THE
BROADCAST • INTERNET AUDIO • MULTIMEDIA • POST PRODUCTION • RECORDING
BUYER’S GUIDE A Special Promotional Publication From Intent Media
Consoles Guide 2014
Produced By:
In association with:
Professional Audio in Production
INTERNA TIONAL EDITION
CONTENTS
>>> CONTENTS THE
Welcome to the newly updated 2013 Audio Console Guide. At the heart of every great studio or production, be it music, broadcast, live, or post, is a great console and we’re here to help you navigate through the masses of manufacturers and find what’s right for you.
BROADCAST • INTERNET AUDIO • MULTIMEDIA • POST PRODUCTION • RECORDING
BUYER’S GUIDE A Special Promotional Publication From Intent Media
Consoles Guide 2014
Produced By:
In association with:
Professional Audio in Production
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INTERNA TIONAL EDITION
November Issue 2013
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Size Matters
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8
DiGiCo
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New Classics
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22 Calrec
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Jory MacKay, Audio Media
36 Soundcraft
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Cadac
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34 Presonus
Avid
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32 Mandozzi
AMS Neve
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30 Lawo
Allen & Heath
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>>> MEET THE TEAM > Sales Manager
38 Stagetec
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Mixing is an art form and one that is very personal with every engineer having their own unique tricks when it comes to making a performer sound just right. At the core of that process is the almighty console, but what’s right for you and your specific needs? Are you going to go digital or analogue? What sort of networking options do you need? Do you need something specialised for your job, or will a more general board do the trick? That’s where this magazine comes into play. Within these pages you’ll find information from 12 of the top console manufacturers outlining their latest offering and who, exactly, it’s meant for. Alongside these promotional articles we’ve included a few extra bits to further help you in your console quest. If you’re not in the market for a large console, Paul Watson has done the legwork to give you a rundown of the recent advancements in small-footprint digital consoles. On the other hand, if you can’t picture a studio without a 96-channel desk at its heart, Kevin Hilton dives into the archives and asks those who have spent decades behind a number of boards to help answer the question of ‘what makes a console classic?’ This, and the other Guides in the series (Monitors & Headphones, Microphones, Live, Broadcast Audio, and DAWs & Plug-ins) are produced in conjunction with Audio Media and are designed to help you navigate your way though the information explosion and find the product that suits you. Audio Media is an internationally distributed magazine that deals with professional audio production in film, TV, radio, music, games, and on stage. It’s available in both print and digital editions. For more details, go to www.audiomedia.com.
Graham Kirk graham.kirk@intentmedia.co.uk
> Deputy Editor Jory MacKay jory.mackay@intentmedia.co.uk
> Head of Design & Production
40 Directory
Adam Butler adam.butler@intentmedia.co.uk
> Production Executive Jason Dowie jason.dowie@intentmedia.co.uk
> Designer
24 DHD
www.audiomedia.com
Jat Garcha jat.garcha@intentmedia.co.uk
AUDIO MEDIA (UK) Audio Media is published by Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LN, England. www.audiomedia.com Telephone: 0207 354 6001 www.nbmedia.com
The contents of this publication are subject to worldwide copyright protection and reproduction in whole or in part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care is taken to ensure accuracy in the preparation of this publication but neither NewBay Media nor the Editor can be held responsible for its contents or any omissions. The views expressed are those of the contributors and not necessarily those of the Publishers or Editor. The Publishers accept no responsibility for the return of unsolicited manuscripts, photographs, or artwork. © 2013 NewBay Media. All rights reserved.
November 2013 3
SMALL-FORMAT
All Things EQual? As small-footprint digital consoles continue to evolve, what's changing under the hood in terms of EQ and dynamics? Paul Watson finds out what users can expect as standard from some of the industry's leading manufacturers...
DiGiCo’s smallest live console, the SD11
DIGICO DiGiCo’s smallest live console offering is the SD11, a 19-inch rack mount or tabletop mixer which packs plenty of punch thanks to a combination of Stealth Digital Processing and floating point Super FPGA technology. In addition to standard channel processing, which includes channel delay, single and multi-channel presets, dual insert points, hi- and lo-pass filters @ 24dB/octave, and a four-band parametric EQ with band curve selection, DiGiCo provides DYN 1 (compressor, de-esser, or assignable multi channel compressor) and DYN 2 (gate, compressor or ducker). Furthermore, the SD11 benefits from four dynamic EQ processors, which are all individually assignable to any input or output channel; these offer dynamic processing to each of the console’s four standard parametric bands, plus there are also four assignable multiband compressors. The console also has 12 gangable 32-band graphic EQs, four stereo effects (from a palette of 33), and eight control groups (VCAs). In addition, there is an 8 x 8 output matrix, dual solo busses, and a master buss, so users essentially have 39 busses at their disposal.
SOUNDCRAFT Being part of the Harman family, Soundcraft’s small-footprint offerings all benefit from Lexicon effects, BSS graphics, Studer signal processing, and dbx dynamic processing. The Si Expression is the manufacturer’s smallest digital console and comes in three guises: Si Expression 1, a 19-inch rack mount unit (16 faders); Si Expression 2 (24 faders); and Si Expression 3 (32 faders). The EQ and dynamics feature set is the same for all of the models: a four-band EQ offers low and hi shelf, two bands of parametric EQ with variable Q, and a range of 22Hz to 20KHz to complement the 31 BSS GEQ processors and hi-pass filters; GEQ LO selects the lower half of the EQ from 31Hz to 630Hz, and GEQ HI caters from 800Hz to 16kHz. There is a GEQ on every aux, matrix, and buss; and 20 aux busses, four FX busses, and eight matrix busses, for a grand total of 35 busses. The dynamics section has controls for the gate and compressor (on every channel): the compressor controls are threshold, attack, release, make-up gain, and ratio; and gate controls are S/C HPF, S/C LPF, threshold, depth, attack, and release. There is a gate and compressor on every input, and a compressor on all of the output busses. In addition, four stereo Lexicon effects engines provide more than 20 preset effects. All effects returns are independent of the channel inputs and users are able to adjust all the parameters of the active FX patch. The dynamics section has controls for the gate and compressor (on every channel): the compressor controls are threshold, attack, release, make-up gain, and ratio; and gate controls are S/C HPF, S/C LPF, threshold, depth, attack, and release. Gate and compressor are on every input, and it’s compressor only for all of the output busses.
Harman’s Soundcraft Si Performer 4 November 2013
The International Guide To Consoles 2013
SMALL-FORMAT
MIDAS The Midas PRO1/PRO1 C is the manufacturer’s smallest-footprint consoles. It has a total of 27 sample-synchronous, phase-coherent mix busses which comprise 16 user-configurable buses (mixes, subgroups, or mix minus groups), and eight matrix busses. The matrix busses source from inputs as well as groups so can be used as eight additional aux mixes (monitor mix and FX sends) if desired, to provide a total of 24 mixes (plus L, R, and mono) for monitor mixing. All busses bar the mono one can be linked as stereo pairs. The PRO1 also benefits from up to 12 multi-channel FX engines, 28 Klark-Teknik DN370 31-band graphic EQs, and eight VCAs. PRO1 also features eight aux returns, all of which feature four-band Midas parametric EQ and insert points; these returns can be used as returns for the PRO1’s internal FX processors, or as additional mic channels, if sufficient mic inputs are available on the I/O hardware.
AVID Avid’s new S3L console boasts 27 busses, eight matrices, and eight VCAs, plus the capacity for as many AAX plug-ins as one might want to run. There is processing on all outputs and busses – a first for Avid – and the S3L channel strip includes EQ, dynamics, filter, and gain effects. Standard AAX plug-ins include Dynamics III which features a compressor/limiter, expander/gate, and de-esser; an EQ III which is a high-resolution, double-precision 48-bit EQ; Mod Delay III variable delay processing; the Pultec Bundle analogue EQ simulator of three classic designs; BF-2A, which emulates the LA-2A vintage tube compressor; BF-3A, a levelling amplifier for voice and instruments; the Purple Audio MC77 – a digital replica of the Purple Audio MC77 limiting amplifier; Reel Tape Saturation analogue tape colour, compression and saturation effects; and ReVibe, a high-quality roommodelling reverb.
BEHRINGER Behringer’s X32 is a 25-buss digital console with main LCR busses, six matrix busses, and 16 mix busses each featuring inserts, a six-band parametric EQ, and full dynamics processing, along with eight DCA and six mute groups. Each channel has a compressor and four-band parametric EQ, and the X32 also boasts an on-board Virtual FX rack which features eight true-stereo (16 mono) FX slots; these include delays, choruses, and dynamics as well as high-end simulations such as the Lexicon 480L, PCM70, and EMT250; and the Quantec QRS. According to the manufacturer, the rack is also capable of running four production-quality, true-stereo reverbs concurrently with eight channels of 31-band graphic equalisation.
ALLEN & HEATH Allen & Heath’s modular MixRacks form the heart of the manufacturer’s iLive digital mixing system. The iDR10 features a 64 input x 32 mix bus architecture with full processing on all input and mix channels, so you don’t need to allocate or share processing. The iDR-64 RackExtra module provides enough DSP for all the channel processing to be available all the time, together with eight stereo internal effects devices. Input processing includes hi-pass filter, noise gate, parametric EQ, compressor, limiter/de-esser, and delay. Mix processing includes both parametric and graphic EQ, compressor, limiter, and delay. The module is called RackExtra because it includes a virtual eight-slot rack, which can be loaded with up to eight additional processors from a library of many emulations of high-quality effects devices. The effects can add an extra eight ‘short returns’ complete with parametric EQ bringing the total number of sources feeding the mix to 72. The RackExtra includes a DynEQ4 dynamic EQ, which is a model of the industry-standard stereo four-band dynamic equaliser; MultiBD3 multiband compressor; MultiBD4 multiband compressor; SMR Live (Spatial Modelling Reverberator); 2Tap Delay; Gated Verb; and ADT Doubler.
Avid’s new S3L system
6 November 2013
Yamaha’s CL5
YAMAHA Each of Yamaha’s new CL Series consoles feature three Virtual Racks of processing: the GEQ rack, the Effect Rack; and the Premium Pac. The Premium Pack features Yamaha’s acclaimed VCM technology, one of the leading features on the CL consoles; there are six varieties of EQ and compressor including two from Rupert Neve Designs: the Portico 5033 EQ and Portico 5043 compressor. Rupert Neve himself worked with Yamaha on these. Other rack devices are thorough replicas of analogue equipment, even the non-linear stuff like Transformer Performance. The Effect Rack features eight units offering a choice of 46 ambient effects including the popular Rev-X, and in addition, there are eight types of insertion effects such as multiband compression and tape saturation. Yamaha has tuned many of these new reverbs specifically for live applications so users don’t need to make many tweaks; the GEQ rack contains 16 units of GEQ and if you use Yamaha’s ‘Flex 15’ option, you can have bring that number up to 32 units of GEQ. Furthermore, some of the effects rack can be turned into GEQ if desired. www.digico.biz www.soundcraft.com www.midasconsoles.com www.behringer.com www.allen-heath.com www.avid.com www.yamahaproaudio.com The International Guide To Consoles 2013
CONSOLE TECHNOLOGY
Future Classics Often the topic of fierce debate, Kevin Hilton attempts to answer the age-old question of what, exactly, makes a console classic?
