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CONTENTS

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Welcome to the newly updated 2015 Audio Console Guide. At the heart of every great studio or production, be it broadcast, live, or post production, 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

Consoles Guide 2015

Produced By:

In association with:

INTERNA TIONAL EDITION

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Mixing is an art form in itself, 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 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 guide comes into play. Within these pages you’ll find information from some 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. Simon Allen takes a look at how technological advancements and changing requirements are bringing the broadcast, studio, and live consoles markets closer together. In addition, FOH enginner Ben Hammond looks at how mixing in a live setting differs from being in the studio and considers the characteristics needed in a console in each environment. This, and the other Guides in the series (Monitors & Headphones, Microphones, Live, Broadcast Audio, and DAWs & Plug-ins) are Audio Media projects, designed to help you find your way though the information explosion and find the product that suits your needs. Audio Media is an internationally 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.

Console Convergence An Engineer’s Guide

10 AMS Neve

12 Cadac

14 Calrec

16 DHD

18 LAWO

20 MANDOZZI

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CONSOLE TECHNOLOGY

Avid’s modular S6 console

Come Together Simon Allen considers how technological advances and changing requirements are narrowing the boundaries between the broadcast, studio, and live audio console markets. Taking a step back and looking at the audio console market over the last few years, or even just the last 12 months, not only shows how things have changed, but the patterns and trends that are coming together to form an exciting future. Technological advances are, as usual, driving these changes, but the business side of the situation is changing in ways we haven’t seen before in live, broadcast, and studio. GETTING TOUCHY The modern world in which we live today is over-run with touchscreen technology. This UI has enabled accessing and controlling technology to be so much more intuitive. Console manufacturers have embraced this with many consoles even having multiple touchscreens. The major benefit is the reduction in the amount of physical controls that manufacturers need to include on any mixer, as Calrec’s Ian Cookson comments: “On a soft surface this allows multiple functions to be accessed from the same screen depending on how the surface has been arranged by the user. This in turn provides greater power in a smaller footprint, which is a fundamental consideration, especially in the OB truck market.” Touchscreens have brought many other advantages to digital consoles which weren’t as feasible when solely using hardware controls. For example, consoles such as the SSL Live are based around multiple touchscreens to embrace 4

the flexibility within their customisable software of layers and menus. These benefits are common in each market. Wolfgang Huber from Lawo gives the example of the manufacturer’s radio console crystalCLEAR, which is based completely on touchscreen technology: “You can adopt the user surface not just to suit every individual users needs – even customising the surface and showing only those parameters the user needs for the task at hand, so the users are not distracted and can concentrate on their work.” Touchscreens lead on to another trend: remote control via tablets and smartphones. As console manufacturers develop their software for the touchscreen technology, it also maps conveniently to other devices for remote control possibilities. Some recent discussions that I’ve had with distributors show remote features are now a must-have feature for many customers. However, there is a potential improvement in touchscreen technology that the manufacturers are waiting for. Cookson explains: “In a live broadcast scenario the engineer will be constantly watching the video screens so faders and rotary controls have to be physical so they can be used without looking at them. The physical fader in this environment is here to stay for the foreseeable future or until the next generation of haptic feedback from touchscreens makes it viable. The smartphone/ tablet market is putting a lot of effort into new concepts, which could provide the solution.”

MODERN ALTERNATIVES As computer processing power gets better and better, so do the abilities of DAWs and proaudio software. PCs and computers can handle so much more, both in terms of multichannel mixing and audio processing, which of course is now of a much higher quality. DAW controllers aren’t a new concept, but the recent releases of Avid’s S6 and Yamaha Nuage demonstrate how we can now see the power of computing being able to handle mixing to a higher level. I’ve even seen older C24s and Pro Controls finding new leases of life as studios utilise them as cheaper options for workflow enhancements. Andrew Hingley from HHB Communications comments that many of their customers are considering the S6 and Nuage to traditional consoles. Recently, Scrub, a division of HHB installed an S6 at LipSync Post in Soho, London. LipSync senior re-recording mixer and music composer Rob Hughes adds: “When we came to update our desk in Studio 6, we wanted ultimate flexibility and integration with our Pro Tools HDX system. It’s a busy room that needs to serve as a mix studio for drama, short form, and documentaries, as well as feeding work into our larger theatres and handling re-versioning and deliverables.” SIMILARITIES ACROSS THE ‘BOARD’ From my own engineer’s point of view, although there will always be differences The International Guide To Consoles 2015

