLED information displays which deliver naming, level, and pan position. MAP – The Monitor Arm Panel provides a unique way of customising how the TFT displays are positioned, as well as providing an ergonomic solution for locating a mouse, trackball, and joystick panner if required. Constellation-XCS is aimed at a broad range of applications and will appeal to post production and broadcast facilities involved in advertising, promos, programme production, and multi-media content production, as well as music and film studios looking for an integrated solution to handle audio and picture.
The key advantages of the CC-1 platform are: 1 2 3 4 5
Programmable media processing engine. Small footprint – high performance. Engine scalability. Multi-media capable (audio and video). Open network support for file transfers in and out of the system. 6 Commonality to all Fairlight control surfaces. 7 Massive I/O support (220 physical inputs and outputs). 8 Ethernet and USB connectivity. 9 Cost effective to support. 10 Simple system upgradeable through software licensing. Fairlight’s Message
Headquartered in Sydney, Australia Fairlight designs and manufactures media production systems. The Fairlight brand is synonymous with innovation and we continually strive to develop technologies that will deliver both productivity and commercial advantages to our customers. Our vast experience in audio for video gives us a leading position in the convergence of these platforms and Fairlight leads the way in offering solutions in this area. Today, workflow is the key to unlocking production efficiencies and Fairlight continues to offer the most open and effective platform for delivering immaculate sounding audio for picture production.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
CC-1 Facts & Figures
• Over 200 channels, each with mastering-quality EQ and dynamics. • Less than 0.5mS latency with full processing. • Eight fully parametric bands of EQ on EVERY channel. • Three stages of dynamics on EVERY channel. • 72 user-definable mix busses from Mono to 7. • 96 channel audio bridge to VST plug-ins. • Five concurrent plug-ins per channel. • Integrated 192-track disk recorder/editor. • HD and SD video track with editing capabilities. • Wide choice of I/Os via analogue, digital, and MADI. • Automation of over 70,000 parameters including plug-ins. • Comprehensive integrated monitoring matrix. • Full support for collaborative workflow tools.
Fairlight AU Pty. Ltd. Unit 3, 15 Rodborough Road Frenchs Forest NSW 2086 Australia t +61 2 9975 1777 f +61 2 9975 1999 e sales@fairlightau.com w www.fairlightau.com Key Distributors UK and Europe Ken Barnsley – Sales & Marketing Director e ken@fairlightau.com w www.fairlightau.com USA Fairlight US e steve@fairlightus.com w www.fairlightus.com Rest of World Please refer to the Fairlight Worldwide Distributor contact page at w www.fairlightau.com
23
consoles 2010
+ + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + + LAWO+ + + +
Lawo – Networking Audio Systems
mc²56 – Performance, Pure and Simple
In this console, you have the same processing power that already distinguishes the mc²66 and mc²90. What makes the mc²56 different to its siblings is its compact construction. In a width of only 1.2 metres, we provide 32 faders (when installed into the width of an OB van, 64 faders are possible).
Lawo specialises in the manufacture of digital mixing consoles and routing systems for radio and TV broadcasters, and for the live domain. High quality standards and innovative technology are supported by 40 years of experience in the field of professional audio technology. Power, Flexibility, Intuitive Operation, and Modern Design – The mc Series
With more than 8000 by 8000 crosspoints and even more in networked systems, the mc² series is prepared to handle all requirements for OB vans and studios. Transferring snapshots from an mc²66 to a mc²56, loading a snapshot from a console imported providing a completely different DSP capacity or fader count, underlines the principle of the mc² software architecture. We understand that flexibility is one of the major contributors to cost savings, due to easy and fast adaptation, whatever the production. The Lawo-developed ‘Dual Star Technology’ has found its way into mixing console design. With this technology, Lawo has established a further milestone in reliability and redundancy for mixing consoles
and HD cores. The mc² series impresses with its precise signal processing. Changes to the DSP path are possible without any clicks, and even delay settings can be made noiselessly during runtime. A completely new decentralised control operation function – Iso Bay Access – gives you maximum control, even during two-man operation. Intelligent use of colour and style, and the open design of all the audio modules, gives the user a fantastic overview, even in critical live situations. The ‘assign-at-destination’ concept inspires with its particularly short learning curve, and mc² operation is virtually self-explanatory. With modern LED technology to colour code fader modules and channel strips, even with the maximum 200 faders, you’ll never lose control. For modern productions that require 5.1,
Lawo AG
Lawo develops and builds digital audio
digital control. Milestones of the ‘90s
mixing consoles for radio, broadcast,
were the development of the fully
production, and live applications,
digital mc series, the takeover and re-
together with the necessary software.
launch of the diamond console, and
Lawo also builds matrix systems and audio networks, carries out project engineering, and acts as main contractor for radio OB vans. Throughout its history, the company has always kept learning and looking
the presentation of the mc² series. The latest developed products are the mc²
the mc² console is the ideal answer. Up to eight channels (7.1) can be controlled with one fader, which couples all channel parameters and eight-segment metering. Thanks to Lawo’s hyper-panning, a surround group can be rotated through 360°, and the Reveal function opens up a surround or VCA group over dedicated faders, enabling direct access to all the individual channel parameter settings. Further key points are: Dynamic Automation with TC-Cut, Audio-Follow-Video, GPC with Camera Mic. Thanks to comprehensive plug-in integration with the Lawo Plug-in Server, it is now possible to use the live mixing facilities of the mc² series, while easily accessing the widest range of outboard FX. This innovation opens up completely new possibilities in audio production, offering undreamed-of flexibility for live and studio sessions. mc²90 – Optimum Control and Maximum Flexibility
The mc²90 offers a modular central control section to position the most significant modules there where you need them. In addition, external control devices can be integrated smoothly. No compromises regarding flexibility.
consoles of the third generation, ideally
mc²66 – Inspired by your Needs
suited for broadcast and production
Due to its lightweight construction, low power consumption, and compact dimensions, the mc²66 is ideally suited for OB vans, studios, broadcast, and live/ theatre applications. Sizes from 24 to 104 faders are available. With remote fader bays, the desk can easily be split into two parts for efficient use and transportation.
studios, OB vans, and the theatre/live
ahead, making it a pioneer in digitising
domain. Over the years, Lawo has also
radio and TV. After the first analogue
developed a range of routing systems for
consoles, Lawo developed the hybrid
applications of almost any size as well as
PTR, analogue signal processing with
solutions for networked systems.