LIKE LOVE, hate, and genius, classic is an overused word, to the point where it can be almost meaningless. But in the right context it still has some relevance, so that something that has stood the test of time can be described as ‘classic’. This is as true for mixing consoles as it is for cars, but, in both cases – aside from the practical matters of performance and ease of driving – what makes for something that endures can often be hard to quantify. This nebulous quality is summed up by Tim Summerhayes, who says that during the 1970s he kept hearing people say “Well, there’s just something about it,” when talking about equipment. “It related to new or old outboard equipment, a console, a tape recorder, and even samplers and drum machines,” he explains. 8 November 2013
“I think there are few if any classic digital consoles. But in decades yet to come perhaps today’s transparent beast will become tomorrow’s classic. Somehow I doubt it.” Dennis Weinreich In the classic car world, marque names that are still producing new cars today – like Jaguar, Ferrari, Alfa Romeo – exist alongside makes that are now only historic examples of past glories: Austin Healy, Jensen, Alvis. The same is true with consoles; SSL, Calrec, AMS Neve,
The SSL SL 4000E quickly became a standard in the recording industry after its launch in 1981
API, and Midas have all produced classics, as did EMI, Helios (originally made for Olympic Studios), and MCI, which are no longer produced. Summerhayes ‘grew up’ at RAK Studios in St Johns Wood, London. RAK opened in 1976 and is still going today with its original API desks in Studios 1 and 2. Studio 3 houses a Neve VRP Legend with Flying Fader automation, while a SSL 4056 E with G series computer is in Studio 4, making the complex a working museum for vintage desks. Starting out in studio work, Summerhayes says he “learned the trade on API, MCI, Harrison, and, of course, SSL”. He adds that “all were fabulous learning curves and were able to capture the sounds of the time”, making The International Guide To Consoles 2013
CONSOLE TECHNOLOGY
A ‘classic’ AMS Neve Capricorn installed at Skywalker Sound
them the studio desks of choice particularly during the 1970s and 80s. The ‘of course’ in connection to SSL is a sign of the brand’s ubiquity back then. SSL is not as revered for its sound quality but is noted for its features and ease of use. “SSLs are less desirable sonically but are a joy to work on, so are classics because of workflow,” comments Dennis Weinreich, who also began as a music recording engineer before moving into post with his own Videosonics facility and then Pinewood Studios. A big selling point for SSL was its fader automation. In 1981 the technology that changed the way many people – mostly in the A&R department – thought about music mixing burst on the scene. Total Recall was a computerised way to re-set the faders and EQ on the analogue SL 4000 E according to previous settings. It made SSL desks almost standard in the recording business because A&R people would call studios asking if they had one. Those that said ‘yes’ went on the list of possibles for sessions. The thinking seems to have been that computer assisted set-up and mixing made sessions run smoother and more quickly, making for less studio time (which has always been expensive) needing to be booked. Musician and mixer Andy Richards spent a lot 10 November 2013
of time in SSL-equipped control rooms during the 1980s playing keyboards for the likes of Frankie Goes to Hollywood and The Pet Shop Boys. He says the reality was very different: “The consoles were very expensive and you could spend two or three days’ studio time resetting the mix, even with the computer.” Dennis Weinreich observes that a classic console must have something unique about it. Total Recall, with the Ultimation moving fader system, wasn’t unique – Neve introduced the first moving fader system, Necam (Neve computer assisted mix down), in 1977 – but it captured the imagination. Another criteria for classic status, according to Weinreich, is “a unique and desirable sound”. Regardless of the size of the console, he says, Neve, Helios, Harrison and MCI desks “sound amazing and are classics sonically”. Neve desks in particular are noted for their excellent sound. The company came to attention with its 1073 mic preamp, launched in 1970. Three years later it moved into full consoles with the 8048, which featured the 1081 mic preamp and equalizer. Pondering whether any of today’s digital recording consoles will be regarded in a similar way to the Neves and MCIs of the past, Weinreich says the technology brings more overall compromises sonically. “By virtue of
them being digital that are supposedly transparent,” he says. “But they lack the natural coloration of analogue circuits. I think there are few if any classic digital consoles. But in decades yet to come perhaps today’s transparent beast will become tomorrow’s classic. Somehow I doubt it.” Tim Summerhayes moved from studio work to mobile recording with Fleetwood Mobiles and now broadcast and event work through Red TX. “When we put Fleetwood together we opted for the new Euphonix CS2000s,” he recalls. “These were digitally controlled analogue desks and were pretty much state of the art. And there was just something about them. At Red TX we have the Studer Vista 8 system, which sounds great. Everyone I know now seems to have a favourite digital console and I firmly believe that the favourite one, and the one that sounds ‘the best’ is the board that the operator knows how to use.” Another leading practitioner in live music for broadcast and DVD/Blu-ray release is Toby Alington of Richmond Studios. In recent years he has worked on The BRIT Awards and other events using the Floating Earth mobile, which houses a SSL C200. Alington takes up the analogy with classic cars, saying that like them, their console equivalents are “lovely to look at and be nostalgic about but are a pain to The International Guide To Consoles 2013
CONSOLE TECHNOLOGY
Reliability and a solid support network make the Yamaha PM5D a ‘classic’ console for FOH engineer Ray Furze
maintain”. He acknowledges many have a “sweet” sound but that in deadline driven work, like his, things can be done quicker on a fast modern console, with the speed allowing more time to try things out. In broadcasting, layout and ease of use have been important basic requirements on consoles; those that fulfilled the criteria well went on to be regarded as classics. At one time BBC desks were designed and built in-house, although later they were produced on a commercial basis by outside manufacturers. A key point here was the fader running the opposite way to how everyone else had them. The thinking was that the operator pulling back the fader to increase the level and pushing it away to decrease the volume was a more intuitive way of working. Among the analogue stalwarts in TV broadcast were Neve and Calrec, while in radio Alice, Sonifex, MBI, and Audix Broadcast were widely used. Today there has been a definite shift to digital. BBC Radio OB manager Richard Earle comments that all the major functions on a desk have to be easily and quickly located in a live situation. Because of this, he says, the SSL C200 is used for music mixing while the Studer Vista 8 is used for live sports and other fast-moving shows. Earle says a standout of the Vista 8 is its touchscreen access to EQ, aux sends, and dynamics, with the ability to bring ‘buried’ channels back to the top layer on the centre Vistonics panel. Despite what would now be seen as its very specific needs in terms of desk lay-out and audio features, live sound had to make do in its early days with modified studio desks before purpose-built systems began to appear. The first console designed for live sound was the WEM Audiomaster. Although it had only five channels it could be connected with others in series and gave the sound engineer more 12 November 2013
control over the output of the loudspeaker rig. In the early 1970s, amplifier manufacturer Midas produced the PR (aka Black) Series of desks, which spawned the classic PRO 4 and PRO 5. Tim Boyle, managing director of Clair UK (formerly Concert Sound), agrees these are classics because of their sonic quality and ease
“Everyone I know now seems to have a favourite digital console and I firmly believe that the favourite one, and the one that sounds ‘the best’ is the board that the operator knows how to use.” Tim Summerhayes of use, although not so much for their lay-out: “The earlier Midas desks had the sensitivity right next to the faders, which could cause problems. But channels could be removed with only three and a half screw turns. So if one went down it could be taken out and replaced later and everything was still set with the EQ.” Another factor in Midas’ favour was its build quality, which should be a consideration for any type of mixing desk. Boyle comments that because the frames were well built they didn’t flex too much while in the truck, which avoided trouble with the electrical joints. Also a plus point – and again this applies to classic studio and broadcast consoles – was the use of good quality faders, in this case Penny & Giles, which were expensive but more reliable and smoother than cheaper alternatives. Front of house engineer Ray Furze, who has toured with James, The Spice Girls, and will be
going out on the Boyzone 20th anniversary tour later this year, comments that whether analogue or digital, a classic console has to be “reliable and invisible, in that order”. Support on the road, when something could go wrong anywhere in the world, is a practical if not very glamorous reason why a desk might be regarded over others. “With a global act it is very important to be able to find a replacement or service very quickly in the most obscure parts of the world this is one of the main reasons I stuck with Yamaha, from the PM 3000/4000 to the PM5D, for so long,” Furze says. On his second point, Furze also returns to the motoring analogy: “I believe a major consideration has to be the ergonomics. This is why I say the desk should be an ‘invisible’ tool not unlike an F1 car. When the operator/driver is working at their best it should disappear and leave them to get on with thinking about and reacting to the job in hand. The classic desk of the future might not be the one with the most functions or even be the best sounding but the one that makes most engineers comfortable and able to get on with the mix.” On a purely aesthetic level old analogue consoles in particular look wonderful, with their rows of coloured knobs and faders. This adds to the nostalgia and reaffirms the classic status of any console. Certainly modern digital desks and emerging virtual mixers cannot match this but, as Andy Richards concludes, what they are able to do – record and re-call hundreds of 5.1 tracks almost in an instant – more than makes up for any lack of tactility or eye-pleasing design. So perhaps a virtual mixing system with motion control instead of faders could be a classic console in another 40 years. And why? Well, there might just be something about it... The International Guide To Consoles 2013
ALLEN & HEATH
Great British Mixing For over 40 years, Allen & Heath has been at the forefront of professional sound. Renowned internationally for its British-designed, high quality products, the company has set many benchmarks in sound technology, developing industry standard products for the DJ, PA and House of Worship markets, and becoming an early pioneer of distributed digital mixing systems.
Allen & Heath started out providing mixing consoles for the bands Genesis, The Who and Pink Floyd. Its current portfolio covers a broad spectrum of the industry, with recent users including Frank Ocean, Rita Ora, Adele, BBC Outside Broadcast, Maracana Stadium in Brazil, Pete Tong and John Digweed. GLD LIVE DIGITAL MIXING SYSTEM GLD is a user-friendly, cost effective and scalable live digital mixing system, conceptually based on the hugely successful iLive series. A standard GLD system offers 28 XLR mic inputs, expandable up to 48 inputs by adding plug n’ play audio racks connected over dSNAKE Cat5 digital multicore, making it simple and affordable to build the system as needs grow. The GLD-80 and larger GLD-112, which has an extra bank of 8 control strips, boast analogue-style controls and an intuitive touchscreen interface. The layout and appearance can be customised quickly and easily, and GLD delivers outstanding audio performance, with a highend mic preamp, low latency and the DSP muscle to provide full processing without compromise. The FX engines feature beautifully crafted emulations of industry classics, many of which are taken directly from the iLive system. Networking cards allow the user to link GLD systems, make multitrack recordings or connect with other systems, and an Aviom® compatible Monitor port allows connection to personal monitoring systems. Finally, additional remote control options are provided by the GLD Remote and GLD Editor apps. QU-16 RACKMOUNT DIGITAL MIXER Qu-16 is a compact digital mixer with a professional feature set and an entry-level price tag, packaged in a stylish 19”format. Inheriting technology from the acclaimed GLD and iLive digital mixing systems, Qu-16 features total recall of settings (including 17 motorised faders and digitally controlled preamps), an intuitive Touchscreen, Qu-Drive integrated multi-track recorder, dSNAKE for remote I/O and personal monitoring, multi-channel USB streaming to Mac, Qu-Pad control app, and a selection of emulations from iLive’s renowned FX library to deliver class-leading audio quality. 14 November 2013
ALLEN & HEATH
ME PERSONAL MIXING SYSTEM The ME Personal Mixing System is a next generation personal monitoring solution, universally compatible with Allen & Heath and other pro digital mixers. Central to the ME system is the small, easy to use and fully-customisable ME-1 personal mixer, powered and connected via CAT5 and capable of managing up to 42 sources. The accompanying ME-U hub enables star connection of multiple ME-1 mixers and interconnection to other professional digital mixers via MADI, Dante or EtherSound.
ZED SERIES The ZED range of small format, USB-equipped analogue mixers is designed to be flexible and affordable for the modern working musician to use on the road or in the studio. The series currently comprises 14 models ranging from the ZED-10FX mini mixer to the ZED-436 four bus mixer. Frank Ocean’s recent world tour used an iLive system at FoH
ILIVE DIGITAL MIXING SYSTEM Allen & Heath’s iLive digital mixing systems feature an extremely flexible architecture with large-scale audio distribution and control, and have built a strong reputation for audio quality and ease of use. 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, such as Dante or Allen & Heath’s proprietary ACE (Audio Control over Ethernet) link, which allows cost effective, long distance, point to point control and audio communication over a single CAT5 cable up to 120m in length by combining digital audio and Ethernet traffic. All MixRacks feature the same 64x32 RackExtra DSP mix engine architecture, providing processing for 64 channels, 32 mixes, and 8 stereo FX processors. The latest dualcore DSP technology handles all the FX and mixing along with the full dynamics, EQ and delay for all inputs and outputs simultaneously. iLive’s RackExtra FX suite includes a comprehensive range of classic emulations including reverb, delay, ADT, chorus, flanger, hypabass, and gated verb. The Port B option slot allows further audio networking possibilities, for example digital mic splitting and multi-track recording, with ACE, EtherSound, Dante, MADI, ADAT, WAVES and Aviom® interfaces available, while a built-in network switch and MIDI ports at each end allow remote control using laptops, touch tablets and MIDI devices. The racks are compatible with the Allen & Heath PL Series remote controllers and iLive Editor software, a user-friendly program that enables both offline set up and online real time operation of the system with or without a Surface connected. Allen & Heath has also designed the iLive Tweak app for iPhone and the MixPad app for iPad, providing control of iLive’s essential functions for live mixing. www.audiomedia.com
XB SERIES The ultra-compact XB-10 and the larger XB-14 broadcast mixers are designed for a range of applications from small radio or internet broadcast studios, to college and university radios, podcasting and content creation. Both mixers are equipped with a range of features specifically for broadcasters, including a telephone communication channel, mic channel on switch sensing, stereo channel start/cue outputs for CD deck transport control, and automatic muting of speaker outputs.
INFORMATION
Allen & Heath Ltd. (HQ) T: +44 (0)1326 372 070 E: sales@allen-heath.com www.allen-heath.com American Music & Sound (USA Distributor) T: +1 800 431 2609 E: info@americanmusicandsound.com www.americanmusicandsound.com Audio-Technica Ltd. (UK Distributor) T: +44 113 277 1441 E: sales@audio-technica.co.uk www.eu.audio-technica.com/en/allenheath
November 2013 15
AMS NEVE LTD
Neve – the Rolls Royce of Consoles Custom-crafted in Burnley UK, to an uncompromising British specification and using only top quality components, AMS Neve’s mixing consoles – both analogue and digital – are the gold standard throughout the world. You’ll find them in legendary music studios such as The Village, Ocean Way, British Grove, AIR and Abbey Road, at every major Hollywood scoring stage, and in top post-production facilities in London, Hollywood, Bollywood and beyond.