CONSOLE TECHNOLOGY

between the market extremes, today’s technology is bringing the sectors closer together. Yes, there are many functions on a broadcast console which you wouldn’t need in a live scenario, for example, but at the same time manufacturers are bridging their technology across the markets. Huber highlights these growing similarities: “Here at Lawo we feel the demands of the different markets coming closer and closer together. We have noticed that more of our mc² broadcast consoles are being asked for in the live market, especially theatre, opera houses, and classical venues. If anything is paramount, it is reliability and redundancy. Events are becoming much larger, with more sponsors that won’t accept failure, and with shows and concerts requiring increased DSP power – all broadcast features entering the live market.” Tom Graham, pro audio and pro mixing segment marketing manager, Avid says: “We are witnessing that the actual needs for these specific segments [broadcast, live, and production] are becoming more aligned, whereas in the past they were very different: mixers in each of these genres are expected to not just mix the show, song or film, but capture the media, tag it, and utilise it to maximise the experience for both artist and consumer. To achieve that, our customers need a highly integrated control surface that allows them to build a system to their specific needs and that can grow and keep up with the ever-changing dynamics for each of these markets.” It’s the live market where we’ve seen the most cross-development of technologies. There’s the similarities of reliability and redundancy from the broadcast world, and most digital live consoles now also offer a very convenient method of multitrack recording providing the ‘virtual soundcheck’ feature that larger tours and shows are often using. The very high level of audio quality that is now capable from modern PA systems has had a chain reaction. Any audio processing from modern digital mixers can go as far as reflecting studio-level sound quality. Therefore we’re now seeing better processing chains, which include the same plug-ins and algorithms as found in the studio. This is, of course, possible by the increased processing power from today’s machines, even on very high channel counts. THE SOFTWARE ERA As consoles are now able to do so much more in one unit, and traditional external hardware is becoming less and less necessary, manufacturers are really starting to come together. Manufacturers of digital audio processing, often from the studio market, 6

are now able to collaborate with the console market, providing them with a larger audience and a new angle of development. Technologies such as plug-ins that run on Avid’s Venue consoles, for example, just as they might inside Pro Tools or Logic in the studio, are just the beginning. Today, probably the most notable development of its kind is the Waves DiGiGrid system, which opens up the suite of Waves plug-ins in a hardware solution for simple access via nearly any digital audio platform, including consoles. To achieve this, Waves joined forces with DiGiCo for its experience in hardware processors. Then there’s the latest release from Universal Audio, which teamed up with Soundcraft to develop Realtime Rack; a similar solution for UAD plug-ins to be utilised by modern digital consoles. But this new era of collaboration in the proaudio world is even bringing together oncecompetitors within the console market itself, such as the recent DiGiCo, Allen & Heath, and Calrec merger. Although they will continue to trade as separate brands, this is an exciting time as the manufacturers know they can learn from one another, even across markets. LOOKING TO THE FUTURE So what can we look out for in the future? To be honest, it’s interesting what fed back to me as the hot topic for future development. It wasn’t higher channel counts, or developments in UI, or even better quality audio processing. It was to take the advantages of these very powerful digital audio systems and take them to the next level of advanced audio networking. Again we find ourselves turning to the broadcast market for clues, as they are already setting the wheels in motion. We’ve been able to send uncompressed multichannel audio down very small numbers of cables with industry standards such as MADI connectivity for a few years now. Following this was AoE (Audio over Ethernet), with protocols such as Dante and AVB. Dante is now a strong player and has helped open such a large pool of benefits, providing us with a tried and tested audio network for anything from multi-room scenarios, or just high channel counts between many different devices. This year’s release of the Vi3000 demonstrates Soundcraft’s support of this third-party protocol with the first ever built-in Dante and MADI switchable port. However, there are limits. AoE can only travel up to 100m before a network switch or termination is required. This limits the possibilities of what we know as ‘networking’ today. Here comes AoIP (Audio over IP).