24
mxGUI
LAWO
The mc² series is equipped with a new mxGUI with many innovative features: • Offline Preparation: From console layout to matrix control, partial snapshots and preamplifier settings through to the creation of complete snapshot and production data. • Individual Flexibility: Change configuration of user buttons, assign automatic control to many functions and individual configuration adjustments. • Remote Maintenance, Service, or Configuration: Access to the console via a laptop. Up to 16 mxGUI clients can simultaneously sign on to the control system for secondary users and service technicians to support the audio engineer, even during live broadcasts. Lawo Plug-In Collection
With the Lawo Plug-in Collection you can import the high-quality signal processing and the original algorithms of the mc² mixing consoles directly to your workstation. Plus you benefit from the many features that have made the mc² series a worldwide reference – for example, an excellent signal-to-noise ratio, powerful hyper-panning, and noise-free parameter control.
crystal – Welcome to Digital Broadcasting
Having been introduced in late 2008, crystal has already made its way into the broadcast and production studios of the world. crystal is a new generation of digital audio consoles, breaking new ground providing a highly ergonomic and forward-looking design within a price range that should allow everyone investment into professional equipment. It is characterised by an easyto-operate surface with a manageable amount of control elements and displays – guaranteeing a short training curve and high operational safety. The control surface comes in versions from four to 16 faders, with two OLED displays per channel strip and several configurable buttons. All that is housed in a high quality, all-aluminium tabletop chassis that is just about 3cm high. I/Os, DSPs, and logic functions are housed in a 19-inch/1RU base unit allowing the implementation of many special requirements that come up in daily broadcast life. zirkon Radio On-Air Console/zirkonXL Broadcast Console
The zirkon series excels with its workflow adaptive surface that is freely configurable according to the requirements of the users. The modular design allows consoles with up to 40 motorised faders, supporting multilayer operation and interaction with radio automation systems, as well as remote control possibilities for hard-disk recording systems.
The zirkon includes numerous attractive features, including surround operation (5.1+2), direct-outs, as well as the optional visualisations software VisTool for touchscreen operation and enhanced functionality. The zirkon series shows one of its fundamental strengths with its IP-based integration – networking together whole radio stations, including resource sharing and multiple studio operation. Nova73 HD Routing System
The Nova73 HD is our high-capacity audio matrix, designed for mission-critical signal transmission. It offers up to 8192 in- and outputs in a single core, providing various audio interfaces and the possibility to realise decentralised, fibre-optic linked infrastructures, as well as ATM/SDH for Wide Area Network applications. Hot-plugging and online configuration allows you to service, reconfigure, and extend the system during operation even when you are on-air. Online and offline operation can be done via the mxGUI graphical user interface that includes an intuitive x/y-matrix, snapshots, and ‘containers’, a unique grouping feature especially for the handling of bi-directional connections. The Nova73 HD is based on Lawo’s STAR² technology with an internal dual star architecture, supporting comprehensive redundancy options for almost every active component.
Dolby E Encoder and Decoder
Lawo AG (Headquarters)
Developed in cooperation with Dolby® Laboratories, Lawo now presents a real world first: the Dolby® E Plug-in for decoding surround. The big advantage: Dolby® E data can now be used not only on digital workstations, but also in combination with the Lawo Plug-in Server which makes Dolby® processing software ready to use in live situations with data streams processed on the mixing console in realtime.
Am Oberwald 8, 76437 Rastatt, GERMANY t +49 7222 1002 0 e info@lawo.de w www.lawo.de Sales t +49 7222 1002 0 e sales@lawo.de For international sales contacts please consult the Lawo website.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
25
consoles 2010
+ + + MANDOZZI+ + + + MANDOZZI+ + + + MANDOZZI+ + + + MANDOZZI+ + + + MANDOZZI+ + + + MANDOZZI+ + + + MANDOZ
The Intelligent Mixers And Routers
Some Milestones of Mandozzi Elettronica SA
Mandozzi Elettronica SA was founded 1965. The company is
Mandozzi’s developing engineers are used to listening to customers and understanding their individual requirements, and are ready to adapt the hardware and software of Mandozzi’s proven products to the special operational and technical needs of their customers. Due to close contact with customers over the last twenty years, Mandozzi’s audio routers and mixers have matured to offer a lot of features that facilitate the tasks of On Air and production operators. The Digital Audio Router IDEA
Mandozzi’s IDEA routers are best suited for switching centres, or for serving several mixers. Mandozzi’s matrixes are known for their extremely high reliability that is reached, among others, by redundant vital
26
modules. The two redundant halves of the router can be installed in separate rooms for immunity against incidents. The routers offer sophisticated scheduling functions, and they contain DSP power for performing any signal processing up to complete mixer functions. A great variety of interfaces including 2Mbps and Audio over IP modules with integrated audio codecs are available. The routers of several radio stations can be interconnected to control each other. The routers can be remotely controlled by third-party systems via LAN, serial interfaces or GPIO, and they can be monitored via SNMP.
MANDOZZI ELETTRONICA SA
Southern Switzerland. Due to close contact with the customers, the
2002 Swedish Radio received the first digital radio stations that are
enterprise realised the following milestones during its evolution:
interlinked for audio and remote control signals via 2Mbps lines. The
The operators can configure their mixer and save the snapshots either in a private memory or in a public memory that is accessible by all other mixers as well. Therefore it is possible to load into any mixer 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 codecs and telephone hybrids that are installed in the central matrix room. GMIX mixers are ideally suited for large broadcast installations with interacting mixers.
into two halves that are installed in two separate rooms, whereby
portable digital audio recorder and editor ME-DART was developed
every half is redundant) was supplied in 2005 to Finland. Since 2005, Mandozzi has supplied specially developed audio
in 1997, and several hundred 2Mbps decoders for the Swiss
transmission line managing software to the German ARD. In 2007
broadcasting distribution network were delivered in 1999. The
the Swiss Broadcasting Corporation ordered a radio house with a
first 2Mbps digital audio transmission equipment COMBIMUX was
redundant central router and 33 SERIX mixers. Mandozzi developed
delivered in 1999 to the German ARD. Second generation digital
the Audio over IP module UMAC in 2009, that can be integrated into
mixers GMIX were supplied for the first time to NRK Oslo in the
the IDEA matrix and the COMBIMUX transmission equipment. The
year 1999, and NRK received digital audio routers for television
software for the easy to configure, remotely controlled large screen
application in the year 2001.
indication panel for radio studios SOPA was also realised in 2009.
SERIX mixer with 20 faders in sports broadcasting.
control the router in order to select the input and output connections, for intercom between the mixers, as well as to remotely control the microphone pre-amplifiers, the mute and the GPIO of the other mixers, etc. The SERIX consoles offer an easy and comfortable operation due to the touch screen. The functions of the control keys and knobs are freely configurable by the user. The SERIX mixer surface is composed of modules of four motorised faders each
GMIX mixer with 16 faders in On Air studio.
