PRODUCT GUIDE

from MONDO-DR 31.5

by Mondiale Media

PRODUCT DIRECTORY

PRODUCT GUIDE: MIXING CONSOLES

www.lawo.com

APB-DynaSonics ProRack-House (H1020)

Avid S1 Allen & Heath Avantis

The ProRack-House small-format mixer from APB-DynaSonics incorporates a wealth of professional features and exceptional performance in a 10 rack space unit. It is intended for live performance or recording applications, performing exceptions well with Digital Audio Workstation in both tracking and summing functions. Featuring 16 input channels with 20 Burr-Brown microphone pre-amplifiers, the last four of these input channels may be operated in a Dual Mono or Stereo configuration. All input channels have insert points and direct outputs which may be used to feed external recording devices. Four subgroups are provided that may also be used for additional line inputs. ProRackHouse includes six Auxiliary outputs along with Left, Right and two additional Mono Outputs, all on Balanced XLR connectors with bus inputs and insert. The chassis design features an adjustable connector assembly that freely rotates and can be set to three different angles relative to the front panel. The ProRack’s audio design includes the use of minimum phase-shift circuitry, expressive EQ and integrated mic preamplifiers used in a proprietary front-end circuit. In addition to superior audio quality, the ProRack’s reliability and serviceability were also a part of the primary design criteria.

www.APB-DynaSonics.com

The third mixer based on Allen & Heath’s 96kHz XCVI FPGA engine, Avantis is a standalone 64-channel / 42-configurable-bus console, with dual Full HD touchscreens, extensive I/O options, processing from the flagship dLive mixing system, and a rugged full metal chassis. The 96kHz XCVI core utilises next-generation FPGA technology with parallel virtual processing cores delivering 64 full processing inputs; a configurable 42-bus architecture with phase coherency on all mix outputs; ultra-low latency (0.7ms); and DEEP processing, embedding class-leading processing emulations within input and mix channels. 206 square inches of screen space, operating at a crisp 1080p Full-HD resolution, allows you to see and instantly interact with more of what matters, providing a seamless connection between the physical controls and the displays. When it comes to I/O, the console offers 12 XLR inputs, 12 XLR outputs, plus AES, and two I/O Ports accept option cards including Dante, Waves, gigaACE and MADI. The SLink port allows connection to the entire range of Allen & Heath audio expander hardware, the ME Personal Mixer range and IP remote controllers. As for FX, Avantis is armed with 12 stereo FX engines, featuring acclaimed RackExtra emulations of legendary classic reverbs, gated reverbs, delays, modulators and more.

www.allen-heath.com

The Avid S1 offers the unparalleled speed, rich visual feedback, and software integration of Avid’s high-end consoles in a slimline surface that’s an easy fit for any space or budget. Avid S1 gives the user deep hands-on control of their favourite audio and video software. Together with the free Avid Control app on your iPad or Android tablet, it provides great ergonomic efficiency, easy touch workflows, and Avid S6-style metering and processing views, so users can mix more intuitively and turn around better sounding mixes fast. While Avid S1 fits easily between the display and keyboard, it packs a lot of mixing power into its small surface. From motorised faders and knobs that respond to touch, to fast-access touchscreen workflows and soft keys that enable users to perform complex tasks with a single press, S1 provides the speed and versatility to accelerate any music, audio post, or video project.

www.avid.com

Dynacord CMS 1000-3 CMS 1000-3

The CMS 1000-3 is a compact mixing system with an intuitive design that offers Dynacord’s superior audio quality. As with its higher channel-count siblings, the CMS 1000-3 was created with the everyday needs of sound engineers in mind. As such, the solution features high-quality components and a robust design, ensuring that users can rely on the CMS 1000-3 to deliver day after day. The same design concept can be seen in the functionality of the CMS 1000-3. The mixing section features 10 low-noise, discrete microphone preamps, while six auxiliary busses, two of them switchable pre/post fader, allow monitoring flexibility. The two studio-grade digital effects processors offer 100 factory presets, including Dynacord’s world-famous PowerMate-reverbs and a TAP key allows for the precise setting of delay times. The builtin USB audio interface shares four playback and four 24-bit/96 kHz recording channels simultaneously with a PC or Mac while an additional MIDI interface allows integration of instruments. The 11-band stereo graphic equalizer can be routed to master or monitor channels. With its compact size, feature-rich design and Made in Germany build quality, the CMS 1000-3 is the ideal solution for a large number of demanding applications.