The CDC8-32 and CDC8-16 from Cadac

New industry standards are here: Ravenna and AES67, as published by the Audio Engineering Society (AES) and European Broadcasting Union (EBU). Calrec’s Cookson comments: “It’s an exciting time at the moment and we are very keen to see the advancement of more open transport technology. The ratification of AES67 is a significant step forward in this respect.” Lawo too is very keen about the new IP standards, as Huber continues: “The future lies in changing conventional workflows, as more and more manufacturers join this standard by adapting their products. Transfer of audio and video signals will become easier and even more efficient by using IP networks. Feeds are uploaded to the IP Cloud and can be collected anywhere as long as there is network access. Another point is that the new standard will protect investments as facilities and mobile units can easily integrate systems of different manufacturers.” Hingley can even see potential growth of these IP-based networking solutions: “Another influence on future audio distribution is the adoption of IP-based broadcast video management. It’s likely that new 4K video facilities will be developed around IP-based distribution, and audio distribution will be largely managed by these systems.” Whichever market you are in; studio, broadcast or live, there has been some very powerful developments which we will wonder what we ever did without. However, it’s this new era of processing power, software, and networked audio which marks a turning point in the industries’ development. These new platforms are opening up some new opportunities for further growth in technology and the business around it like we’ve never seen before. These are very exciting times in the world of pro-audio consoles. www.allen-heath.com www.avid.com www.calrec.com www.hhb.co.uk www.lawo.com www.solid-state-logic.com The International Guide To Console 2015

AN ENGINEER’S GUIDE

Pick and Mix used to the much cheaper hire costs of a digital console. All of this makes taking an XL4 and racks of gear an exclusive club for the really big boys. As a result of this, we are limited in choice; I can’t take 10 different compressors out so we need our live consoles to be as ﬂexible as possible. A lot of digital consoles now offer different dynamics modes – again modelled on the classics we are used to hearing. Many consoles also now give you the choice of using plug-ins – this brings live and studio that little bit closer together as you can spend time auditioning in the studio, then bring that setting on the road. We need much more comprehensive EQs, as in the live setting not only are we using EQ to sweeten and shape the sound to something we want to hear, but we are also a lot of the time using the same EQ to problem solve (i.e. reduce feedback or get rid of bleed). All this being said, live console manufacturers have the unenviable job of taking every tool we may need, in the large quantities that we need them, and squeezing them into one tiny lightweight box that can stand a good kicking, and costs less then one channel of a studio console.

On tour with Deaf Havana and an Allen & Heath iLive-112

Ben Hammond, studio owner and FOH engineer for Saxon and Deaf Havana, looks at how mixing in a live setting differs from the studio, and considers the characteristics needed in a console for each environment. The main thing I look for in a live console is speed. Studio consoles can afford themselves to be complex and quirky, and this is often seen as an endearing factor. With things like the old Neve consoles, you need a degree in rocket science to navigate the desk, but it’s worth spending the time for the sound it delivers. In the live theatre though, time is always of the essence. Essentially we need a live console to be able to provide the same complex routing options (if not more), but we need to be able to access them immediately. This makes software menu architecture extremely important as I often need to be able to set things up on the ﬂy, but not be away from my main mix for more then a few seconds. Obviously, with the inception and huge uptake of digital consoles in the live circuit, 8

we now expect to have everything ‘on board’. Studio consoles of course do mostly one job, and do it extremely well – if you want a reverb you will reach for a 480/RMX16, etc. With live consoles, again for speed and also ‘footprint’, we rely on one box that does it all. Most live consoles will now offer you eight-plus different FX processors that are accurately modelled on the studio FX we have grown to love. As I just mentioned, footprint is now a huge factor to take into account. Production managers have got used to a small, lightweight digital desk that squeezes into a corner of the truck/trailor, so they can now ﬁll that extra space with even more lights. Promoters have got used to being able to half the size of FOH and sell another 10 or 20 tickets, and on the subject of more money, management have got

DECISIONS, DECISIONS What should be on a venue’s checklist if they’re looking to invest in a digital mixer? The main thing I would take into account is engineer opinion. The last thing you want is for crew to hate your venue as you bought one of only seven of that particular console anywhere in the world. While you may now be part of an exclusive club, having a console no one knows will only cause problems. Look at bands’ riders and look for the consoles that are being requested the most. There is a reason they are. For an in-house console, I would look for in-depth scene/recall settings. You will want to be able to accept touring engineers’ show files, while keeping routing and output settings that are unique to your venue. A console where a show file will work on all consoles that company manufactures opens things up and makes it more likely that touring engineers will have a file for your console. And lastly, something that your in-house engineers know. There is nothing worse then asking the house guy how to do something on his console and having a blank face look back at you. The International Guide To Consoles 2015