Whether it’s our flagship analogue 88RS and digital DFC consoles, our classic outboard units, CineFile and AudioFile dubbers and editors, or the compact modular Genesys, the same values always apply: sonic excellence, handmade-in-Britain quality, and – just as important for an industry where time is money – workflow-enhancing ease of operation. GENESYS A hand-built expandable analogue recording console with digital workstation control and a base configuration starting under £30,000, Genesys puts Neve quality within reach of the smaller studio. Building 40 years of technical heritage, it includes our 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, hands-on DAW control for Pro Tools, Logic, Nuendo and more, eight
One of two Neve Genesys consoles in Tokyo’s Syn Studios, co-owned by Nick Wood and Simon Le Bon.
16 November 2013
GENESYS • New ground-up Neve analogue design • Up to 64-faders/128 inputs • DAW control, 5.1 monitoring and mixing • Eight auxes, groups, two main outputs • Four effect returns, two cue mixes • 16-ch, 8-track and 2-track metering • Optional Neve EQ & Dynamics and transformer-coupled microphone pre-amp inputs • Optional digital inputs & outputs with FireWire interface, motorised faders (with Encore automation software) • Optional Total Recall™ software auxiliary buses, eight group buses, two main outputs, four effects returns, comprehensive metering, 5.1 monitoring and mixing, two cue mixes, and talkback services. Genesys can be expanded to 64 channels in a straight or articulated frame, with options including motorised fader automation, Recall™, mastering-grade 192kHz A/D and D/A converters with FireWire interface, digitally controlled EQ and dynamics, remote
mic amp control, and much more. In any 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. 88RS With its unmistakeable Neve qualities of exquisite design, peerless craftsmanship, and legendary Neve sound, the 88RS continues the Neve bloodline of analogue consoles with a remarkable advance on anything heard before. Professionals throughout the world have chosen the full clean sound of the 88RS console. Its high bandwidth, pure audio path, superior dynamics, greater dynamic range, and greater control make the 88RS the first choice for recording and mixing the purest fidelity recordings. Designed in consultation with top producers and recording engineers, it is equally at home on music sessions and (especially with the addition of the SP2 Scoring Panel) for recording film scores, and it’s the unanimous choice of Hollywood’s big four scoring stages – Fox, Skywalker, Sony and Warner. SP2 SCORING PANEL FOR 88RS A specially designed film-scoring option for the 88RS, the SP2 Scoring Panel and stemmaker delivers an astonishing increase in flexibility and productivity. When tracking it easily handles even the most complex scoring requirements including full orchestra in several sections plus pre-records and multiple reverbs. The International Guide To Consoles 2013
AMS NEVE LTD
The AMS Neve DFC Gemini at Alvernia Studios, Poland
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.
88RS
88RS • Designed for full surround from the ground up • Motorised large and small faders • AFL surround solo monitor • Overpress PFL on each channel fader • Four main output faders, L/R, C, S, and LS/RS • Acoustically optimised frame • Supplied with or without patch • Enhanced ‘S’ channel strip • Enhanced spectral Neve format equalisation • Legendary Neve soft knee compression • Audio performance beyond 24/192 digital SP-2 option for enormous scoring power and flexibility It speeds up the mixing process, too, delivering multiple 5.1 stems plus a full mix in a single pass. When Abbey Road – one of Britain’s leading score-recording studios – specified its new Neve 88RS for Studio Two (which has a fairly narrow control room), the engineers were asked to chose between a 72-fader console with no Scoring Panel or a 60-fader version including the SP2. No contest. They’d have liked the extra faders, but the SP2 was a musthave. 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 www.audiomedia.com
the standard among the world’s premier motion picture facilities. From the outset, the DFC Gemini was designed for optimum mix performance. At the heart of the DFC Gemini is USP, the world’s most powerful mix engine, capable of delivering the legendary Neve sound across 1,000 audio signal paths at 96kHz 24-bit in a single, high-resolution, DFC signal processing tower. AMS Neve’s wealth of experience in ergonomic design has created the most flexible surface in the industry designed to maximise both controllability and feedback to the user. The control surface provides rapid access to DFC GEMINI • 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 • WavTrakTM display providing the user with level and dynamics metering, graphical EQ curve and audio waveform information on a path by path basis.
ENCORE AUTOMATION When you work on AMS Neve consoles, you don’t just get a better result, you also get a faster result. Top engineers are always pushing the envelope, and our R&D team work tirelessly to give them more flexibility, more options and increased throughput. AMS Neve’s proprietary Encore sutomation software is a case in point. The latest version – Encore2 v7, for USP (Ultra Scale Processor) systems – not only adds several new ‘beyond 7.1’ 3D surround options, but delivers a massive hike in productivity. Increased bandwidth means that automation throughput is now three times greater than v6, with a theoretical maximum of five million events per mix/pass (up from 1.5 million in v6).
INFORMATION
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
November 2013 17
AVID
Avid: The Mixing Revolution Continues…
For over 25 years, Avid has led the way in professional audio innovation, from pioneering mixing ‘in the box’ to developing console technology that controls multiple DAWs. But times are changing… To help you overcome tomorrow’s challenges today, discover Avid's latest innovations. Whether you mix music, sound for film or television, or live performances, the industry has shifted dramatically in the last five years. For music and post professionals, session complexity continues to grow, turnaround times are tighter, budgets are smaller, and there’s more competition. Live sound professionals are routinely faced with complex and varying setups, shorter prep times, and an increasing demand for studio-quality live recordings. That’s why Avid set out to design two revolutionary new consoles—Avid® S6 for music and post production, and Avid S3L for live sound—to help audio professionals successfully conquer real-world issues, with technology built for the future. Here’s a look at how Avid designed these two systems with extensive input from its customers.
AVID S6—MIXING REDEFINED
Avid S6 features a unique modular design, enabling you to take total control of Pro Tools and other DAWs.
Mixing in a recording studio or post facility has evolved tremendously from the “big iron” consoles of 20 years ago. Professionals are now tasked with doing more—often with less—and the expectation to create and deliver higher quality, more compelling content has never been greater. They’re also faced with some serious new challenges: • • • •
FROM WISH LIST TO REALITY To help them achieve success, music and post pros asked for an intuitive control surface that speeds up workflows and minimizes complexity, leaving more time to create and deliver higher quality content. They wanted a surface that deeply integrates with Pro Tools® and other Avid solutions, yet welcomes third-party DAWs to facilitate parallel workflows and expand business opportunities. And they asked for a surface that’s priced to meet current needs, but scalable for future business growth. These form the foundation of S6, a revolutionary new control surface with a first-of-its-kind modular design. The surface comes with your choice of engine—S6 M40 for large-scale productions that require maximum faders/channels, visual feedback, and customizability, or S6 M10 for smaller rooms and budgets—plus individual modules that provide faders, knobs, high-res metering, and more. BUILT FOR THE FUTURE
Sessions are growing more complex and are often subject to frequent changes Mixers are tasked with creating and delivering more content in shorter timeframes There are more demands for exacting levels and delivering in multiple formats Clients want higher quality content faster, despite limited resources and budgets
Customize the surface with the controls you need now, with easy scalability for the future.
Initiated by customer feedback, here’s some of what S6 offers: These are the reasons why Avid began designing a next-generation control surface—one that would enable its customers to tackle these issues head-on. To get more detailed feedback, Avid met with top producers, engineers, mixers, and artists to understand their workflow intricacies. 18 November 2013
•
Revolutionary modular design—Scale the surface horizontally and vertically, choosing the modules you need to match your current workflow and budget, with room for expansion as your business grows The International Guide To Consoles 2013
AVID
•
•
•
Superior ergonomics—From the multipoint touchscreen to top-lit knobs and Pro Tools waveform scrolling, S6 feels like a true physical extension of your software, providing the critical visual insight and workflows you need to mix faster and more creatively Intelligent DAW control—Take simultaneous control of multiple Pro Tools, Logic, Nuendo, and other EUCON-enabled audio workstations, enabling you to handle complex sessions, make changes quickly, and diversify your services to stand out from the crowd Proven and trusted technology—Get the exceptional performance and audio quality you need to deliver the best sounding mixes possible—on time, every time
AVID S3L—INNOVATION TAKES CENTER STAGE
TOMORROW’S TECHNOLOGY TODAY Initiated by customer feedback, here’s some of what S3L offers: •
•
•
•
Power and portability—With its high-performance HDX-powered mix engine, superior AAX plug-in processing, and low-latency Ethernet AVB connectivity, you get uncompromising power in a cost-effective, compact system that easily loads into a car, bus, or plane Easy scalability—S3L is fully modular, enabling you to scale and reconfigure a system quickly, from 16–64 I/O channels, with dragand-drop ease, and it uses lightweight, inexpensive Cat5e cables, putting an end to expensive, bulky analog snakes Studio-grade recording—Connect your laptop to the system’s network and record or play back up to 64 audio tracks using industry-standard Pro Tools (included), plus built-in 2-track USB recording enables fast mix delivery The software you know and trust—Easy-to-use VENUE software accelerates mixing and recording efficiency, eliminating system complexity; because VENUE is at the heart of every Avid live sound system, S3L will be a familiar experience for many sound engineers
The ultra-compact Avid S3L System offers incredible sound, power, and versatility for the stage and studio.
The world of live sound continues to shift, as more professionals leave their analog mixing consoles and processors behind and adopt an all-digital workflow. But whether you’re mixing in the digital domain or straddling the fence between analog and digital, there are many ongoing challenges: • Shows are growing more complex, with greater channel and routing requirements • The demand for studio-quality live recordings is soaring as a revenue generator • Setups can vary greatly with each performance set, with little changeover time Avid’s live sound systems have been #1 in concert touring for years, as they address the challenges above. But the company recognized that those who mix in smaller venues—such as in a club, house of worship, theater, or conference—have additional needs. To get a better understanding of their challenges and workflows, Avid met with numerous live sound professionals from diverse backgrounds to see how it could evolve its current successful technology into something even more revolutionary. DIFFERENT APPLICATIONS—COMMON GOALS Sound engineers who tour the club circuit or work in corporate AV asked for a powerful yet compact and affordable system that can be easily carried and transported in a car or bus. Those in house of worship, club, and theater sound wanted a more flexible system that quickly and easily scales to accommodate a wide range of performance setups—with simplicity that doesn’t hinder visiting mixers and volunteers. And they requested a system that makes recording easy, so they can immediately make their mixes available to clients and audiences. These are the reasons why Avid designed Avid S3L, a compact, modular, networked live sound system that offers the performance, sound quality, and features that countless live sound professionals have come to rely on in a system that’s built for the future. www.audiomedia.com
Connect up to four Stage 16 I/O boxes and place them anywhere in the venue—up to 328 feet apart—for ultimate flexibility.
INFORMATION
Avid—US Headquarters 65–75 Network Drive Burlington, MA 01803 USA t +1 978 640 6789 f +1 978 640 3366 Avid—European Headquarters Pinewood Studios, Pinewood Road Iver Heath, Bucks, SL0 0NH UK t +44 (0)17 5365 5999 f +44 (0)17 5365 4999 Learn more: www.avid.com Find your local reseller: www.avid.com/find-reseller
November 2013 19
CADAC
Old School – New Ideas
Although Cadac has been designing and manufacturing some of the world’s finest recording and live production consoles since 1968, the latest Cadac consoles represent radical yet genuinely intuitive new concepts of operation, while incorporating the latest in cutting-edge technology. Starting in 1968, for the first 15 years of its existence Cadac designed and manufactured custom recording consoles for the world’s leading studios, many of which produced some of the greatest all-time recordings from artists as diverse as The Sex Pistols and Motorhead, to Queen, Pink Floyd and Paul Simon. In the mid-1980s Cadac began designing consoles specifically for live theatre applications. In this specialised area of sound reinforcement the ultimate aim is to maintain the illusion that no amplification is being used. The uncompromising transparency of Cadac consoles to this day meets this requirement perfectly. Cadac’s pristine audio reproduction has also found favour with many touring artistes who demand high standards. Cadac consoles have been employed on numerous international tours including Pavarotti, The Rolling Stones, and Van Halen. Now that digital audio consoles are reaching maturity, many mix engineers and sound designers are 20 November 2013
LIVE1 If you’re looking for an analogue solution to your mixing requirements, then Cadac is the only manufacturer able to offer a complete portfolio of products. From the industry-leading J-type, through the medium-format S-type to the LIVE1, Cadac analogue consoles offer the highest possible performance and constitute a proven long-term investment. LIVE1 is the distillation of Cadac’s expertise in analogue console design. The LIVE1’s diminutive but robust frame contains superb mic pre’s, extremely low-noise summing buses, and is all you require for the best possible results when either recording or mixing live audio. Available in three frame sizes of 16, 24 or 32 inputs, LIVE1 is a surprisingly affordable Cadac console. Every LIVE1 comes complete with external rack mounting power supply, and the compact 16-input frame includes 19” rack mounting hardware for the console.
discovering the essential elements of audio which have been neglected in the rush to be the first manufacturer with the latest features. The design brief for Cadac digital consoles is simple, and is consistent with the brand’s ethos of the last 45 years - audio first. This is why the latest digital console offerings from this classic marque still bear the hallmark of their distinguished origins, which can be traced back beyond the nowlegendary J-type, which itself is still in production after nearly 25 years, to those classic consoles of the golden age of recording studios. Sometimes, it’s good not to be the first. All Cadac digital consoles feature superb quality mic pres, 24bit, 96kHz A-D conversion, fullpath 96kHz processing, and time-aligned, phase coherent summing buses. Supported by a wide selection of remote control, editing software, format convertors and I/O options, Cadac digital is the high-capacity solution for the world’s most demanding artists, prestigious venues and premier theatres.