The Digital Mixer SERIX
The SERIX mixers were developed to satisfy the customers looking for stand alone mixers that work autonomously and do not necessarily depend on a central router. These mixers allow the customers to start by installing a few single mixers and to expand the station step by step later on. SERIX mixers are well suited to realise complex radio house installations with a central router. In this case, the SERIX mixers remotely
first matrix with double redundancy (a redundant matrix is separated
digital routers in 1993, and of digital audio mixers in 1995. The in 1995. The first 2Mbps audio cross connect router was installed
The Digital Mixer GMIX
Mandozzi designed the GMIX system to realise radio stations with a maximum of interoperability between the mixers. The mixer consoles are mere remote control elements of the DSP and switching circuits that are built into 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 transmit the signals to the router via 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.
interlinked routers and 11 GMIX mixers to the German ORB. In
Production of the analogue audio routers started in 1980, of
When you have very special individual ideas about what operational functions your router and mixer system should perform, and what technical features it should offer, then Mandozzi Elettronica SA is the right partner to fulfil your requirements!
In, 2001 Mandozzi supplied the first radio station with five
located close to Lugano, the economic centre of the Italian speaking
and of a central module for configuration, communication and monitoring, plus one or more touch screens to display the parameters, timers, etc, and to set up the mixer. The modules are either supplied as individual mixer modules that can be built into the console furniture at any place desired by the customer, or assembled into a metal frame to obtain a table top mixer. For every SERIX mixer, up to three satellite or split mixers can be installed at a distance from the main mixer surface, e.g., in the studios. The operator can decide whether the satellite mixers shall function as an integral part of the main console (but with independent intercom and monitoring), or as autonomous mixers. SERIX generates 5.1 signals from a mono or stereo signal, with easily operated panning. An external mono signal or an external 5.1 signal can be mixed with the internally generated surround signal. SERIX mixers are best suited for small to large broadcast installations, for DJ and assisted operation.
Table top SERIX mixer with 16 faders.
Mandozzi Elettronica SA Via Volta 2 CH-6946 Ponte Capriasca Switzerland t +41 91 935 78 00 f +41 91 935 78 10 e contact@mandozzi.ch
Individual SERIX fader module and central module.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
w www.mandozzi.ch
27
consoles 2010
+ + + Midas+ MIDAS+ + + + Midas+ MIDAS+ + + + Midas+ MIDAS+ + + + Midas+ MIDAS+ + + + Midas+ MIDAS+ + + + Midas+ MIDAS+ + + + Midas+ MIDAS+ + + + Midas+ MIDAS+ + + +
digital with Heritage
Midas
An audio console is, first and foremost, about audio. Midas has always set the gold standard for live sound, and continues to ensure that the adoption of new technologies does not compromise this in any way.
christian Faith center and its Midas Xl8.
Midas Modular Digital Mixing Systems
Midas PRO6 and XL8, Beijing National Stadium, China.
Midas Digital Systems Overview
Two Midas XL8s and three PRO6s at the Nobel Peace Prize 2008.
The Midas XL8 and PRO6 digital mixing systems consist of a control centre and a number of 19-inch rack modules, 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 readily available standard CAT-5e/CAT-6 and fibre optic cabling and connectors. This system approach means Midas provides not only a mixing console, but also a complete analogue
and digital audio control and distribution system. Control centres are typically robust Midas steel frames, featuring dual-redundant master control computers and daylightviewable display screens. Remote rack units consist of DL431 active input splitters, DL451 and DL351 user-configurable modular I/O boxes, and N+1 redundant DL471 (XL8) or DL371 (PRO6) remote modular DSP engines. Both systems have offline editing software that is available free of charge from the Midas website: www.midasconsoles.com.
Midas Product Line Summary
The Midas XL8 is the perfect
all-onboard FX, dynamics
house console the Heritage
truly compact console the
solution for high-capacity and
and GEQ processing, plus
2000. The semi-modular
Venice is a common sight in
high-profile applications, both
a dual 100 metre snake;
Legend 3000 is a multi-
applications from conference
touring and fixed install.
all for the same price as a
application console,
venues to concert touring.
With a network capacity of
Heritage 3000-48! It provides
with each input channel
up to 432 inputs and 432
up to 80 simultaneous input
providing independent FOH
Midas’ rack mounted XL88,
outputs in 18 different
channels, 35 mix busses,
and monitor controls with
locations, up to 144
and is expandable up to 288
dedicated EQ and faders, a
simultaneous channels
inputs and 288 outputs at the
first in the live sound industry.
and 51 mix busses, with
network level.
built-in tolerance to any
Siena brings all of Midas’
independent sound balances
In addition to the XL8 and
knowledge and experience
from eight pre-mixed group
PRO6, Midas is renowned for
in building dual-purpose
outputs from the main console.
designing and manufacturing
consoles to a compact
Finally the 1U XL42 dual
some of the world’s finest
package. Siena has
channel creative equaliser
analogue audio mixing
been designed to both
incorporates the legendary
consoles. These include the
complement and expand
XL4 four-band parametric
The Midas PRO6 is the
touring industry’s favourite
the groundbreaking Verona
equalisation with XL4 mic/
natural successor to the
console, the Heritage 3000,
concept, which provided
line pre-amplifiers and 48V
industry-standard Heritage
which is equally at home at
Midas quality in a desk that
phantom supply, ideal for any
3000. However the PRO6
front of house or on monitors,
revolutionised the eight-
applications requiring a high
has more inputs, more busses,
and the dedicated front of
buss market. Midas’ first
quality front end.
failure scenario, and the legendary Midas sound with all the advantages of digital technology, there really are no alternatives.
28
MIDAS Midas
When considering the many confusingly diverse options digital mixers embody, it is worth reviewing the advantages of modular over non-modular analogue consoles, as the same rules apply. The modular approach provides greater flexibility of type, and location, of I/O. For example, a Midas XL8 system can have many hundreds of inputs and outputs in 18 different locations. XL8 and PRO6 use AES50 (24 bidirectional audio channels plus control data per CAT-5 connection) that allows for greater flexibility of hardware. It is easy to distribute the various devices that comprise a networked system to different areas of the stage or, given the 100 metre capability of AES50, around the building. Modular design also means that the keystone element of the DSP engine can be located in a more secure environment,
a line level 8x8 matrix mixer, greatly expands the capabilities of any mixing console to give eight fully
big Mick hughes, Metallica’s Front of house engineer with a Midas Xl8.
leaving only the control surface exposed to the environmental vagaries of the performance area. By removing the audio processing from the console itself, the user interface can now be designed for optimum efficiency and minimal footprint, and Midas’ concept of input navigation by user-configurable groups instead of layers, means operating the console with confidence is easily mastered within a few minutes, even by an inexperienced engineer. The processing engines for both XL8 and PRO6 are both of modular design, which provides N+1 redundancy of hardware in the form of a redundant module. This means peace of mind during a show and better commercial viability, as the cost of the system is not burdened with the cost of an entire backup engine. Modular systems also have the advantage of being easily expandable as the venues’ requirements change, instead of having to re-invest in a new system. Everyone knows Midas designs the best live sound mic pre-amps available, but there’s more to the sound of a digital mixer than mic pres. Midas does not rely on gadgety processing options for audio performance. Computing power is used for complex interpolation algorithms, and other proprietary processing methods to ensure that the legendary Midas sound is faithfully reproduced, with improved performance. Midas digital consoles are the only live sound consoles in the world that have automatic latency management, including delay compensation for external analogue processing. This means that the mixers’ output is always phase-coherent, regardless of any convoluted internal routing; another reason why no other console can sound like a Midas.