AMS NEVE

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 postproduction facilities in London, Hollywood, Bollywood and beyond. Whether it’s our flagship analogue 88RS and digital DFC Gemini consoles, the compact modular Genesys or our classic and modern outboard units, 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 AND GENESYS BLACK A hand-built expandable analogue recording console with digital workstation control and a base configuration starting under GB£30,000, Genesys puts Neve quality within reach of the smaller studio. Building 40 years of technical hertage, 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 Neve 1073 mic/line preamps, 16-channel DAW monitoring, hands-on DAW control for Pro Tools, Logic, Nuendo and more, eight auxiliary buses, eight group buses, two main outputs, four effects returns, comprehensive metering, 5.1 monitoring and mixing, two cue mixes, and talkback services. Motorised faders, Total Reset feature and incredible Total Recall™ software accelerate workflow. Genesys can be expanded to 64 channels in a straight or articulated frame, with options including mastering-grade 192kHz A/D/D/A converters with MADI, AES and FireWire 10

interfaces, digitally controlled analogue EQ and dynamics, remote mic amp control, and much more. Genesys Black offers a totally integrated solution for modern DAW-based studios. With a dedicated DAW control section, incredible digitally controlled analogue Neve processing and digital connectivity within a world-class Neve mixing console, the Genesys Black delivers that extra edge to recordings and mixes. 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.

• • • • •

• •

Recall™ and Encore Automation software DAW control, stereo & 5.1 monitoring and mixing Six auxes, eight groups, two main outputs Four effect returns, two cue mixes Channel/Monitor path, 8-track and 2-track metering Optional digitally-controlled analogue Neve Classic 1084 and/or Neve 88RS 4-band EQ Optional digitally-controlled analogue Neve VCA Dynamics Optional channel and monitor section A/D/D/A conversion with MADI, AES and FireWire interfaces

GENESYS BLACK

GENESYS

• • • • •

New ground-up Neve analogue design Up to 64-faders/128 inputs Neve 1073 transformer-coupled microphone preamps on each channel Motorised faders with Total Reset, Total

• • •

Total integration of modern studio workflow Up to 32-faders/64 inputs Neve 1073 transformer-coupled microphone preamps on each channel Motorised faders with Total Reset and The International Guide To Consoles 2015

AMS NEVE

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Total Recall™ software Dedicated DAW control section, with DAW faders, Meters and Touch-display Stereo & 5.1 monitoring and mixing Six auxes, eight groups, two main outputs Four effect returns, two cue mixes Channel/Monitor path, 8-track and 2-track metering Neve 88RS 4-band EQ & channel A/D/D/A conversion with MADI, AES and FireWire interfaces Optional upgrade to digitally-controlled analogue Neve Classic 1084 EQ and/or Neve VCA Dynamics Optional monitor section A/D/D/A conversion

88RS

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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

SP2 SCORING PANEL FOR 88RS A specially designed film-scoring option for the 88RS, the SP2 Scoring Panel and stem-maker 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. 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 choose 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 must-have. DFC GEMINI

www.audiomedia.com

ENCORE AUTOMATION AMS Neve’s Encore automation system sets the performance bar for automation systems the world over. The latest version – Encore2 v9.1, for USP (Ultra Scale Processor) systems – includes direct integration with Dolby Atmos® and Auro3D® formats for single-pass multiformat surround mixing.

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

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88RS • Designed for full surround from the ground up • Motorised large and small faders • AFL surround solo monitor • PFL on each channel fader • Four main output faders, L/R, C, S, and LS/RS • Acoustically optimised frame • Supplied with or without patch

DFC Gemini is by far the most accomplished digital mixing console designed specifically for multi-format film dubbing and post production. With an unrivalled installation base, DFC is the standard among the world’s premier motion picture facilities. The DFC Gemini is the first PostProduction tool to fully integrate the 3D formats of Dolby Atmos® and Auro3D®. These formats are hosted natively within the DFC to provide the most efficient workflow for multi-format surround mixing and multi-format deliveries. 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, highresolution, DFC signal processing tower. AMS Neve’s wealth of experience in ergonomic design has created the most flexible

DFC GEMINI • TFT Meter display shows essential channel and processing information at a glance, including the incoming audio waveform display • Powerful Encore2 automation system. • Off-line edit options offer complete session preparation away from the mix stage • Neve EQ, Dynamics and filters • 12 stem mixing with 192 tracks and up to 16 members per stem • New software suite imports Cut List and Conform data directly from the Picture Department files and allows simplified editing • The most powerful monitoring facilities of any large format console