The International Guide To Consoles 2013
CADAC
CDC FOUR The CDC Four is an astonishingly compact digital console which boasts 32 inputs as standard, but can be expanded up to 64 inputs by the addition of an external stagebox, which can be located up to 150 metres (450 feet) from the console. CDC Four features classleading 24-bit, 96kHz conversion and processing, time-aligned, phase coherent mix buses, and digital replication of the legendary Cadac J-type four-band equaliser. Add superb dynamics and FX processing, and all housed in a rugged, compact frame which can be mounted in a 19” rack, accessed by a clean, easy-to-use interface with the minimum of instruction. Remote control of the console is made easy by an iPad app. MC MADI The Cadac MC MADI provides a simple, effective conversion to MADI (AES 10). Housed in a robust, 1U chassis, featuring dual redundant power supplies and providing two discrete MC-MADI channels, the MC MADI is the perfect solution for multitrack recording or interfacing a Cadac digital system with 3rd party hardware and software, such as plug-in hosts and DAW systems. Madi connectivity is provided on BNC and optical ports, and at either 48kHz or 96kHz sample rates.
CDC EIGHT Cadac’s digital flagship is the 128 input channel CDC Eight. Available in either single or dual-screen formats, and based around large, 24” full-colour capacitive multi-touch screens, the CDC Eight elevates the art of mixing audio to the next level, and offers a unique, genuinely intuitive experience for the operator. The concept begins with Cadac’s premium quality preamps, continues with state-of-the-art 24-bit 96kHz conversion and processing, and includes the most open-architecture user-interface available on an audio console today. The CDC Eight represents clarity and transparency for both audio and operator. Each CDC Eight comprises a system of console, remote stageboxes and additional supporting hardware, including the options of format-conversion for connection to 3rd party hardware and networks, for live multitrack recording and signal distribution. The console has a full suite of options including iPad remote control, offline editing software and configurable onboard I/O.
PRINCIPAL EUROPEAN DISTRIBUTION: Denmark Starbaek France Audio2 Sarl Germany / Benelux The Audio Specialists Greece Telmaco Italy Audio Network Technology Norway Rubicon AS Spain Soinua eta argia Switzerland Studio Equipment
www.starbaek.com www.audio2.fr www.theaudiospecialists.de www.telmaco.gr www.audionetwork.it www.rubi.no www.soinua.com www.studioequipment.ch
INFORMATION
International sales enquiries: Ben Millson ben@cadac-sound.com
MEGACOMMS Cadac digital hardware connects using MegaCOMMS, a proprietary multi-channel digital audio transport which features extremely low latency, high channel count and robust error-correction. MegaCOMMS is capable of carrying 256 channels of 96kHz audio down a single coaxial cable, up to 150 metres (450 feet) and will support redundant operation. All Cadac stageboxes feature MegaCOMMS interfaces. www.audiomedia.com
UK enquiries: CUK audio www.cuk-audio.com USA enquiries: LIFT distribution www.liftdistribution.com www.cadac-sound.com
November 2013 21
CALREC AUDIO
Putting Sound In The Picture 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. Broadcasters are increasingly demanding more versatility and integration from their audio equipment. In the current fast paced, technologically progressive era, TV companies want to ensure that their systems can produce programmes efficiently and to the required specifications. For their audio systems to be able to achieve this, greater consideration has to be given to their networks as a whole and how efficiently they can be controlled. Calrec has designed its range of consoles to meet these demands. AHEAD OF THE PACK Throughout Calrec’s history, its team of innovators has anticipated major changes, and consistently provided superior products that have allowed forward-thinking broadcasters to remain one step ahead: Calrec introduced the world’s 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 2006 Calrec launched Bluefin, the world’s first console processing engine based on FPGA (Field Programmable Gate Array) technology, enabling broadcast consoles to work efficiently with true discrete-channel 5.1 surround for the first time. Bluefin2 and Hydra2 continue this tradition. Bluefin2 provides elegant processing for 5.1 production with no resource-sharing, and Hydra2 enables broadcasters to build powerful networks and multi-studio solutions 22 November 2013
CALLISTO Callisto is designed for broadcast professionals who need to produce creative and engrossing broadcast audio easily, but may not require the full resources of Calrec’s Apollo and Artemis audio consoles. Calrec kept the Callisto user interface simple and straightforward to ensure that Callisto’s highly intuitive user interface would be suitable for a broad range of operator levels. Users control the console via a 17-inch multitouch screen inspired by familiar tablet technology, with a straightforward interface that uses established finger gestures to navigate the system. The crisp, highresolution display provides elegant controls and clear presentation of information. Callisto simplifies even complex workflow tasks, such as creating mix-minus feeds, with common procedures just one tap away, while each channel strip has only the most essential mechanical controls. Callisto uses Calrec’s award-winning Bluefin2 technology at its core, and the same
which encourage the use of third party control protocols. THE NEXT GENERATION The Apollo, Artemis and new Callisto consoles all leverage the increased power of modern FPGA technology, provide more digital audio
integral Hydra2 router technology as the Apollo and Artemis consoles. Bluefin2 and Hydra2 technologies are in use 24 hours a day at hundreds of facilities across the globe, and are still the most advanced audio processing technologies available. Callisto has a pool of 180 channel processing paths, which can be assigned as mono, stereo, or 5.1 channels. As with all Calrec consoles, there is no resource-sharing across the DSP, so all facilities are available on all channels at all times. Callisto has eight groups, four mains (all of which can be mono, stereo, or 5.1), 16 auxes, and 32 tracks.
channels for 5.1 surround production, and more user-friendly control surfaces to deal with them. These control surfaces are flexible to accommodate operator’s needs - and in the case of Callisto, the intuitive and straightforward user interface simplifies tasks and speeds up workflow. This enhanced flexibility and control The International Guide To Consoles 2013
CALREC AUDIO
HYDRA2 - A POWERFUL NETWORK FOR TOMORROW’S PRODUCTION NEEDS
Hydra2 links the Apollo, Artemis and Callisto consoles to their integral crosspoint routers, and on to more complex networks if required. Offering up to 512 bi-directional channels of I/O per copper or fibre connection, Hydra2 offers true ‘one-to-many’ routing and allows the construction of large-scale distributed mixing networks with multiple control surfaces and routers/processors. The Hydra2 control software makes connecting resources very straightforward. Audio interfaces and consoles may be added and removed without the need for manual intervention making new resources available to console operators instantaneously. Hydra2 also features Hydra Patchbays, which are virtual I/O within the Hydra2 domain allowing console operators to make console outputs available to other users on the network, as well as sources on mixing console inputs, and feeds to output ports, to be changed remotely – and without using up physical I/O or requiring extra cabling. Hydra Patchbays are a powerful tool for control room and studio resource management, allowing network administrators to be able to put control rooms “on-air” and to manage the sources available to them.
THE ROUTE TO INTEROPERABILITY - FULLY INTEGRATED THIRD PARTY PROTOCOLS Hydra2 encourages several third party control protocols. The SW-P-08 protocol allows router control from third party router panels. It enables remote control over source to destination crosspoint patching. In addition to direct routing of physical inputs to outputs, it can also route to and from a console DSP via Calrec’s Hydra Patchbays. EMBER enables further system control including loading user defined memories, selecting I/O port alias files used by control surfaces, editing H2O I/O box and port labels, viewing the available metadata sets and selecting them for insertion into any Hydra2 SDI embedder output stream and muting selected audio channels in an SDI embedder output stream. The Calrec Serial Control Protocol offers mixer control to 3rd party video switchers and automated production controller technology, which allows visibility into and control over a number of Calrec console settings such as fader position, PFL and cut control for paths on faders, routing to auxes and mains from faders, output level control for auxes and mains, and LB/RB input switching for paths on faders. Interoperability, the concept of data being shared freely between video and audio equipment, is increasingly seen as central to future audio networks. Transport protocols such as AVB and Ravenna continue to develop and mature, and Calrec will continue to take an agnostic approach to these technologies with a view to providing greater interoperability to its customers.
INFORMATION allows consoles with relatively few physical controls to drive a much greater number of channels, busses and outputs. SOLID YET FLEXIBLE Despite the shift towards networked audio solutions, some things never change. Calrec consoles have an excellent reputation for reliability and on-air stability. Unlike many other consoles which claim redundant features, Calrec provides on-line redundant hardware for all critical systems as standard. DSP, router, processing and PSU cards are all hot pluggable www.audiomedia.com
and supplied with hot spares as standard, and are all contained within a single, lightweight, space saving, energy conscious 8U or 4U rack. Multiple control surfaces can also be connected to the same rack to allow multiple operators access to the same processing resources. A separate submix can be created in another location which feeds audio directly into the same busses output as the main mix without ever leaving the system. This gives broadcasters increased flexibility without the need for additional hardware.
Calrec Audio Nutclough Mill, Hebden Bridge, HX7 8EZZ T: +44 1422 842159 F: +44 1422 842244 E: enquiries@dmh-global.com W: www.calrec.com
November 2013 23
DHD
DHD – Broadcast Consoles for You
A broadcast console is not ‘just the mixing desk’ any longer. In today’s studios, it is the main command centre not only for audio, but also for many other systems needed to run the show. With DHD systems, you are in control – always. DHD SYSTEMS – FLEXIBLE AND MODULAR Our philosophy is simple: “Make it powerful, but easy to use.” DHD products are a successful combination of rock-solid hardware and sophisticated software. All devices are based on the same hardware platform, and allow you to choose the matching modules for your specific application. Of course, you can easily adapt or extend your DHD systems in the future. Our products consist of several compact modules for different tasks: Core modules contain both audio signal processing and logic control – they are the heart of any DHD system. I/O modules are responsible for getting signals in and out of the system – they are available in different versions to meet your requirements. For control, you can choose from several mixer consoles and single control modules. The dedicated hardware inside all modules uses very little power, there are no PCs and no hard disks inside. RJ45 – MAKING THE NET WORK All modules of a DHD system are connected to each other with standard CAT cables. They carry audio and control signals, as well as PoE (Power over Ethernet) to power console modules – all in one cable. Audio signals are connected via analogue or AES inputs, MADI, or the 3G/HD SDI De-embedder. In networked installations, 24 November 2013
Core modules transport multi-channel audio (up to 512 audio channels) between each other over fibre optics connected to special DHD Gigabit Audio Ports. If you need Audio-Over-IP connectivity, we provide the 52/XC Dante IP Audio Interface. This module works as a bridge between any Dante enabled system (hardware or software) and DHD devices (see inset on next page). There is also an Ethernet connection with TCP/IP available. This is typically used for configuration, remote control, and to connect special DHD software to the hardware devices. To integrate other systems, you can use GPIO connections as well as the open DHD Control Protocol on TCP/IP.
52/SX – COMPACT CONSOLE This compact console includes everything you need for building audio workstations, small to mid-sized On-Air studios or OB vans. Community and college radio stations can use the 52/SX as their main console, thanks to its attractive pricing. The 52/SX is a complete console, which needs very little space. It is a real turn-key system; but there are software options available to extend its functionality in larger set-ups. The console desk consists of a central control module, up to 16 faders, and a seven-inch TFT Touch Display. You can mount the modules flat within the furniture or put them in at a slight angle on a table. Fader modules can also be split-mounted. The signal processing modules of the 52/SX are just 1U high and provide inputs for microphones, headphones, analogue and digital signals. There are GPIO ports available, as well as two USB connectors that work as pro grade USB sound cards on your PC.
52/SX. Compact and good value.
The International Guide To Consoles 2013
DHD
52/RX. Solid hardware with full features.