the international console buyer’s guide
Midas has been designing and manufacturing live performance mixing consoles for the world’s most demanding sound engineers, performers, and production rental companies since the early 1970s. the evolution of Midas consoles throughout the history of this classic brand has always paralleled, and often led, increasingly sophisticated audio innovations for the worldwide entertainment technology industry. raising the standards of sonic quality through continual research and development has always been – and still remains – the company’s overall aim. equally important to Midas is the design and implementation of many new areas of technology, specifically in the area of digital audio networking and advanced console navigation methods. Midas continues to anticipate and accommodate the rapidly changing and expanding needs of audio professionals who specify Midas consoles for their major tours, festivals, international events, broadcast projects, and high-demand fixed installations.
Midas Consoles Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ, England. t +44 (0) 1562 741515 f +44 (0) 1562 745371 e james.godbehear@uk.telex.com e www.midasconsoles.com
29
consoles 2010
+ + + SOLID STATE LOGIC+ + + + SOLID STATE LOGIC+ + + + SOLID STATE LOGIC+ + + + SOLID STATE LOGIC+ + + + SOLID ST
Cutting Edge Solutions for Music, Broadcast, and Post
SSL For Broadcast
SSL like to call themselves ‘the world’s leading console manufacturer’... it just might be true! Over three decades SSL has established its
quality for professional engineers and
legacy delivering tools for music, broadcast,
status as a market leader by developing new
producers. This deep understanding of
and post, and the new generation of SSL
technology and new ways of working that
the needs of users remains at the heart of
console technology continues to deliver
enhance workflow and improve production
SSL’s ongoing evolution. SSL has a strong
cutting edge solutions in all three areas.
C100 HD-S – Scalable On-air Mixing And Routing System
SSL For Music Recent years have seen two major music production trends; significant workflow efficiency and creative benefits have made DAW controller hardware prevalent… and mixing inside the box hasn’t delivered the sonic depth and clarity many engineers strive for, causing a resurgence of high quality analogue technology. Addressing these trends with a separate analogue console and DAW control surface is cumbersome and costly. SSL’s new generation music consoles bring advanced DAW hardware control and the very highest quality analogue front end, signal path, and processing together to form unified and highly evolved hybrid solutions that make economic sense. SSL’s exceptional ergonomics and sonic signature is available in three consoles, each serving different workflow and budgets. Matrix – SSL At The Heart Of Your Studio
Matrix is designed for smaller production suites where a DAW is used in conjunction with a collection of boutique analogue outboard. It is a compact 16-channel, 40-input SuperAnalogue™ summing mixer (with auxes, outstanding monitor and foldback facilities, and motorised faders), with a software controlled analogue routing matrix (any of up to 16 analogue outboard processors can be inserted in chains on any channel) and an Ethernet connected DAW control surface that puts your entire DAW recording environment at your fingertips. In use it’s simply the most elegant way to be creative with your entire arsenal of analogue outboard. AWS 900+ – Digital Control For Analogue Souls
Designed for mid-scale commercial recording and production, AWS 900+ SE is a medium format music console that has become the choice of leading international artists, producers, and engineers. AWS is a 24-channel SuperAnalogue™ mixing console. It has 24 ultra-clean mic pres, classic SSL dual curve EQ on every channel, two assignable SSL dynamics sections, in-built legendary Stereo Buss Compressor, full 5.1 monitoring, motorised fader mix AWSomation, and TotalRecall™ of analogue console controls. With Ethernet DAW connectivity, transport and track 30
SSL has been building state of the art digital consoles for on-air production for 15 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
The C100 HD-S is a specialised digital console designed for on-air production applications where audio quality matters and operators deal with sophisticated configurations in fast paced workflow. The control surface combines assignable hardware controls, strong visual feedback, and touch screen operation to provide an uncluttered interface that provides the experienced operator with an environment that makes day to day running of shows comfortable whilst ensuring that the extraordinary depth and power of the C100 can be accessed and editing quickly and easily when the need arises. C10 HD – Compact, Affordable On-air Mixing
SSL AWS 900+ at Simon Gogerly’s ‘Hub’ studio.
navigation, multi-function encoders, inset TFT, and Softkey system for plug-in control, the AWS delivers streamlined hardware control over your entire DAW environment. Duality SE – The Analogue Console For The Digital Age
Duality SE is a large format music console that offers a wealth of creative and sonic options, and it has become the first choice for serious commercial recording facilities worldwide. Available in 24-, 48-, 72-, or 96-channel configurations, Duality is everything you would expect from a classic SSL 4k or 9k Series console with a number of key added benefits. Each channel features classic 9k generation transparent mic pre and full channel strip processing but the input stage also offers the option to add warmth or punch with SSL’s highly praised VHD™ system. A unique ‘Dual Path’ channel signal flow enables use of console processing within the DAW mixer signal path. Duality is highly suited to surround production. New TFT displays provide comprehensive visual feedback on signal levels, routing etc and enable multi operator Total Recall™. On board SSL automation is complemented by comprehensive DAW control via transport controls, faders, assignable rotary controls, and an integrated plug-in control TFT. There is no other console that combines analogue recording, processing, and mixing with DAW workflow as seamlessly and effortlessly as Duality.
The C10 HD brings an unprecedented combination of size, price, and performance to the broadcast console market. It takes the power and sophistication of C100 technology
SSL C100 HD-S at Comcast Sportsnet.
and presents it in an affordable system designed for the smaller budget broadcast market. C10 solves many broadcast and production challenges with operational features that simplify and/or automate key tasks, helping users of all skill levels deliver professional results with a simple, logical interface that is easy to operate. The C200 HD – Hands-On Digital Production Console
C200 HD is a digital console with a dedicated ‘knob per function’ control surface, making it ideal for creative mixing applications, such as music or entertainment, where ‘hands on’ access to a large number of controls is essential, and the benefits of instant and complete parameter recall is also a key factor.