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With its unmistakable 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 highest fidelity recordings. Designed in consultation with top music producers and recording engineers, it is equally at home on film scoring sessions and (especially with the addition of the SP2 Scoring Panel) and it is the console of choice for all Hollywood’s major scoring stages – Fox, Skywalker, Sony and Warner.

surface in the industry designed to maximise both controllability and feedback to the user. The control surface provides rapid access to every aspect of routing and monitoring no matter how complex the mix. Channel strips provide total control with the Logicator controls, giving instant visual reference to each parameter setting. Enhanced visual feedback is provided by TFT metering displays, powered by the AMS Neve proprietary ViewMix™ engine, allowing you to see as well as hear and feel your mix.

CADAC

CADAC: Intuitive, Elegant Engineering

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 including The Sex Pistols, Motorhead, 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 with artists as diverse as Pavarotti and The Rolling Stones. Now that digital audio consoles are reaching maturity, many mix engineers and sound designers are 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

CDC EIGHT Cadac’s digital flagship is the 128 input channel, 64- bus CDC eight. Available in either 16 fader single screen or 32 fader dual-screen formats with the option of a single screen 16 fader extender. Based around a far less menu-dependent operating system than other comparable digital consoles with an exceptionally tactile and intuitive user interface on 24” full-colour touch screens, the CDC eight elevates the art of mixing audio to the next level, and offers a unique, genuinely engaging experience for the operator. CDC eight’s remarkable sound quality is the result of Cadac’s legendary mic pre combined with a time-aligned, phase-coherent mix bus 12

of their distinguished origins, which can be traced back beyond the now-legendary J-type, which itself is still in production after nearly 25 years, to those classic consoles of the golden age of recording studios. All Cadac digital consoles feature superb quality mic pres, 24-bit, 96 kHz A-D conversion, full-path 96 kHz processing, and time-aligned, phase coherent summing busses. 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.

architecture featuring sub-0.4 millisecond latency from analogue inputs on stage through all of the CDC eight’s processing to analogue outputs on stage. The CDC eight also features WAVES plug-ins integration – controlled from within the console’s OS – multiple languages for user definable labelling, and Cadac’s industry leading show automation software, SAM. The optional CDC MC Router enables configuration of MegaCOMMS systems of up to 3072 channels of 24-bit /96 kHz audio which can comprise multiple I/O stageboxes and CDC consoles and also CDC MC MADI and MC Dante network bridges for third -party integration. The International Guide To Consoles 2015

CADAC

CDC MC ROUTER The CDC MC Router provides the routing capability for Cadac’s MegaCOMMS network via 150 metres (496 feet) coaxial cable runs. The 2U unit has 12 MegaCOMMS ports and can be configured to give up to 3072 channels of 24-bit/96 kHz audio within a single audio network. The MegaCOMMS router has a number of pre-set maps which can be selected by the user and include the ability to connect four CDC consoles, to eight MegaCOMMS units – either stageboxes or network bridges – within one network. Should any of the consoles connected to the router adjust the input gain, the router will automatically compensate for all of the other consoles connected. The latency for a CDC eight network by adding a CDC Router only increases by an incredibly low 10 micro seconds.

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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 128 channels of 96 kHz 24-bit audio down a single robust high-speed 75 ohm coaxial cable for up to 150 metres (496 feet) and it will support audio path redundancy. All Cadac stageboxes and network bridges feature MegaCOMMS interfaces. The benefit of combining audio, control, and clock into one single network simplifies connectivity, shortens set-up time and reduces investment in cabling infrastructure.

CDC FOUR:M The CDC four:m 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 (496 feet) from the console. CDC four:m features class-leading 24-bit, 96 kHz conversion and processing, time-aligned, phase coherent mix busses, and digital replication of the legendary Cadac J-type four-band equaliser. Complete with superb dynamics and FX processing, 6 x 4 matrix accessed by a clean, easy-to-use interface with the minimum of instruction and all housed in a rugged, 19” rack mountable frame. Remote control of the console is made easy by the TabMix iPad app.