52/RX – MODULAR CONSOLE The modular 52/RX allows you to build consoles with up to 64 channels. Its fader modules are four faders wide and are available in different versions, including some with motor faders. Combine the fader modules of your choice with the central control module and TFT Touch Displays and you get a solid hardware base for your studio. If necessary, you can also integrate modules from the 52/MX system to build special talkback or control solutions. The 52/RX is easy to integrate with other Series 52 devices. This works very well, because all systems are based on the same hardware platform and share the same software. That way, you can configure them within the same Toolbox 5 project. The 52/RX control modules are connected to the core modules with standard Cat5 cables and use power over Ethernet for their power supply. This makes it easy to use an existing cabling infrastructure. 52/MX – FULLY FLEXIBLE CONSOLE The 52/MX is the flagship console of the Series 52. Its design is fully modular – there are many specialised module ‘strips’ available. To build a studio, you choose the matching modules for your application. No matter if you need a small talkback box with a few buttons or a ‘big’ console with lots of faders, buttons, and TFT Touch Displays as fader over bridge – all modules will work smoothly together. There are many different mounting options available. You can
52/MX. Fits your workflow. www.audiomedia.com
also mount the 52/MX modules in rack or table top cases, and of course use TFT Touch Displays where necessary. However, the real power comes with the Toolbox configuration software. With this Windows application, you configure your DHD system exactly the way you want it. Signal flows, audio processing, control functions, GPIO functions, TFT views, and many things more are entirely defined in software. The initial set-up is easy, and future changes are often done with a few mouse clicks. All 52/MX modules are connected with power over Ethernet on standard Cat5 cabling, enabling you to place them anywhere in your studio set-up. 52/DX – SMALL FOOTPRINT DESKTOP MIXER The 52/DX can be used as a full, stand-alone four-fader mixer. It consists of the Desktop Control Unit, and both the XS DSP Core and the XS Multi I/O Module mounted together in a 1U rack case. This hardware bundle also includes the easy to use set-up software ‘DXConfig’. The optional DHD products ‘DSP Control Software’ and ‘Remote Control PC Software’ work with the 52/DX, too.
52/DX. Small footprint.
However, if you want to integrate the 52/DX with other Series 52 set-ups or use Core and I/O modules from other DHD product lines, there is an upgrade available. This software license enables enhanced custom configuration of the 52/DX hardware with the ‘Toolbox5’ software used with the 52/MX system. 52/XC AND 52/XD CORE – MIXING AND ROUTING MADE EASY These core modules contain the processing power for all Series 52 devices. They have a small footprint (1U) and low power consumption.
Still, together with console modules, they provide audio and control processing for any mixer setup – from a small 52/DX Desktop Mixer up to a large 32 fader 52/MX console. However, you can also use them stand-alone as routing matrix or processing devices. If used as an audio router, the core modules are not only able to switch audio signals, but can also fade and even apply DSP processing – like gain, EQ, or dynamics. The integrated control functions allow you to create complex On-Air switching systems or talkback applications. For direct control, combine the 52/XC or 52/XD Cores with a great variety of DHD control modules, including fader modules, router control panels, and TFT Touch Displays. All control modules and TFT Touch Displays use standard CAT cables for communication with the cores. 52/XC DANTE™ IP AUDIO INTERFACE This audio interface connects DHD devices to digital audio networks powered by Audinate’s Dante™ technology. It supports up to 48 input and 48 output channels. These audio streams can be distributed over standard IT networks to other Dante compliant nodes in software (PC and Mac) and hardware, like other DHD Dante interfaces or third-party hardware. Dante technology enables monitoring, talkback and connection of remote facilities to the studio. For redundancy, Dante devices provide two separate network interfaces. These allow you to easily create error-tolerant set-ups.
INFORMATION
DHD Deubner Hoffmann Digital GmbH Haferkornstr. 5 04129 Leipzig, Germany Phone: +49 341 5897020 Fax: +49 341 5897022 Email: dhd@dhd-audio.com Please find our international sales contacts at www.dhd-audio.com
November 2013 25
DiGiCo
Olympics 2012
The use of Super FPGA technology in DiGiCo’s SD Range of consoles has revolutionised the design process of its audio engines. This allows the production of scalable solutions, without the need for massive design changes between products, and enhancements that ripple from product to product, across the entire range. This approach has produced a collection of mixing tools, from the flagship SD7 to the highly compact SD11, that can address the needs of just about any application, from live to theatre, broadcast (via the addition of the T and B application specific software sets) and fixed installation, and any size of project you could think of... SD7 / SD7T / SD7B The SD7 is top of the range and the first DiGiCo console to capture the power of Stealth Digital Processing™. Its footprint is smaller than other consoles in its class, yet it is vastly more powerful. The SD7 has two engines for full redundancy, as well as dual redundant power supplies. A 2GB optical system allows up to two optical loops, giving 14 racks per loop (a total of 28), each with 56 inputs and 56 outputs. Multiple touch screens mean that the SD7 can accommodate more than one operator, and the ability to have two expander units attached via CAT5E allows for remote connection or simply additional operators.
SD7T – Jesus Christ Superstar 26 November 2013
The theatre and broadcast specific versions of the SD7 give feature sets that provide additions such as Delay on Matrix inputs per node and complete integration of Cue Editor for fast editing of VCA (SD7T); and complete 5.1 monitoring with a 48 by 6 source to speaker selection, multi-channel folding, user defined stem order, Mix Minus buss – one per channel – back stop PFL (over press) and Auto PFL, Audio Follow Video implementation for up to 32 cameras and Dual Solo busses for PFL and On Air soloing in Mono, Stereo, LCRS, or 5.1 (SD7B). SD5 / SD5B The next model in the range, and replacing the industry standard D5 Live, the SD5 also comes with multiple touch screens, as well as interactive dynamic metering (IDM) and Hidden Till Lit (HTL) technology, developed and used on the SD7. It still has a huge input and buss count, although not quite as larger as the SD7, and comes with a single engine and optic loop. The SD5B includes dual solo busses for PFL and on-air soloing in mono, stereo LCRS and 5.1 and an LR/LCR/LCRS/5.1 Master buss.
SD5 – Victory World Church
The International Guide To Consoles 2013
DiGiCo
SD10 / SD10T / SD10B / SD10-24
SD9 / SD9T / SD9B
SD10B – dbLux
This is the highest specified single screen console in the SD Range. Its metering is integrated into the fader panels, allowing a better line of sight for critical monitor situations and venues, such as performing arts centres where console locations can be awkward. As with all consoles in the SD Range, the SD10 is tailored to both Front Of House and monitor mixing. The SD10B’s broadcast specific feature set includes innovations such as multi-channel ‘folding’ under a single fader, allowing users to configure stereo, LCR, 5.1, or up to 11 mono channels under a single fader strip. The SD10-24 and SD10-24B are ideal for situations where space is at a premium. Both measure under a metre in width, but still benefit from all the advanced features of the standard SD10 and files are fully compatible between both frame sizes. SD8 / SD8-24
SD8 – FIFA Confederations Cup
The SD8 was the first of the SD Range to benefit from Flexi Channels, allowing the creation of stereo channels without eating into the existing channel count. As with the SD10, the SD8 has the option of fitting an optic loop, but comes with MADI as standard, providing a cost effective, multi-channel digital interface. The SD8 has a similar footprint from left to right as the SD7. In fact, the majority of DiGiCo consoles are the same width, which has been specifically set to make it easy to reach the faders at the extremes of either side without moving from a central position. The compact SD8-24 package gives you the same power and functionality, but with 24 main channel faders and a master fader. UB MADI UB MADI allows any computer – desktop or laptop – to instantly connect to MADI via the most standard connector of all, USB 2.0, letting you playback and record up to 48 tracks to any DAW on MAC or PC formats. 5www.audiomedia.com
SD9 – Saxon
Next in the range is the SD9, a powerful replacement for standard 48-channel digital or analogue consoles. Remote pre-amps, a digital multicore, and D-Rack digital stage interface via a CAT5E connection come as standard, but its sonic performance is identical to the rest of the SD Range. This means the SD9 – and particularly the special Rack Pack configuration – comes at a price that makes it ideal for applications where exceptional performance and flexibility are needed on a tight budget. SD11 / SD11i / SD11B This compact, 19-inch rackmount or tabletop console comes with the same size touch screens as all other DiGiCo consoles. Despite its exceptionally small size, the SD11 has incredible power in terms of channel count and processing. The SD11i gives more than any other console of that size: Flexi Channels (a full 32), more dynamic EQ, more FX processing, and the addition of DiGiTuBes and multi-channel inputs (previously only available on the SD7). The broadcast specific SD11B gives all this plus the addition of multichannel folding and sets and can handle 5.1 surround – previously unheard of in a console of this size.
SD11 – Ed ShEeran
INFORMATION
DiGiCo UK Ltd. Unit 10, Silverglade Business Park Leatherhead Road, Chessington Surrey KT9 2QL T: +44 (0) 1372 845 600 F: +44 (0) 1372 845 656 W: www.digico.biz E: info@digiconsoles.com
UB Madi November 2013 27
LAWO
Lawo – New Perspectives in Broadcast Lawo consoles and routers have gained an international reputation for quality, user-friendliness, flexibility, capacity, and reliability; Lawo stands for customer partnership, efficient service, and fast support. Well over 1,500 systems for broadcast, radio on-air, and live applications are installed worldwide in studios, MCRs, OB vans and theatres, also serving dependably at international sports events such as world championships and the Summer and Winter Games, as well as big music events. From design to product, hardware and software, layout and design – everything is developed and produced at Lawo’s headquarters in Rastatt, Germany. POWER, FLEXIBILITY, INTUITIVE OPERATION – THE MC² SERIES With more than 8000 x 8000 crosspoints and even more in networked systems, plus up to 888 DSP channels, the mc² series is ready to handle all the requirements for modern OB vans and studios – and more. Transferring snapshots from an mc²66 MKII to an mc²56 or mc²90 – loading a snapshot from a console to provide a completely different DSP capacity or fader count – underlines the principle of the mc² software architecture: we are absolutely certain that flexibility is one of the major contributors to cost efficiency, due to easy and fast adaptation, whatever the production. Lawo’s ‘Dual Star Technology’ has found its way into mixing console design, which has enabled Lawo to establish a further milestone in reliability and redundancy for mixing consoles and HD cores.
The mc² series impresses with its precise signal processing. Changes to the DSP path can be made without any clicks, and even delay settings can be made noiselessly during runtime. For modern productions that require 5.1 Surround, mc² consoles are the ideal answer. It’s their reliability and experience that has made Lawo the first choice for the 2012 sports TV productions in Poland/Ukraine and London. Lawo is continuously expanding the toolbox for modern surround productions. The latest advancements are the AMBIT Upmix, providing a highquality upmix in every surround channel, creating a 100% downmix compatible, fully-fledged surround sound image. Innovative front processing algorithms, the HD Core DSP redundancy, and very low latency make this Upmix tool superior. These qualities and the number of installations have made the mc² series a standard around the world.
MC²90 – OPTIMUM CONTROL AND MAXIMUM FLEXIBILITY The mc²90 offers a modular central control section to position the most significant modules where you need them. In addition, external control devices can be integrated smoothly. There are no compromises regarding flexibility.
MC²66 MKII – INSPIRED BY YOUR NEEDS Thanks to its lightweight construction, low power consumption, and compact dimensions, the mc²66 is ideally suited for OB vans, studios, broadcast, and live/theatre applications. Available fader sizes range from 24 to 104. 30 November 2013
LOUDNESS METERING Loudness metering is designed to help eliminate jumps in audio loudness between different TV/radio programmes, or even during a single programme. Based on the EBU R128 and ATSC A/85 standards, Lawo has incorporated loudness metering in the mc² series consoles. This can be combined at any time with a True Peak display, and enables loudness metering in any individual channel in Momentary or Short-term mode, with each main output facilitating the integration of loudness metering over time. For ease of use, Lawo’s Loudness Metering can be operated using presets for the two standards. Furthermore, Loudness Metering throughout a complete production can be permanently displayed in the GUI header display. The International Guide To Consoles 2013
LAWO
THE MC²56 – PERFORMANCE, PURE & SIMPLE This console brings you the same processing power that already distinguishes the mc²66 and mc²90. What makes the new mc²56 different to its siblings is its compact layout. In a width of only 1.2 metres, it provides 32 faders (64 faders fit in an OB van).
NOVA73 HD ROUTING SYSTEM Nova73 HD is a high-capacity audio routing matrix – a perfect solution for mission-critical signal transmission. With a capacity of more than 8K inputs/outputs in a single core it is possible to create a fibreoptically linked network infrastructure, or to connect multiple Nova73s over WANs. Nova73 HD integrates seamlessly into an existing infrastructure, and can be controlled remotely – this enables complex switching and workflows to be reduced to the simple push of a button. Via an intuitive display, the mxGUI package enables control from any PC of all functions, offline preparation, or even online operation. Nova73 HD is based on Lawo’s STAR² technology with an internal dual star architecture that supports comprehensive redundancy options for almost every active component. Hotplugging, status monitoring of all components, or reconfiguration and expansion of the system during run-time is possible, even when on-air.