SSL For Post Increasingly the boundaries between music and post are blurred with many small-scale production facilities seeing a proportion of their income from sound for picture. As a result SSL’s entire music product portfolio SSL C300 HD at Creative Sound, France. is used widely in post applications. SSL also produces a unique digital console that is particularly well suited to film and TV post. The C300 HD, which has been adopted by over 40 post facilities worldwide, is a fully configurable, multi-format stem-based mixing console. It combines the unrivalled audio fidelity and processing of an SSL digital audio console with 500 mix inputs, 80 mix busses, comprehensive multi-format monitoring, multi-system machine control, and highly evolved hands on control of both the console and multiple DAWs. With comprehensive visual feedback via TFT channel displays, large tilt adjustable central touch screen, assignable V-Pots and motorised faders, and assignable channel hardware, C300 HD offers unrivalled control of the modern studio environment.
SSL Matrix at South Beach Studios, Miami.
Solid State Logic t +44 (0)1865 842 300. e sales@solid-state-logic.com e www.solid-state-logic.com
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
31
consoles 2010
+ + + STAGETEC+ + + + STAGETEC+ + + + STAGETEC+ + + + STAGETEC+ + + + STAGETEC+ + + + STAGETEC+ + + + STA
German Precision In Audio Engineering
The Backbone NEXUS – Distributed Audio Network and I/O System
Since its foundation in 1993, Stagetec has specialised in the design and manufacture of digital audio technology. Constantly setting new standards due to continued research and development activities, the association with pristine audio quality has always been a major criteria in its designs. Hundreds of venues throughout the world depend on Stagetec’s products daily, and installations can be found primarily in broadcast production facilities, O.B. trucks, opera houses, and theatres. AURUS – The Direct Access Console
The AURUS is Stagetec’s flagship digital production console. The main objective was to combine the instant access of a conventional analogue desk with the configurability, flexibility, and electro-acoustic characteristics of an advanced digital console. AURUS is a lightweight console optimised for broadcasting, theatres, sound reinforcement, recording, and live use supporting clear and intuitive operation. Space-saving dual-concentric encoders are a Stagetec innovation that enables the AURUS to offer more physical controls per channel strip than other digital consoles, and provides direct access to all frequently used audio parameters. Instantaneous visual feedback of the audio parameters being adjusted is displayed on dual LED arc indicators and TFT screens on the top of the channel bays. The fixed association
of encoders to parameters considerably simplifies operation for new users and gives the console a truly intuitive feel. Depending on the requirements, up to 300 audio channels and 96 assignable fader strips can be supplied. True multi-channel capabilities including monitoring, as well as several types of mixing desk automation, are standard features. The desk is fitted as standard with snapshot, scene, and dynamic automation, giving the AURUS the ability to function as a true multi-purpose workhorse whether driving the console as a single or multiple operators.
Stagetec Aurus.
32
STAGETEC
It truly is an all-encompassing modular routing platform that enables the Stagetec systems to stand above the rest! Also available independently of the consoles, the NEXUS is a fully digital routing system for audio and control signals. Designed as a distributed system, it comprises multiple Base Devices, having a modular structure interconnected by fibre-optic cables. NEXUS - System Highlights: • Fibre interconnectivity. • Fully redundant (switch over in one sample). • TrueMatch mic input giving 158dBA headroom. • True four-way mic splitter option with independent control. • Various Interfaces: analogue, AES, MADI, 3G HDSDI, Dolby E, etc.
locally and can work independently of the control computer, which also enables it to start up to ‘last-known state’.
• Data Routing: RS232, RS422, RS485, MIDI, etc. • No noise on I/O power loss. • Hotswappable I/O. • NEXUS STAR router 4,096 x 4,096 crosspoints. • Latency: six samples. • Easy to expand.
bus structure, and comprehensive N-1
All consoles offer:
functions with easy set-up conferencing.
• Fibre interconnectivity. • Extreme flexibility. • Simple layout with ease of reach. • Extensive visual feedback with switchable TFT screens. • Vast logic control with unlimited events per cue. • 40-bit floating point processing. • Show can be run direct from console – no PC required. • Up and running in less than 20 seconds from power on. • Proven Stagetec reliability.
The surface is available in 8-, 16-, and 24-fader desktop or table fitted
AURATUS – The Compact Broadcast Console Stagetec Crescendo.
CRESCENDO – The Digital Production Console
The CRESCENDO offers a more compact approach to surface design than the AURUS but still incorporates many of the concepts that make it a true contender in the broadcast and live production arena. Using the same backbone and processing as the AURUS, the CRESCENDO can have up to 48 faders controlling up to 300 channels and 128 busses, and is designed as a multiformat console. The surface design is similar in its approach to the AURUS, but the CRESCENDO has been designed to meet the requirements of more space and budget conscious applications. Using the same dual-concentric encoders as all Stagetec consoles, the CRESCENDO still offers extended channel parameters as well as a central panel approach where there is one knob per function. Full of broadcast/live-friendly features such as mix minus and extensive logic control, the CRESCENDO also has extensive snapshot and scene change automation onboard. The console can store projects
The basic idea behind the AURATUS was to design a compact digital console that can be used in predefined workflows in radio and TV production. Therefore, it features not only a hardwired bus layout, but also a user interface optimised for quick and simple operation. This ensures that even inexperienced users or self-drive programme editors are assured a shallow learning curve and secure operation. It has 54 input channels, a fixed
versions. AURATUS’ entire DSP power is accommodated on a single, standard NEXUS base device card consuming just 8W. All critical audio-channel parameters can simply be set using the dual encoders on the channel strip familiar from the AURUS, as well as from the master section. AURATUS delivers ultra-low power consumption – even the largest version consumes less than 100W, rendering the use of cooling fans, required by so many other digital consoles, obsolete.
Salzbrenner Stagetec Mediagroup Industriegebiet See D-96155 Buttenheim t +49 9545 440-0 e sales@stagetec.com Stagetec USA t +1-888-782-4391 e usa@stagetec.com Stagetec Auratus.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
w www.stagetec.com
33
consoles 2010
+ + + SOUNDCRAFT STUDER+ + + + SOUNDCRAFT STUDER+ + + + SOUNDCRAFT STUDER+ + + + SOUNDCRAFT STUDER+ + +
A Full Range Of Mixing Consoles
There’s probably no other manufacturer that serves the number of markets covered by the mixers from The Soundcraft Studer Group. From small band PA mixing and home recording to the largest live concert, from small self-op radio to the world’s leading broadcasters, from bedroom DJs to big nightclubs – there’s a mixer for every application. Digital being the technology of today, Soundcraft Studer is well placed, thanks to the proven and reliable digital technology developed by Studer, and now realised in products such as the Studer Vista™ 8 and Vista™ 5 Production desks, the OnAir™ 2500 and 3000 Radio desks, the Studer Vista 5™ SR, and Soundcraft Vi Series of live consoles.
Vistonics™, Studer’s legendary graphical user interface, is the basis for the Studer Vista and Soundcraft Vi Series (with Vistonics™ II), proving that digital can be used without loss of any console functionality. At the mid-market level, the user interface developed for the Soundcraft Si Series has received wide acclaim for
its analogue-feel, using high-resolution OLED displays and rotary encoders to provide full channel functionality.