www.dynacord.com

DiGiCo Quantum338

DiGiCo Quantum3³8 is based on seventh-generation FPGAs and includes 128 input channels with 64 busses and a 24 by 24 matrix, all with full channel processing. There is a new look and feel dark mode application and three, 17-inch 1,000nit, high brightness, multi-touch screens, allowing both the meter bridge and soft quick select buttons to be displayed on each screen. There are also 70 individual TFT channel displays, and the floating Quantum chassis features 38 by 100mm touch-sensitive faders laid out in three blocks of 12 fader banks, plus two dedicated user-assignable faders, each complete with highresolution metering. A new level of local audio connectivity and performance comes via the ‘Ultimate Stadius’ 32 bit ADC and DAC conversion, which are built into DiGiCo Quantum3³8 as standard, alongside six single or three redundant MADI connections, dual DMI slots and a builtin UB MADI USB recording interface. Mustard Processing, Spice Rack, Nodal Processing and True Solo are also standard on the DiGiCo Quantum3³8.

www.digico.biz

KORG SoundLink

Incredible sound, stunning build quality, and precision studio effects make KORG Soundlink mixers the ultimate solution for live audio, home recording, and content creation. Developed by legendary designers, Greg Mackie and Peter Watts, the KORGs MW mixers are packed with all the essential features you expect on an analogue mixer but also include those normally found only on high-end mixing consoles. Available with 24 or 16-channels, both feature eight HiVolt microphone preamps capable of handling hotter inputs without distortion, delivering headroom way beyond any other mixer in its class. Greg’s intuitive design approach is immediately obvious - familiar analogue control avoiding complicated menu diving, along with quick recall of digital parameters. Combined with powerful features such as feedback cancellation, studio-grade one-knob compression, and KORG’s renowned 32-bit digital effects technology, SoundLink MW mixers have been designed to satisfy any audio mixing application. • Musician’s Phones Monitor for fast, one-knob mix boost. • Mute Groups to create various input combinations of musicians or parts for productions or service. • 8-bus configuration perfect for recording and live mixing. • Up to 10 simultaneous digital effects with recallable parameters. • Premium components including Velvet Sound™ A/D & D/A converters, and silky-smooth long-life ALPS® faders, and rotary controls.

www.korg.com

Lawo mc²36 Audio Mixing Console

The new Lawo mc²36 with built-in A__UHD Core offers 256 processing channels, available at both 48 and 96 kHz, and natively supports ST2110, AES67, RAVENNA, and Ember+. It provides an I/O capacity of 864 channels, with abundant local connections. It is available with 16 and 32-faders, and, with the new dual-fader bay, it offers 48 faders in the same space as a 32-fader board. Operating and visualizing features include Button-Glow and touch-sensitive rotary controls, color TFT fader-strip displays, LiveView™ video thumbnails, and super-precise 21.5” full HD touchscreen controls. Its built-in full loudness control is compliant with the ITU 1770 (EBU/R128 or ATSC/A85) standard, featuring peak and loudness metering which can measure individual channels as well as summing busses. The new mc²36 offers seamless third-party solutions and Waves SuperRack SoundGrid integration. With Lawo’s A__UHD technology, the mc²36 includes Lawo’s IP Easy functionality, based on Lawo’s innovative HOME management platform for IP-based media infrastructures. It makes connecting IP audio and I/O devices as easy as if they were baseband – the console automatically detects new devices and makes them available at the touch of a button. It also includes security features like access control and quarantining of unknown devices to protect your network.