MXGUI The mc² series is equipped with an mxGUI providing many useful features: •
•
Offline preparation: from console layout to matrix control, partial snapshots and preamplifier settings, through to the creation of complete snapshot and production data. Online 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.
www.audiomedia.com
CRYSTAL – WELCOME TO DIGITAL BROADCASTING Introduced in late 2008, crystal has developed to become a proven standard console in many broadcast and production studios around the world. Breaking new ground with a highly ergonomic and revolutionary design, and with a price range that should allow everyone to
SAPPHIRE – A STEP AHEAD The sapphire, Lawo’s top of the line on air and production console, combines proven cutting edge technology and an eye-catching new design. Up to 60 motor faders may be housed in an impressively shallow chassis that can be placed on your desk or fixed into the furniture. The sapphire comes with networking capabilities unparalleled when creating radio or production studio environments – for example using the Nova29, Lawo’s small format router that can be seamlessly integrated with all radio products. The advantage: while
V__PRO8 The V__pro8 audio/video processor is the perfect bridge builder for broadcast environments, thanks to an 8x8 video matrix with 3G SDI I/Os and a 384x384 audio matrix using MADI or RAVENNA for audio connection plus comprehensive video processing. Highlights: colour correction per video channel, up to two channels of high quality format conversion, video and audio delay for any channel, framestore per input, 2x downmix per output, Quadsplit and Thumbnail preview of all video outputs, and Waveform and Vectorscope for the selected video. The V_pro8 is operated by using a simple web browser on a modern touch GUI based on HTML5.
invest in professional equipment, crystal is characterised by its easy to operate surface – guaranteeing a short training curve and the best operational security.
technicians will be assured by maximum flexibility and sophisticated functionality, broadcasters will be continually impressed by the modern control surface, which makes working with the new sapphire fun. The sapphire delivers top quality, intuitive user guidance and neat solutions, all of which guarantee even greater working efficiency.
INFORMATION
Lawo AG (Headquarters) 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
November 2013 31
MANDOZZI ELETTRONICA SA
Copyright by Lugano Tourism
Intelligent Mixer and Router Systems The engineers working for the Swiss enterprise Mandozzi Elettronica SA near Lugano are inspired by the beautiful landscape to design intelligent solutions that satisfy all operational and technical requirements of the users. PROFESSIONAL PRODUCTS FOR AUDIO BROADCASTING Due to the close contacts with the customers over the last thirty years, Mandozzi’s broadcasting products have matured to offer comfortable features that satisfy all technical and operational requirements. Mandozzi Elettronica is the ideal partner for realizing custom designed audio products
THE DIGITAL MIXERS GMIX GMIX mixer at Swedish Radio Luleå
THE INTELLIGENT AUDIO ROUTERS IDEA Mandozzi’s routers are best suited for switching centres, or for serving several mixers in a radio house. They are known for the extremely high reliability that is reached, among other reasons, by redundant vital modules, and for their comfortable control surfaces. The two redundant halves of the router can be installed in separate rooms for immunity against incidents. The IDEA routers offer a great variety of interface modules including 2 Mbps and audio over IP modules with integrated audio codecs. All routers feature comfortable scheduling functions and contain DSP power for performing any signal processing up to complete mixer functions. The routers of several radio stations can be interconnected to control each other and can be monitored via SNMP and controlled by other systems via IP, serial interfaces, GPIO, etc. IDEA routers are the ideal heart of complex radio house installations
Sixteen IP codecs installed into an IDEA router 32 November 2013
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 installed in the central router. The router manages all audio and GPIO signals of the station, i.e. the ones of the studios and mixer control rooms as well as the external signals. The audio and GPIO interface modules of the studio and mixer room signals are either built into concentrators (I/O boxes) that are installed locally, or - if the distances are short - directly into the router. The concentrators are connected to the router via redundant optical fibres or CAT5 cables. The centralised architecture of the GMIX system offers a lot of very important advantages. Every mixer has access to any signal of the radio house. This allows a mixer to manage several studios that are easily selected by loading into the mixer pre-recorded snapshots. The intercom between the studios is integrated, so there is no need for a third-party intercom system. The International Guide To Consoles 2013
MANDOZZI ELETTRONICA SA
Every mixer console can take over the job of any other one by a few key strokes using the snapshot functions. A mixer can also send the configuration of a fader channel to any other mixer. The sound engineer can remotely control from his own mixer a fader channel of a DJ mixer. The mixers remotely control Mandozzi’s audio over IP codecs as well as thirdparty codecs and telephone hybrids that are installed in the central router room. GMIX mixers perform audio measurements according to R128. GMIX mixers are ideally suited for large broadcast installations with interacting mixers. THE DIGITAL MIXERS SERIX The SERIX mixers were developed to satisfy the customers looking for stand alone mixers 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. But SERIX mixers are also well suited to realise complex radio house installations with a central router. In this case, the SERIX mixers remotely control the router in order to select the input and output lines, for intercom connections between the mixers, as well as to remotely control the microphone pre-amplifiers, the mute and the GPIO of the other mixers, etc. Mandozzi’s audio over IP codecs can also be controlled by the SERIX mixers. The SERIX mixer surface is composed of modules of four motorised faders and of a central module for configuration, communication and monitoring, plus a touch screen to display the parameters, timers, etc., and to set up the mixer. The modules are either supplied as individual mixer units that can be built into the console furniture at any place desired by the customer, or assembled into a metal frame to obtain a table top mixer. The SERIX consoles offer an easy and comfortable operation due to the touch screen. The functions of the control keys and knobs are freely configurable by the user. SERIX also offers the processing of 5.1 signals and audio measurements according to R128. SERIX mixers are best suited for small to large broadcast installations, for DJ and assisted operation.
THE NEW SMALL DIGITAL MIXER The small digital mixer is so new that it does not even have its own name yet. Mandozzi’s engineers are working hard on it, and it will be ready by mid 2014. We want it to be a big surprise for all broadcasters, therefore we do not yet show any pictures. The mixer will consist of a table top console with the fader and control modules, and a separate small I/O box. As all Mandozzi mixers, the new product can be integrated into Mandozzi’s audio router concept. The new mixer is best suited for customers with a lower budget, but it offers many features of the GMIX or SERIX mixers. Mandozzi’s new small digital mixer
SOME MILESTONES OF MANDOZZI ELETTRONICA SA Mandozzi Elettronica SA was founded 1965. Due to its close contacts with the customers, the enterprise realised the following milestones during its evolution: The first analogue audio router was installed in 1982 in Rome (Italy), and the first digital routers in 1994, also for RAI in Italy. In 2001 Mandozzi supplied the first radio station with five interlinked routers and 11 GMIX mixers to the German ORB. The first 2 Mbps audio codecs COMBIMUX were supplied to German Telekom in 1999. Since 2002 Mandozzi has been supplying to Swedish Radio 25 digital radio stations that are composed of a redundant central matrix and up to 12 GMIX mixers plus up to 6 SERIX mixers. In 2007 the Swiss Broadcasting Corporation ordered a radio house with a redundant central router and 33 SERIX mixers for Lausanne. Mandozzi developed in 2009 the Audio over IP codecs UMAC that can be integrated into and controlled by Mandozzi’s routers and mixers and have the unique feature of self-configuring. Since 2009, Mandozzi has successfully promoted a software tool to generate RDS texts for FM transmission and PAD contents for DAB. In 2010, Mandozzi supplied to Austrian Telecom a redundant router with 240 integrated redundant analogue line equalisers. In the year 2011 we received the order from Hessischer Rundfunk Frankfurt to replace the whole audio system of their radio house by a redundant matrix that is installed in two separate rooms, and 20 SERIX mixers.
INFORMATION
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 www.mandozzi.ch
SERIX mixer at Hessischer Rundfunk Frankfurt a.M www.audiomedia.com
November 2013 33
PRESONUS AUDIO ELECTRONICS, INC.
StudioLive Systems The Power of Integration PreSonus StudioLive™ and StudioLive AI-series digital mixing systems integrate hardware and software to seamlessly handle mixing, recording, wireless control, and audio analysis. Designed for both live sound and studio recording, they employ a familiar, analog-like mixing surface. PreSonus® StudioLive™ 32.4.2AI, 24.4.2AI, 16.4.2AI, and 16.0.2 digital mixers integrate hardware and software to seamlessly handle mixing, recording, wireless control, and audio analysis. These affordable mixers are designed for both live sound and studio recording, without compromising the requirements for either. StudioLive mixers incorporate a multi-channel FireWire interface and come with PreSonus Capture™ recording software for Mac® and Windows®, which is preconfigured so it needs no setup. You also get PreSonus’ Studio One® Artist DAW, which auto-configures to the mixer using a template. StudioLive AI-series mixers have FireWire 800 and Ethernet ports on option cards that can be upgraded to Thunderbolt, AVB, and Dante. ANALOGUE FEEL, DIGITAL PERFORMANCE The StudioLive operates much like an analogue console. You use a familiar mixing surface for core mixing functions, not a menu-based screen. The Fat Channel features extensive equalisation and a separate compressor, limiter, and gate/expander for every input channel and aux output, the FX outputs, and the main outputs. Every channel has a highpass filter. The Fat Channel sports clearly labeled, physical knobs; a multifunction, 16-ladder LED display; an in-your-face Selected Channel display; and a horizontal pan display. It’s easy to access any function and get clear, visible feedback. StudioLive AI-series mixers let you create two sets of EQ and dynamics-processor settings for every channel and bus and make A/B comparisons at the touch of a button. StudioLive AI-series mixers offer four programmable, 32-bit, stereo effects engines 34 November 2013
SL Remote for iPad provides almost complete control over the StudioLive mixer. This Overview screen presents the channel faders, mutes, panning, and four-band parametric EQ (top).
(two reverbs, two delays) on dedicated buses, while StudioLive 16.0.2 has two dedicated buses. All come with 50 reverbs, delays, and time-based effects with easy-to-use parameter adjustment, tap tempo, store, and recall. With AI-series mixers, you get graphic EQ on every aux bus and on the mains—all at the same time, without compromising other resources. In addition, each graphic EQ has an A/B option. The StudioLive 16.0.2 simply offers a stereo graphic EQ on the main bus. All StudioLive mixers have security permissions that let you lock all or parts of the mixer with a password and manage access from wireless devices. WELCOME TO THE FUTURE Using the included Virtual StudioLive-AI bidirectional control and editor/librarian software for Mac and Windows® (VSL for the 16.0.2), you can control almost the entire mixer wirelessly or from a FireWire-connected laptop, quickly and easily load and save named mixer scenes and individual processor and channel presets via drag-and-drop, and visually edit processing. VSL/VSL-AI also integrates Smaart Measurement Technology™ from Rational Acoustics. Smaart® is a collection of visual audio-measurement tools for sound-system
QMix for iPhone/iPod touch enables musicians to control their own monitor mixes. Once you have chosen which channels are “me”—say, your vocal and guitar channels—you can use the Wheel of Me (shown) to control the blend between “me” and the rest of the band. The International Guide To Consoles 2013
PRESONUS AUDIO ELECTRONICS, INC.
The PreSonus StudioLive 32.4.2AI’s inviting, analog-like mixing surface provides quick access to all core mixing functions, including levels, routing, and signal processing. The 32-channel model also has mute groups and convenient Quick Scenes, which are not available on the smaller models.
>
> VSL/VSL-AI presents a visual representation of the StudioLive AI-series mixer. Quickly and easily load and save named mixer scenes via dragand-drop, visually edit signal processing, use the integrated Smaart audio-analysis features, and much more.
analysis and optimization that makes tuning the system, squelching feedback, and more easy. It includes a spectrograph and real-time analyser that make fine-tuning your mix easy because you can see what you’re hearing. These features work with all StudioLives. In addition, VSL-AI includes three Smaart System Check Wizards and a pink-noise generator with which StudioLive AI mixer users can view the frequency-response trace of a venue and adjust the parametric EQs to get rid of unwanted room anomalies; verify that StudioLive AI system outputs are routed correctly and are passing signal; and calculate and set delay-system timing for satellite speaker systems using the mixer’s subgroup-output delays. (The Wizards are not compatible with the StudioLive 16.0.2.) For more information about the StudioLive Smaart features, visit www.presonus.com/ products/Virtual-StudioLive-AI/Smaart.
GO REMOTE With most mixers, it’s risky to leave front-ofhouse to check the monitors and listen to the system in various parts of the room. But with free SL Remote-AI for iPad®, you can control any StudioLive AI-series mixer from anywhere in a venue, using a wireless router. You also can control Smaart and the System Check Wizards. (With StudioLive 16.0.2, SL Remote controls VSL, which controls the FireWire-connected mixer.) You can even control VSL-AI, and hence, the mixer, over the Internet, using third-party VPN software. Contractors can create and load scenes and presets for clients and can, to a large extent, troubleshoot a StudioLive system from a remote office. GIVE THEM THE ROPE Increasingly, musicians want to create their own www.audiomedia.com
monitor mixes, but most personal monitor systems are expensive and require wiring. With free PreSonus QMix™-AI software (QMix for StudioLive 16.0.2), musicians can wirelessly control their StudioLive AI monitor (aux) mixes using an iPhone® or iPod touch®. Up to ten iPhones running QMix-AI can control the StudioLive AI via a wireless network. (With StudioLive 16.0.2, QMix controls the auxes in VSL, which controls the FireWire-connected mixer.) Portrait view presents the Wheel of Me, which lets you select multiple ‘Me’ channels and turn them all up in your monitor at the same time, while controlling the relative balance between ‘Me’ and the rest of the band. Landscape view provides control of the aux-mix send level and panning (for linked auxes) for each channel and aux. Here, you set up your monitor mix. Using the mixer’s security features, you can let each musician create a personal monitor mix—or restrict them to the Wheel of Me while you create their mix. StudioLive AI applications communicate with each other and with the mixer. Save and load scenes with Capture™ 2.1 and share presets between the Fat Channel plug-in in Studio One 2.6 and VSL-AI. Channel names entered in the mixer or any AI app (including Capture) are broadcast throughout the network. When recording with Capture 2.1, you can save the StudioLive AI mixer scene along with the Capture Session. Studio One 2.6 can import Capture Sessions seamlessly, and when you import a Capture Session that includes a StudioLive AI mixer scene, the Studio One mixer is set to match your StudioLive AI mix scene, including fader values, mutes, pan, and FX send mixes. Fat Channel settings are loaded into Studio One’s new Fat Channel Native Effects™ plug-in. You can listen to your mix on your laptop, just as it sounded during the gig, even if the StudioLive AI mixer is packed and
on its way to the next gig. SOUNDS LIKE A WINNER! Ease of use, remote control, integrated software, and generous amounts of signal processing are very important but the bottom line for audio equipment is still the sound. The StudioLive’s outstanding sound quality, with Class A XMAX™ preamps and Burr-Brown converters with 118 dB dynamic range, makes it suitable for studio use, yet its feature set and layout fully support live applications. You can easily save and recall full mixer scenes and presets. This combination of analogue-like design; fast workflow; high-definition audio; integrated recording, computer control, and wireless control; and Smaart analysis sets PreSonus StudioLive mixers apart. And it does so at an amazingly low price. For more information,visit www.presonus.com/ products/StudioLive-AI-Series.