Studer Vista 5/ Vista 5 SR
Soundcraft Si Series
Continuing the successes of the Vista Series in the broadcast and fixed install markets, Studer is now finding success with the Vista 5 models in the live theatre and toursound sectors. New software, specifically developed for high-end musical theatre applications, has been developed, which enables faster and more accurate workflow for scenes and actor management. The configurability of the control surface, distributed I/O system and Vistonics user interface, plus of course the legendary Studer sound quality, has led to the Vista 5 recently being at the heart of the sound system at several shows on New York’s Broadway, including the revival of West Side Story and Road Show the Musical. A total of up to 240 channels can be accessed from the desk and laid out in any order, with the Vistonics system giving instant control over all related channel functions. DSP power and I/O are specified by the customer. The total I/O capacity, comprising various cards including Mic/ Line, ADAT, TDIF, AES/EBU, SDI and MADI, may exceed 1,700 inputs and outputs.
With no external processing rack, an Si Series console simply plugs in where your analogue console used to be, immediately delivering the full power of a sophisticated digital live sound mixer with no need for new fibre snakes or stage boxes. In addition to the bus outputs, all Si consoles include dedicated Input and Output connectors for inserts, stereo returns, main LR & C buses, monitor LR & C outputs, Oscillator and Talkback – no patching required and no loss of valuable bus outputs. Slots are provided for option cards which include a MADI card for accessing channel direct outputs for connection to recording systems. 40-bit floating point architecture inherited from Studer digital mixers provides high internal headroom and ensures that an Si console never runs out of gain. The Si Series is empowered with transparent, ultra-high bandwidth mic pre-amps, four stereo Lexicon effects engines, dynamics on every input and output, and 35 full 30-band graphic equalisers on bus outputs, which can all be used without loss of console functionality. And because DSP and control are handled by separate engines, no configuration or setting changes will ever interrupt audio.
34
SOUNDCRAFT STUDER
Soundcraft Vi Series Digital Live Sound Consoles The Soundcraft Vi6™ and Vi4™ consoles have been designed using the proven reliability of Studer’s Vista™ and On-Air 3000™ series of consoles, and, more importantly perhaps, uses a Vistonics™ II user interface (a derivation of Studer’s Vistonics™) to allow the engineer to operate the desk intuitively. Vistonics II uses the same type of touch-screen colour TFT monitor with integral rotary controls and switches mounted on the glass to provide a ‘where you look is where you control’ user interface. The Soundcraft Vi6 console has an input-to-mix capacity of up to 96 inputs, mapped out on three user-configurable layers, which are of course motorised. These can be assigned to 32 outputs (plus a stereo and mono mix), which can be any combination
Soundcraft GB2R This 19-inch rack-mountable mixer is designed specifically for smaller installations in churches and performance venues, or for small portable PA systems. It will also find friends in Broadcast where its high quality and feature set will be very appealing. Available in two variants, the GB2R offers either 16 mono inputs to a stereo mix output, or a 12.2 version
More Consoles From Soundcraft Soundcraft also offers a wide range of multi-purpose analogue consoles from the new Lexicon-equipped multi-purpose range of Notepad, EFX, MFXi, MPMi, and FX16ii mixers,
of group and aux busses. Up to 16 Matrix Outputs can be configured from the pool of 32 busses. The Soundcraft Vi4 has up to 72 inputs on 24 faders, with 35 outputs. The compact Vi2 uses the same racks to deliver up to 96 inputs to mix in a small footprint. Adjustment of EQ, aux levels, routing or dynamics all takes place in-line with the channel, and colour-coded sections are enhanced by the patented Soundcraft FaderGlowTM system. Soundcraft FaderGlow uses a multi-colour LED with a unique diffuser alongside the fader track to indicate which function is currently active on the fader. Offline editing is provided by Soundcraft’s Virtual Vi software for PC, and the console software includes functions for Copy and Paste, linking and parameter libraries for fast and easy setup.
with 12 mono inputs, two full-feature stereo inputs and two group busses, each model having six auxiliary sends. The Soundcraft GB2R inherits both the GB30 Mic preamplifier and GB30 Equaliser designs from the GB4 and GB8.
through the GB Series medium format live desks up to the large format MH Series and the range of Broadcast consoles such as the Series 10, Series 15, and BB100.
Studer OnAir 2500 Production/On Air Console The Studer OnAir 2500 ensures a new standard in ease-of-use for Radio or TV Broadcast, and is available in both a fixed frame model for portability, or the Modulo version for recessed installation in studio furniture. Designed as an integrated system - on the Fixed Frame model the control surface, I/O breakout, DSP and controller boards, as well as power supply, share the same chassis – it addresses the medium segment
of the live broadcast market including both private and public network stations. This makes the OnAir 2500 the ideal audio mixing console for OB applications, where robustness and reliability are a must. The Modulo version simply offers the same functions in separate modules which are easily connected together when installed in tabletop furniture. The OnAir 2500 runs the same mature software platform as the OnAir 3000.
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
More From Studer Studer also offers consoles such as the OnAir 3000 Fixed Frame and Modulo systems, plus the Vista 7 and Vista 8 Production consoles. CONTACT DETAILS
Studer Professional Audio Riedthofstrasse 214 CH-8105 Regensdorf Switzerland. t +41 44 870 75 11 f +41 44 870 71 34 e studer@harman.com
Soundcraft Cranborne House Cranborne Road Potters Bar Herts EN6 3JN, UK e soundcraft@harman.com t +44 (0) 1707 665000 f +44 (0) 1707 668159 Harman Pro North America 8500 Balboa Boulevard, Northridge CA 91329 USA t +1 818 920 3212 f +1 818 920 3209 e soundcraft-usa@harman.com e studer-usa@harman.com 35
consoles 2010 EUPHONIX
FOSTEX
LAWO
MANDOZZI
Some might claim DiGiCo as a bit of a pioneer, and this was certainly the case when the company launched its D5 Live system that re-aligned the expectations of digital consoles. Its latest consoles include the SD7 and SD8.
Euphonix manufactures large-format digital consoles and media controllers spanning the entire spectrum of media production. Pro lines include the System 5, S5 Fusion, and the new Artist line.
Founded in 1973 by the earlier developer of EOM speaker and transducer products, Foster Electric Co., the Fostex Company first built high quality speaker components. Today, the company distributes its products including the LR16 and LM16 mixers in over 50 territories worldwide.