www.lawo.com

PreSonus Studio Live 64S

With 128 (64 x 64) channels of USB recording, 128 channels of AVB I/O, flexible routing options, and the studio-grade audio quality that made PreSonus StudioLive mixers famous, the StudioLive 64S delivers a truly exceptional mixing and recording experience that’s in a class of its own. Powered by the quad-core FLEX DSP Engine, the StudioLive 64S is equipped with 76 mixing channels, 43 mix busses, and 526 simultaneous processors, including State Space modelled Fat Channel plug-ins on every input channel and mix bus. A complete recording solution, StudioLive 64S mixers ships with PreSonus Capture, which runs on both a computer and natively on the mixer, allowing users to record to a computer over USB, directly to an SD card - or both simultaneously for live recording and automated virtual soundchecks. No other multitrack software makes recording as fast and simple. Oh, and did we mention that users can patch any analogue input or digital return (AVB, USB, or SD Card) to any channel? This flexible feature also allows the user to freely route audio to an AVB network and record any of the inputs and FlexMixes on the 64 USB sends.

www.presonus.com

Midas Heritage D

The Midas Heritage D works with existing Midas DL I/O and features 28 faders, 1152 inputs/outputs in total. With 144 flexible inputs, 96 flexible aux sends, left/right/mono, 24 dedicated matrix busses, two monitor busses, two solo busses, and 24 effects slots, with effects from TC and new emulations of classics built for the desk. It runs at 96kHz, with Midas’s famed processing delay compensation and phase alignment giving a maximum latency of 2ms. The most striking feature of the Heritage D is the huge touch screen and the whole design is ergonomic, friendly and solidly built. The first of the consoles’ innovative features is its internet connectivity to the cloud. This means that firmware upgrades can now be done without a separate download and connection, and various versions can be accessed for up and downgrades. All your show files, in every version, time and date stamped, are stored in a cloud account with no more multiple show files on USB sticks. This also makes remote bug reports and fixes possible. With built-in RTAs using flexible processing (no more taking up effects slots), incoming signals can be analysed and their source determined. While this feature is still being tested, most of the time it can identify instruments correctly and prompt to load the appropriate labelling, presets, and so on. This can then apply to the most powerful feature of the Heritage-D: metadata. Everything in the Heritage-D can be tagged with metadata including channel names, functions, buttons and processing. This means users can bring up a page showing all channels that are tagged with certain parameters, for example, all channels with a compressor inserted, or gate, or both. They can then be adjusted simultaneously.

www.midasconsoles.com

Roland M-5000

The Roland M-5000 console’s internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows the user to essentially build a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues. Adaptable to numerous audio networks and I/O needs, expansion options including Dante, MADI, Waves SoundGrid, REAC and XI-SD,I opening the door to endless configurations, applications and emerging standards. Up to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats. The M-5000 maintains all the fidelity of the original source, starting with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection and circuit architecture, separation of analog and digital sound modules.

www.roland.com

Solid State Logic ORIGIN

As the latest in a long heritage of SSL studio mixing consoles, ORIGIN has traditional analogue studio workflow at its heart, while providing the perfect partner for a modern DAW-driven hybrid production studio. ORIGIN takes a fresh look at what a large format console needs to do to work in harmony with a modern DAW driven production studio. The functional design looks back at the origin of in-line consoles for signal flow inspiration, but its circuits are at the cutting edge of SSL’s latest analogue developments. These new analogue designs deliver huge dynamic range and bandwidth yet still have the characterful, pleasing qualities of space and depth that analogue breathes on digital audio.

www.solidstatelogic.com

Yamaha All RIVAGE PM

With the launch of two new control surfaces and DSPs last year, Yamaha’s Rivage PM Series became a fully scalable Ecosystem that gives sound engineers greater choice and flexibility for creating the optimal sound for an even wider range of applications in an unprecedented democratization in high-end audio. All RIVAGE PM systems use the same DSP Engines, the same I/O racks, and the same firmware. This means that sound, performance features, and basic operation remain consistent regardless of the user interface. The specifier simply has to choose which combination of control surface, I/O device and DSP best suits the production. While the more compact CS-R3 & CS-R5 favour a more touch-screen based operation, the larger CS-R7 & CS-10 provide a greater array of tactile hardware controllers for a more hands-on mixing experience. Whichever system is specified, they can all take advantage of Yamaha’s sophisticated Theatre Mode which facilitates scene and costume changes with four banks that can be used to store different EQ and dynamics settings for individual performers as well as the large range of onboard plug-ins from Yamaha own R&D engineers or those produced in conjunction with Rupert Neve Designs, Dan Dugan, Bricasti & Eventide.