INFORMATION
PreSonus Audio Electronics 7257 Florida Blvd. Baton Rouge, LA 70806 USA T:. +1-225-216-7887 www.presonus.com Source Distribution Unit 7 Pembroke Buildings Cumberland House Business Park London, NW10 6RE UK T: +44 020 8962 5080 www.sourcedistribution.co.uk
November 2013 35
SOUNDCRAFT / STUDER
BEYOND INTUITIVE DIGITAL LIVE SOUND MIXING THE WAY IT SHOULD BE Soundcraft consoles combine pristine sound quality, tour-proven reliability and unique operational features to deliver digital live sound mixing the way it should be.
With groundbreaking Soundcraft® Vistonics™ and FaderGlow™ technologies combining visual information and operational controls in one area, Vi Series live sound consoles remove the burden of complex mental mapping, freeing the operator to concentrate on the mix. A simple touch of the screen is all it takes to access channel functions including routing, input gain, digital gain trim, delay, high and low pass filters, 4-band parametric EQ, compressor, limiter, gate, de-esser and pan.
Si Expression exploits cutting-edge DSP technology, classic British sound quality and the equivalent of no less than 392 rack-units of built-in FX, GEQ and Dynamics from our friends at Lexicon, BSS and dbx to deliver Soundcraft’s most powerful, cost effective, small format digital console ever. A range of three mixers is identical in features, the only decision being how many faders and local mic amps are required.
Partnering compact control surfaces with a powerful SCore Live processing engine and up to 5 stageboxes, Vi2, Vi4 and Vi6 (pictured in use at top of page) deliver up to 96 channels to mix with 35 output busses. Pristine sound quality is assured by ultra-low noise mic amp designs and advanced 40-bit floating point digital audio processing, while FX come courtesy of 8 independent Lexicon multi-FX units, with BSS graphic EQ on every bus output. Rapid configuration and powerful automation features, radio mic status monitoring and extensive ViSi Connect I/O expansion complete the package.
With a massive 66 input processing channels, all Si Expression consoles have busses, output processing and connectivity to match the versatility of the inputs. A range of ViSi Connect cards dramatically expands I/O options (see below) while Compact and Mini stageboxes further extend I/O power and flexibility. A Multi Digital card enables live multitrack recording to a DAW.
Pictured above, the compact Vi1 provides a ‘one box solution’, with processing and connectivity built directly into the control surface.
Intuitive, analogue-style control lies at the heart of the Si Expression concept, with features like assignable fader layers, a colour touchscreen and Soundcraft® FaderGlow™ lighting the way to a better mix, while ViSi Remote Control allows mixing on an iPad® from anywhere in the venue.
With up to 80 channels to mix, intuitive analogue-style operation, built-in Lexicon FX, sophisticated 4-band fully parametric EQ, full dynamics processing, a comprehensive range of ViSi Connect expansion options, flexible routing and grouping and remote iPad® control, the Si Performer is a remarkable live sound mixer. But that’s just the beginning. The unique integration of a DMX512 port and lighting control interface into an intuitive control surface that enables sound and lighting fader functions to be combined in layers, delivers comprehensive show control in a single, compact package. The possibilities are endless. From theatre productions to gigging bands and music venues, houses of worship to live productions and corporate AV events, any ‘single-operator’ application in which sophisticated digital audio mixing is a pre-requisite can now be enhanced with integrated lighting control, where freely assignable fader layers allow inputs, busses and DMX controls to be conveniently assigned anywhere on any fader layer. 24 and 32 mono mic input versions are available.
ViSi Connect expansion cards include: AES, Firewire/USB/ADAT, AVIOM™, CobraNet™, BSS BLU Link, Dante™ and CAT5 or optical MADI. iPad® is a registered trademark of Apple Inc.
36 November 2013
The International Guide To Consoles 2013
SOUNDCRAFT / STUDER
LIGHT SPEED BROADCAST SOUND MIXING FOR TODAY’S WORKFLOW Powerful, flexible and dependable, Studer consoles integrate seamlessly into the modern broadcast workflow, empowering operators to mix free from the burden of complex, counterintuitive routines.
The Studer Vista Digital Mixing System combines advanced ergonomic design and groundbreaking Vistonics™ user interface with complete system flexibility, failsafe redundancy and pristine audio quality to create a range of consoles fit for a new age of broadcast and live production. Features include powerful automation, comprehensive surround sound management, a wide range of I/O options and Studer RELINK networking capabilities, along with extensive audio and loudness metering. Vista FX™ adds Lexicon high quality broadcast surround effects and graphic EQ, while VistaMix™
is essential for live, unscripted, multi-mic events such as talk shows, where it mimics the actions of a highly skilled human operator to increase gain for talking mics and reduce gain for others, automatically producing a clean mix. A range of three systems is available: Vista 9M2 QS (pictured above) and Vista 5M3 use the SCore Live processing engine and D21m I/O system, while the Vista 1 (pictured below) is a ‘standalone’ console with all I/O and processing self-contained.
Studer OnAir consoles provide a flexible and powerful audio mixing solution for a range of broadcast applications. The OnAir 1500 (pictured below) is a compact, 12-channel, 6-fader (expandable to 12 fader) console, designed as a versatile, hybrid solution for radio broadcasting and production. With 12, 18 and 24fader versions available (plus a modular version), the OnAir 2500 is a totally self-contained console for radio broadcast, while the OnAir 3000 (pictured above and also available in a modular format) extends Studer’s ‘Touch n Action’ philosophy into a larger console for radio and TV applications.
INFORMATION
Harman Cranborne House, Cranborne Road, Potters Bar, Hertfordshire EN6 3JN, UK T: +44 (0)1707 665000 E: soundcraft@harman.com E: studer@harman.com www.soundcraft.com www.studer.ch Harman 8500 Balboa Boulevard, Northridge, CA 91329, USA T: +1-818-920-3212 E: soundcraft-usa@harman.com E: studer-usa@harman.com www.soundcraft.com usa.studer.ch
www.audiomedia.com
November 2013 37
SALZBRENNER STAGETEC MEDIAGROUP
Innovative Touch-Sensitive or Traditional: Digital Desks at their best SALZBRENNER STAGETEC MEDIAGROUP is a strong consortium of three professional audio enterprises. The audio mixing consoles of the MEDIAGROUP are legendary and dominate the digital pro-audio market since 20 years now. More than 900 consoles have been sold since then and are in daily use in broadcast OB vans, musical shows, theatres, and sports arenas. POLARIS touch The latest addition to the mixing console range is the POLARIS touch series. The new arrival can have panels with or without hardware controls. The main control panels are multi-touch enabled display screens which can be combined in many different ways. Freedom of choice also prevails for the audio-processing with options of a multiclient enabled server solution or a NEXUS XCMC card. A typical POLARIS touch installation includes one or more multitouch-enabled 22" screen modules. Each module offers 16 dual encoders for controlling parameters such as filter settings or dynamics in the usual way. Basically, such a module can control all the functions of a console! To build a mixer in the classic form two modules are joined together at an angle with one screen as meter bridge while the other provides instant access to the channel strips. This pair can be enhanced with a master module with 12 motorised faders, each with two physical buttons, and a master section with 32 assignable keys and a trackball.
EASY TO USE: ON AIR 24 The ON AIR 24 is the youngest and smallest console by STAGETEC. It offers easy configuration both for self-op or studio clusters. ON AIR 24 is a modular, flexible and scalable system consisting of very compact fader panels with four faders each, plus a monitor panel. It can be expanded from the smallest version with only four faders up to 24 faders. The modules are installed directly into the presenter’s table and can be arranged as desired around the table surface. This concept even supports more complex programmes, for example two-hander presentation or presenter with producer and occasional technical assistance. For ON AIR 24, an intuitive control surface for touch-screen operation is available. This can be used in addition to the hardware modules and increases the flexibility of the mixer still further.
SALZBRENNER STAGETEC MEDIAGROUP POLARIS touch
SALZBRENNER STAGETEC MEDIAGROUP ON AIR 24
MINI BUT MIGHTY: AURATUS AURATUS is a production, broadcast and live console with 54 input channels and a fixed bus layout. A single plug-in card hosted on a standard NEXUS Base Device provides mixer control and audio processing. Thus, AURATUS integrates seamlessly into any NEXUS network even without a NEXUS STAR. The control surface is available as stand-alone or as drop-in unit with 8, 16, or 24 channel strips. THE CLASSICAL STAGETEC MIXING CONSOLES It is now 20 years ago that STAGETEC introduced the idea of a consistent separation of digital audio routing and the actual mixing functions. At that time, this principle devised a new approach that enabled technically streamlined and highly integrated large digital mixing consoles to be built for the first time. Since then it has been employed on all STAGETEC mixing-console systems. The STAGETEC console family has grown over the last two decades and now covers all applications from small self-op desks to the largest production console. With two audio-processor types and three types of mixing console surfaces, four different mixing systems are available for a wide variety of applications. The console spectrum ranges from the large AURUS to the CRESCENDO and AURATUS to the most recent and smallest addition to the family, the ON AIR 24. 38 November 2013
SALZBRENNER STAGETEC MEDIAGROUP AURATUS
The International Guide To Consoles 2013
SALZBRENNER STAGETEC MEDIAGROUP
COMPACT AND POWERFUL: CRESCENDO CRESCENDO sits between the AURUS and AURATUS in terms of feature set and functionality. It uses components from the two other systems. AURUS contributes the controller (RMC) and audio-processor (RMD) cards and the control surface uses AURATUS hardware, which can however be extended up to 48 channel strips. The advantage of this combination is that the console is just about 60 cm deep making it eminently suitable for situations where space is at a premium. CRESCENDO configurations support up to 300 audio channels and 128 summing buses, making the console appropriate even for very large scale mixing projects.
SALZBRENNER STAGETEC MEDIAGROUP oratis compact - SUBSCRIBER PANEL – desk 16
SALZBRENNER STAGETEC MEDIAGROUP CRESCENDO
ALWAYS SUPREME: AURUS AURUS impresses immediately with its large, user-friendly control surface and powerful audio processing. Each channel strip is equipped with 11 dual encoders and numerous keys, thus avoiding assignment of multiple functions to the same controls. The unusually large number of controls give direct access to all channel parameters. The largest AURUS console built to date has a total of 96 channel strips. Slot-in cards hosted by a NEXUS STAR take care of mixer control and audio processing. The RMC controller card and up to seven RMD processor cards provide AURUS with scalable performance capable of processing up to 300 audio channels. Among the STAGETEC consoles, the AURUS offers the largest feature set including a variety of automation modes, an extensive mix-minus matrix and comprehensive system-configuration options, including DAW control. STAGETEC products have received prestigious international awards, starting already in 1997 when the first STAGETEC console, CANTUS, received the IF Award for outstanding product design in 1997. In 2006, the flagship AURUS received the Gold IF Award and on the 14th of August 2010 NEXUS won the Emmy® Engineering Award, America’s most significant TV award. SALZBRENNER STAGETEC MEDIAGROUP AURUS
ABOUT THE MEDIAGROUP: MORE THAN JUST CONSOLES SALZBRENNER STAGETEC MEDIAGROUP is a strong consortium of independent professional audio enterprises. Together, these companies are pan-European market leaders in audio, video and intercom technology. Combining forces in a business group generates a highly effective synergy and enable the MEDIAGROUP to offer a broad range of dovetailed products and services perfectly complementing each other – from a simple sound-reinforcement installation all the way up to the design, construction and project management of extensive multidisciplinary solutions for broadcasters, theatres, stadiums and multipurpose venues. Founded back in 1963 by Friedrich Salzbrenner as a repair and maintenance shop for radio broadcast systems, the MEDIAGROUP today consists of three enterprises each of which contribute specialised expertise to the consortium’s broad range of products and services. STAGETEC Entwicklungsellschaft in the German capital Berlin is specialised in the design of digital audio technology. Besides the professional mixing consoles AURUS, CRESCENDO, AURATUS and ON AIR 24, STAGETEC’s product range include the routing systems NEXUS and NEXUS STAR. SALZBRENNER STAGETEC AVM based in Buttenheim focuses on highly integrated audio and video solutions for theatres and operas, multi-media presentation installations in museums, exhibition halls, convention centres, multi-purpose venues and large installations for broadcasting and professional video production. SALZBRENNER STAGETEC AVM is also the manufacturer of POLARIS touch. The MEDIAGROUP also satisfies the immense demand for intercom systems in broadcasting, TV-production, and theatres. This intercom technology market segment is served by DELEC with the oratis intercom and commentary systems as key products.