Located in the sunny Swiss corner of Ticino, Mandozzi Electronics was founded in 1965. Its userfriendly GMIX and Serix mixers form the console backbone of its range.
www.digiconsoles.com
www.euphonix.com
www.fostex.jp
Based in Germany, Lawo was founded in 1970 as an engineer’s office for electronic equipment and later began manufacturing mixing consoles. It now has five subsidiaries around the world, and its consoles include the respected mc290, mc266, and mc256. www.lawo.de
D&R ELECTRONICA
FAIRLIGHT
HARRISON CONSOLES
LOGITEK ELECTRONIC
Coming from a pop star background, Duco de Rijk and Ronnie Goene built their first tube mixing console in 1972, and in 1973, D&R was officially founded. Based in Weesp, D&R’s approach is informal and customercentric.
Based in Australia and one of the oldest digital pioneers, Fairlight is now taking initiatives in forward-looking green technology in its manufacture of high-quality consoles such as the Constellation and Xynergy.
Harrison’s first console was delivered in 1975, and to date over 1,500 have since been installed. The PP-1 became the ‘Hollywood standard’ for modern film console designs in 1979, although its current flagship is the MPC4-D.
SYSTEMS
www.fairlightau.com
INNOVASON
DIGICO
www.mandozzi.ch
MEDIA ENGINEERING
www.d-r.nl
EELA AUDIO
EELA has been developing products for the radio broadcast industry for the past 30 years, and prides itself in taking an individual approach to each customer. www.eela-audio.com
EDIROL
Edirol is Roland’s brand of computer-based audio recording products, specialising in USB and FireWire audio interfaces, field recorders, and active monitor speakers. Its SONAR V-Studio VS-700 offers a complete music production solution. www.edirol.co.uk
EQUIPSON
Equipson is based in Spain, and its range includes the Digiline 8, XP 20 PRO, and WEF 1010. www.equipson.es
www.glw.com
Launched in 1993 by two brothers, InnovaSON is an acronym from French that means ‘Innovative Sound’. Focused on SR applications, the company designs alldigital consoles such as the Eclipse and Sy48.
FBT ELECTRONICA
Musically-orientated, FBT is an Italian manufacturer that has been around for over 45 years and claims to be one of the few manufacturers whose products, such as the new Formula mixer, are entirely made in its home country.
www.innovason.com
KLOTZ DIGITAL
www.fbt.it
FORMULA SOUND
Started by the Cockell husband-and-wife team in the late 1970s, Formula Sound has since grown and won numerous awards for its technologies. Its ‘reputation outstrips its actual size in manufacturing terms’ – a sentiment that reflects the company’s personal ethos. www.formula-sound.co.uk
Describing itself as a ‘technological trailblazer’, Klotz Digital was formed in 1990 with a high-customer service philosophy that continues to this day with products including the Xenon and Vadis D.C.II consoles. www.klotzdigital.com
LAFONT AUDIO LABS
French Designer JeanPierre Lafont gave his name to the high-quality audio company over 20 years ago; the current product line-up includes the Panoramix and FTC84 consoles.
Manufacturers of the Mosaic and Remora consoles, Logitek designs and develops its products in-house using local manufacturers based around Houston, Texas. CBS, NBC, and The Disney Channel, as well as Sony and Warner Bros. use Logitek systems.
Founded in 1987 and based in Switzerland, Media Engineering has since 2001 concentrated its efforts on developing pro audio products. Memix is its modular analogue mixing console, designed to be used in radio and production studios. www.mediaengineering.com/
MIDAS
www.logitekaudio.com
LOLA AUDIO
Lola Audio is the leading Yugoslav firm in the AV media field, and for over 25 years has been producing modular audio mixing consoles among other hitech products. www.lolaudio.com
M AUDIO
ProjectMix I/O, Torq Xponent, and X-Session Pro form the console sector of M-Audio’s product range. www.m-audio.com
MACKIE
Mackie is part of the LOUD Technologies family of brands, whose logo reads ‘Small footprints, big features, great sound’, and this is epitomised by the Onyx and VLZ3 Series. www.mackie.com
www.lafontaudio.com
Midas consoles are amongst the most popular in the market, and have been found in live applications around the world since the 1970s. Its current console line-up includes the XL8, PRO6, and Heritage Series. www.midasconsoles.com
OTARI
Although its European branch has closed, Otari is still producing out of Japan as it has for over 40 years, and distributing worldwide. Its consoles include the DB-10 and DB-32. www.otari.com
PEAVEY
The PV, FX, and XR Series of consoles are among Peavey’s SR line-up that is produced out of Corby in Northamptonshire, UK.
>
www.peavey.com
THE INTERNATIONAL CONSOLE BUYER’S GUIDE
37
Console Manufacturers Directory >
PHONIC CORPORATION
RSS BY ROLAND
SONIFEX
STUDER
TONELUX
Phonic is a real customercentric company; its mixers include the AM, Helix, and Impact Series.
RSS by Roland is a forwardlooking company whose breakthrough V-Mixing system (combined digital snake and mixing console) is still building its fan base, now with several options in both mixing and snake departments.
Sonifex began as a family company back in 1969, which today boasts that over 90% of British radio broadcast studios have used Sonifex products in the past. The S1 and s@ are the company’s current broadcast mixers.
Paul Wolff in Vegas is the mastermind behind Tonelux’s range of audio gear, including the models 3, 4, 5, and 6 rack consoles, and the Tonelux Universal Console Series.
www.rolandsg.co.uk
www.sonifex.co.uk
Since 1948, the name of Studer has become synonymous with broadcasting and recording equipment. Its product range, which includes the OnAir and Vista lines, is totally designed in Switzerland.
www.phonic.com
PRESONUS
PreSonus has come far since the days of trading from Jim Odom’s garage in 1995. Highlights of its path are the DigiMax and FireStudio; while today its products include the StudioLive 16.4.2 digital console. www.presonus.com
PROFESSIONAL SOUND CORP
1986 was the year PSC was born, and based in Valencia, CA, USA, the company’s range includes the Solica audio mixer. www.professionalsound.com
PUBLISON SYSTEMS
Publison designs and manufactures integrated post production systems, whose products include the Edimix II and Prod’Mix. www.publison.fr
RAINDIRK AUDIO
Raindirk’s first console created by Cyril Jones was sold to Kingsway Studios back in 1972. Today’s rm4 modular series means a full console can be created using Raindirk components, while the company also supports Helios desks. www.raindirk.com
RUPERT NEVE DESIGNS
SONOSAX
Rupert Neve, founder of the company that bears his name, has a discriminating career in audio spanning 80 years. A brand that implies excellence, the 5088 is Neve’s flagship console.
Swiss Sonosax brought its first mixing console to market in 1980, the Sonosax SX-B. The new addition to the Sonosax range is the just-released SX-ES64.
SOUNDCRAFT SAMSON AUDIO
Starting out designing wireless mics, and now with three brands under the Samson banner; 26 years has led to a huge range of products including the L-Series consoles. www.samsontech.com
SEEMIX SOUND
Seemix is a Norwegian company founded in 2001, whose offerings include the Seeport and Seelect mixers. www.seemix.no
SMART AV
Smart’s respected consoles include the Tango and Smart Professional Series, designed for the most demanding applications using ARC and MonARC technology. www.smartav.net
RAMI
The Compact II and RP 2000S are two of Rami’s French-made broadcasting consoles, among a range of other pro audio products. www.ramiaudio.com
www.sonosax.ch
www.rupertneve.com
SOLID STATE LOGIC
SSL has had a long and noteworthy history since its formation in 1977, which via the Axiom, Aysis, XLogic, and C-Series, has led to today’s popular Matrix, Duende, and Duality consoles.
A Harman company, Soundcraft made its mark in the early 1970s with the Series 1, the first mixing console in a flight case. It remains a dedicated pro mixing console designer and manufacturer with consoles including the Si1-3, Vi4 and 6, Live 8, Ghost LE, and EFX. www.soundcraft.co.uk
SPECK ELECTRONICS
Speck’s LiLo is not a conventional mixer, but rather designed with minimalist ideals perfected for routing and blending external gear and DAW. www.speck.com
STAGETEC
The Cantus was Stagetec’s first digital console, a success of the 1990s; although today the Aurus is taking the crown as Stagetec’s first class mixing console. www.stagetec.com
www.solid-state-logic.com
38
CONSOLE MANUFACTURERS DIRECTORY
www.studer.ch
TAPCO
Based in WA, USA, Tapo creates mixers for recording and live sound (the Blend Series), as well as compact and ultra-compact mixers in the Mix. range. www.tapcoworld.com
www.tonelux.com
TRIDENT AUDIO
Malcolm Toft and Barry Porter developed their first console, the A Range, for use at Trident Recording Studios in the 1970s. Trident is now designing and manufacturing new ideas under the PMI flag. www.tridentaudio.co.uk
WHEATSTONE CORPORATION
TASCAM/TEAC PROFESSIONAL
Tascam/TEAC products deliver to the whole spectrum of musicians and engineers, from the hobbyist to pro. Headquartered in Japan and founded in 1953, its consoles today include the DM-3200, DM-4800, and M-164 (plus FX and UF derivatives). www.tascam.com
TL AUDIO
TL Audio began in the 1990s, restoring and reselling vintage equipment, and discovered a hole in the market for new, affordable, valve products – spawning the ‘Classic’ range. The M1F, VTC, and M4 are consoles based on tube technology. www.tlaudio.co.uk
TOFT AUDIO DESIGNS
American-based Toft Audio produces the ATB analogue mixers, a platform that is continuously being developed under the guiding hand of Malcolm Toft. www.toftaudiodesigns.com
Wheatstone manufactures TV and radio broadcast consoles out of New Bern, NC, USA, in a distinctly ‘home-grown’ affair. Consoles like the Generation 3 pack a lot of power in for their small sizes. www.wheatstone.com
YAMAHA
Yamaha’s is a long and wide-reaching story, and similarly, it produces mixers for just about every field of audio. The PM5D and LS9 are just two of these many. www.yamahacommercialaudio. com
.22”/31mm
In 2008 we ticked 36.35”/923.5mm all the boxes. In 2009 we˙ve created some 0.47”/12mm new ones... 14.09”/35 Feature
rotary assign
SD8
SD8 Overdrive
Complete with 48/8 Stage Rack with 100m Digital MADI snake.
3
3
Up to 60 mono or stereo channels with full processing (equal to 120 channels of DSP processing).
3
3
24 mono or stereo busses + Stereo Master with full processing (equal to 50 busses of DSP processing).
3
3
On Board local I/O with 8 Mic/Line inputs, 8 Line Outputs and 8 AES I/O.
3
3
Open format & platform recording.
3
3
12 x 32 Graphic Equalisers.
3 0
12x12 Matrix with full output processing.
screen
11
0
11
lights
usb
3
channel processing
6 stereo floating point FX processors.
3
alt in
2 independent solo busses for monitoring.
3
in
3
lpf
Snapshot cue control with crossfade..
3
in
Touch screen control.
eq-dyn
hpf
Full worksurface precision metering.
dyn-eq
freq
3
3
3
3
3
3
3
3
3
3
comp
Networking and remote control.
gain
Floating point processing.
q
curve
comp gain
Future proofed FPGA audio core.
freq gate gain
Remote studio grade mic pre’s.
eq on
3
insert a
q
3
insert b
MADI connection.
3
3
dynamic automation
direct
USB compatible for session saving & transfer.
freq
3
3
all record
solo 1
snapshot
gain
Offline & online session control.
afl
C L
q
curve
Optional Stereo or LCR Master Buss.
3
3
R
8
rtn to audio
3
all play
freq
24 x 32 Graphic Equalisers. 16x12 Matrix with full output processing.
8
S
gain
undo q
8 stereo floating point FX processors (including Stealth FGPA FX imported from SD7 Mach 2).
redo 2nd
sip FIRE
cle
single
insert new
3 macros
all
8
afl
auto
3
8
sip
solo 2
group
auto on
8 option
Snapshot Scopes and Crossfades expanded to allow per channel settings and per feature.
undo selected
update
3
S
cle
single
surface online
3
powered by
1
2
3
4
5
6
assign
Ÿ
Dynamic EQ 8 on any input or output path on each band, equivalent to 64 dynamic Eqs in DSP processing. Multi Band Compression Available on any 8 input or output processing paths, mono or stereo. This is equivalent to 48 Multi Band Compressors in DSP processing.
touch-n-turn
Snapshot List per snapshot editable text styles for Snapshot names (uses snapshot notes style). Snapshot Timing Progress Bar.
screen assign
8
3
8
3
8
3
8
3
aux
aux
MIDI Machine Control this has been implemented to allow Play/Stop and Locate commands to be triggered by Snapshots.
master
Assign / Unassign allows the building of custom fader banks via channel functions on the worksurface. left
Dedicated Talkback Channel.
8
3
8
3
right
8
3
Security Modes Unattended and custom Live mode with user definable password protection.
8
3
Optical I/O Option.
8
3
snapshot lcd function
lcd
10
10
10
5
5
5
5
0
0
0
0
0
0
0
0
0
0
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
40
40
40
40
40
40
40
40
40
40
40
50
50
50
50
50
50
50
50
50
50
50
50
60
60
60
60
60
60
60
60
60
60
60
60
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
10
10
10
5
5
5
0
0
0
5
5
5
5
10
10
10
10
10
20
20
20
20
20
30
30
30
30
30
30
40
40
40
40
40
40
40
50
50
50
50
50
50
50
60
60
60
60
60
60
60
0 0
10
5
0 0
10
5
0 0
10
5
0 0
10
5
0 0
10
5
0 0
10
5
0 0
10
5
0 0
10
0 0
previous
Overdrive software available for both SD8 and the new smaller footprint SD8 - 24 www.digico.org AW-293-00032-A AW-293-00036-A