INFORMATION
SALZBRENNER STAGETEC MEDIAGROUP Industriegebiet See D-96155 Buttenheim Germany T: +49 9545 440-0 F: +49 9545 440-111 E: info@stagetec.com www.stagetec.com
www.audiomedia.com
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CONSOLE MANUFACTURERS DIRECTORY 2013
ADT AUDIO SYSTEMS ADT offers a range of modular mixing consoles and processing modules for the pro industry, claiming ‘the very highest level of sonic and build quality’ at a reasonable price. www.adt-audio.com AEQ Manufacturing for the broadcast industry for over 25 years from its Madrid HQ, AEQ products including the Phoenix Studio Codec and Titan router are used by audio pros around the world. www.aeqbroadcast.com ALESIS Established in 1980, Alesis was founded on innovative semi-conductor chip technology that brought high-end products to entry-level musicians and recording artists. Today Alesis remains committed to delivering innovative and inspiring pro gear to all audio levels, including the MultiMix range of mixers. www.alesis.com ALLEN & HEATH
APB-DYNASONICS Designing and manufacturing its Spectra series of analogue consoles inNew Jersey since 2004, APB-DynaSonics has come to receive recent critical acclaim. It now has a solid range of new mix products. www.apb-dynasonics.com API (AUDIO PROCESSES INC.) API launched in 1968 and became known for its 2520 amplifier, which still forms the heart of all its discrete products. It now has over 700 API consoles around the world, and forms part of the ATI group. www.apiaudio.com AUDIENT Audient was formed in 1997, with its founders setting the performance standard of mixing consoles in the 80s and 90s. Its flagship product is the ASP8024 large-format recording console. www.audient.co.uk AUDIO & DESIGN Audio & Design was successful with its range of transistor- designed limiters and compressors in the 1970s, but has evolved to become one of the major consultants and installers for the broadcast market. www.proaudio.uk.com AUDIO DEVELOPMENTS A leading manufacturer of portable audio mixers, Audio Developments has been established for over 35 years and has supplied mixers to every continent in the world. www.audio.co.uk
A UK-based company, Allen & Heath has been building mixers for 40 years and remains passionate about its consoles, each of which has a ‘uniquely fabulous’ sound. Makers of the XB-14, Zed and GLD series mixers, Allen & Heath has a reputation for keeping its customers happy. www.allen-heath.co.uk ALTO PROFESSIONAL A relatively new Taiwanese brand launched in 2000, but a fast grower and accumulator of positive market feedback, ALTO has built a complete product line-up to meet the growing needs of audio pros that includes the Lynx and ZMX Series of mixers. www.altoproaudio.com
AXIA AUDIO Axia is the studio audio division of Telos Systems, specialising in digital audio routing, mixing, and distribution systems. Its modular Element is a popular console, with fully mixable, matchable, and combinable components for individuality. www.axiaaudio.com BEHRINGER Founded 20 years ago because Uli Behringer couldn’t afford good equipment to become a sound engineer, Behringer’s aim today is to offer the best equipment at fair prices. Its range covers everything from mixers to instruments. www.behringer.com CADAC
Cadac consoles, manufactured in the UK, are famous for their use in large-scale musicals, but have in previous years been renowned for studio use. The company specialises in live sound mixing consoles such as the CDC Eight and Live 1. www.cadac-sound.com CALREC
AUDIONICS Founded in 1987 in Yorkshire, England, Audionics initially designed and built products for its own Yorkshire Radio Network. With its skills growing in demand by outside customers, Audionics has built up a reputation as an innovative and practical broadcast manufacturer. www.audionics.co.uk AVID
Calrec’s focus has been on broadcast audio mixing consoles since 1971, although it has been manufacturing high-quality audio products since 1964. Its well-respected consoles today include the recently launched Callisto. www.calrec.com
AMS NEVE
AMS Neve boasts an enviable reputation, with its uncompromising recording and mixing equipment used in countless top-name productions. The Genesys and DFC Gemini are just two consoles that have epitomised the pinnacle of AMS Neve’s award-winning achievements over its 40 years. www.ams-neve.com 40 November 2013
Avid’s pro-audio solutions can be found at the heart of most studios around the world, not least through its ubiquitous Pro Tools software. There’s much more to Avid though, and the company’s newest endeavours, the S6 and S3L, represent the company at the fore of the consoles market. www.Avid.com AXEL TECHNOLOGY An Italian broadcast solutions company founded in 1996, Axel’s client list includes Deutsche Telekom Germany, RAI TV Italy, and Radiotelevisione Italiana. www.axeltechnology.com
DATEQ DATEQ was started in the 1970s with production of audio equipment for DJs and pro end users; today the company’s mixers are still aimed squarely at broadcast and disco markets. www.dateq.nl CLYDE BROADCAST Clyde Broadcast is a radio specialist, operating as a manufacturer, consultant, and system integrator for the industry’s radio stations big and small. www.clydebroadcast.com CREST AUDIO Founded in the 1970s producing amplifiers for tours, Crest Audio is now part of the Peavey family. The company produces consoles alongside many other products designed‘to The International Guide To Consoles 2013
CONSOLE MANUFACTURERS DIRECTORY 2013
address every aspect of installation configuration and control’. www.crestaudio.com DEVIL TECHNOLOGIES Founded in 2005 and building on talent and high-standards, Devil has recently introduced the Grande, an advanced DAW control surface. www.deviltechnologies.com DHD
FAIRLIGHT Based in Australia and one of the oldest digital pioneers, Fairlight is now taking initiatives in forward-looking green technology in its manufacture of high-quality consoles such as the Quantum and Xynergi. www.fairlightau.com FBT ELECTRONICA Musically-orientated, FBT is an Italian manufacturer that has been around for over 45 years and claims to be one of the few manufacturers whose products, such as the Formula mixer, are entirely made in its home country. www.fbt.it FOCUSRITE Focusrite was established in 1985, and today produces a range of products for the audio pro including the Focusrite Control 2802, a combined small-format analogue recording console and a DAW control surface. www.focusrite.com
With technologies especially adapted for radio and TV broadcasting studios, DHD’s focus is digital broadcast mixing and routing systems that include the RM4200D, and 52/MX and RX. www.dhd-audio.de DIGICO
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 FOSTEX 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. www.fostex.jp
LAWO
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 LOGITEK ELECTRONIC SYSTEMS Manufacturers of the Mosaic and Remora consoles, Logitek designs and develops its products in-house using local manufacturers based around Houston, Texas. CBS, NBC, and The Disney Channel, as well as Sony and Warner Bros use Logitek systems. www.logitekaudio.com LOLA AUDIO Lola Audio is the leading Serbian firm in the AV media field, and for over 25 years has been producing modular audio mixing consoles among other high-tech products. www.lolaudio.com MACKIE Mackie is part of the LOUD Technologies family of brands, whose logo reads ‘Small footprints, big features, great sound’, and this is epitomised by the Onyx and VLZ3 Series. www.mackie.com MANDOZZI
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 realigned the expectations of digital consoles. Its latest consoles include the SD5B and SD9. www.digico.biz D&R ELECTRONICA 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 customer-centric. www.d-r.nl EELA AUDIO EELA has been developing products for the radio broadcast industry for the past 30 years, and prides itself in taking an individual approach to each customer. www.eela-audio.com EQUIPSON Equipson is based in Spain, and its range includes the Digiline 8, XP 20 PRO, and MMX 62. www.equipson.es www.audiomedia.com
HARRISON CONSOLES 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 MPC5. www.harrisonconsoles.com INNOVASON Launched in 1993 by two brothers, Innovason is an acronym from French that means ‘Innovative Sound’. Focused on SR applications, the company designs all-digital consoles such as the EclipseGT. www.innovason.com QPHONICS Describing itself as a ‘technological trailblazer’, QPhonics (formerly Klotz Digital) was formed in 1990 with a high-customer service philosophy that continues to this day with products including the Xenon console. www.qphonics.com LAFONT AUDIO LABS French Designer Jean-Pierre Lafont gave his name to the high-quality audio company over 20 years ago; the current product line-up includes the Panoramix and FTC84 consoles. www.lafontaudio.com
Located in the sunny Swiss corner of Ticino, Mandozzi Electronics was founded in 1965. Its user-friendly GMIX and Serix mixers form the console backbone of its range. www.mandozzi.ch MEDIA ENGINEERING Founded in 1987 and based in Switzerland, Media Engineering has since 2001 concentrated its efforts on developing pro-audio products. Memix is its modular analogue mixing console, designed to be used in radio and production studios. www.mediaengineering.com MIDAS Midas consoles are among the most popular in the market, and have been found in live applications around the world since the 1970s. Its current console line-up includes the XL8 and the PRO Series. www.midasconsoles.com November 2013 41
CONSOLE MANUFACTURERS DIRECTORY 2013
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. www.otari.com
RUPERT NEVE DESIGNS Rupert Neve, founder of the company that bears his name, has a discriminating career in audio spanning 80 years. A brand that implies excellence, the 5088 is Neve’s flagship console. www.rupertneve.com
STAGETEC
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
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
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
PHONIC CORPORATION Phonic is a real customer- centric company; its mixers include the AM, Helix, and Impact Series. www.phonic.com
SEEMIX SOUND Seemix is a Norwegian company founded in 2001, whose offerings include the Seeport and Seelect mixer. www.seemix.no
PreSONUS 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
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 16.0.2 digital console. www.presonus.com PROFESSIONAL SOUND CORP 1986 was the year PSC was born, and based in Valencia, USA, the company’s range includes the Solica mixer. www.professionalsound.com PUBLISON SYSTEMS Publison designs and manufactures integrated post production systems, whose products include the Edimix II and Prod’Mix. www.publison.fr
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 Duende, and Duality consoles along with the Matrix2, released at AES in New York. www.solid-state-logic.com SONIFEX Sonifex began as a family company back in 1969, which today boasts that over 90% of British radio broadcast studios have used Sonifex products in the past. The S1 and S0 are the company’s current broadcast mixers. www.sonifex.co.uk SONOSAX Swiss Sonosax brought its first mixing console to market in 1980, the Sonosax SX-B. Recent additions to the Sonosax range include the SX62R and SX-M32. www.sonosax.ch
STUDER Since 1948, the name of Studer has become synonymous with broadcasting and recording equipment. Its product range, which includes the OnAir and Vista lines, is totally designed in Switzerland. www.studer.ch TASCAM/TEAC PROFESSIONAL Tascam/TEAC products deliver to the whole spectrum of musicians and engineers, from the hobbyist to pro. Headquartered in Japan, 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 M1-F, VTC, and M4 are consoles based on tube technology. www.tlaudio.co.uk TOFT AUDIO DESIGNS America-based Toft Audio produces the ATB analogue mixers, a platform that is continuously being developed under the guiding hand of Malcolm Toft. www.toftaudiodesigns.com TONELUX Paul Wolff in Vegas is the mastermind behind Toenlux’s range of audio gear, including the 3, 4, 5, and 6 rack consoles and the Tonelux Universal Console Series. www.tonelux. com
SOUNDCRAFT RAINDIRK AUDIO Raindirk’s first console created by Cyril Jones was sold to Kingsway Studios back in 1972. Today’s rm3 and rm4 modular series means a full console can be created using Raindirk components, while the company also supports Helios desks. www.raindirkaudio.com RAMI The Compact II and RP 2000S are two of Rami’s French-made broadcasting consoles, among a range of other pro-audio products. www.ramiaudio.com ROLAND SYSTEMS GROUP Roland Systems Group is a forward-looking company whose breakthrough V-Mixing system (combined digital snake and mixing console) is still building its fan base, now with several options in both mixing and snake departments. Among its most recent releases is the M-200i live mixing console. www.rolandsystemsgroup.co.uk 42 November 2013
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.trident-audio.com
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 Si and Vi series. 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
WHEATSTONE CORPORATION Founded in the 1970s, Wheatstone is a world supplier of radio and television audio equipment, including analogue and digital mixing consoles, digital signal processing, and networked audio systems – all designed and manufactured in New Bern, NC, USA under the Wheatstone and Audioarts Engineering brand names. www.wheatstone.com YAMAHA Yamaha has a long and wide-reaching story and similarly it produces av ariety of mixers including the CL series and PM5D. www.yamahaproaudio.com The International Guide To Consoles 2013