INFORMATION

www.audiomedia.com

Cadac Holdings Ltd 1 New Street Luton Bedfordshire LU1 5DX UK T: +44 1582 404202 UK Sales Manager: Rob Hughes rob@cadac-sound.com US General Manager: Paul Morini paul@cadac-sound.com

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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. LIVE1 is the distillation of Cadac’s expertise in analogue console design. The LIVE1’s diminutive but robust frame (the LIVE 1642 is rack mountable) contains superb mic pres, extremely low-noise summing busses, 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, the LIVE1 is a surprisingly affordable Cadac console.

W: www.cadac-sound.com

CALREC AUDIO

Putting Sound in the Picture Celebrating 50 years commitment to audio, Calrec manufactures audio mixing products exclusively for broadcasters. Calrec is dedicated to excellence in audio for on-air and live production and has a range of consoles relied on by the world’s most successful broadcasters. The global transition to HD has been the most radical change in the broadcast arena since the move from black and white to colour. TV output has changed, with more options and more immersive content across sports and entertainment. Second screen technologies have changed the way we interact with our TV, and viewers are more involved in the process of TV than ever before. Broadcast audio, with immersive 5.1 mixes and the massive potential of object-based audio, continues to play huge part in this. And as a

result, television viewers are demanding more and more from their experience in the home. Consequently, broadcasters are also demanding more: more features, more integration and more flexibility from their audio equipment. Broadcasters continue to push the boundaries, and in this fast-paced, technologically progressive era, TV companies want to ensure that their systems can produce programmes efficiently and to these demanding specifications. For their audio systems to be able to achieve

SUMMA Summa 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. The Summa user interface is deliberately simple and straightforward to ensure that Summa’s highly intuitive user interface is suitable for a broad range of operator levels. Console control is via a 17-inch multitouch screen inspired by familiar tablet technology, with a straightforward interface that uses established finger gestures to navigate the system. Summa simplifies even complex workflow tasks, such as creating mix-minus feeds, with common procedures that are just one tap away, while each channel strip has only the most essential mechanical controls. Summa has Calrec’s award-winning Bluefin2 technology at its core, and the same integral Hydra2 router technology as the Apollo and Artemis consoles. Summa has a pool of either 180 or 128 channel processing paths and as with all Calrec consoles, there is no resource-sharing across the DSP, so all facilities are available on all channels at all times. 14

this, consideration has to be given not only to the console itself but also to the audio network and how efficiently it can be controlled, how it interacts with other equipment and how all this data is managed. Calrec has designed its range of consoles to meet these demands. AHEAD OF THE PACK Throughout the last 50 years, Calrec’s 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 2007 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 which supports the use of third-party control protocols. The International Guide To Consoles 2015

CALREC AUDIO

THE NEXT GENERATION The Apollo, Artemis and Summa consoles all leverage the increased power of modern FPGA technology, provide more digital audio 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 Summa, the intuitive and straightforward User Interface simplifies tasks and speeds up workflow. This enhanced flexibility and control allows consoles with relatively few physical controls to drive a much greater number of channels, busses and outputs.

HYDRA2 – A POWERFUL NETWORK FOR TOMORROW’S PRODUCTION NEEDS Hydra2 links the Apollo, Artemis and Summa consoles to their integral crosspoint routers, and on to more complex networks if required. Offering 512 bi-directional signals per copper or fibre connection, Hydra2 offers true ‘one-to-many’ routing and allows the construction of large-scale audio distribution networks with multiple control surfaces and routers/processors. 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. Additionally, sources on channel inputs and feeds to output ports can be changed remotely 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.

INFORMATION

Calrec Audio Nutclough Mill Hebden Bridge HX7 8EZ UK T: +44 1422 842159 Calrec America 26330 Diamond Place Suite 120 Santa Clarita CA 91350 USA T: +1-661-877-9775 E: enquiries@calrec.com W: www.calrec.com

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www.audiomedia.com

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. Calrec’s front-end interface provides a robust management layer which manages signals and data across the whole Hydra2 network. Increasingly there are demands for integration with AOIP protocol standards and control functions which incorporate third-party controllers. Hydra2 is flexible and integrates with standards such as AES67, AVB, Dante and Ravenna to ensure that your equipment is more than capable as the necessity becomes more commonplace. The scale of these developments means that an interoperable future is inevitable and this aspect of broadcast networking is constantly evolving with protocol development and manufacturer buy-in continuing apace. It is vital that that equipment manufacturers stay across these developments. Networking technology is on the brink of delivering unparalleled audio and video integration to broadcasters in many areas.

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NETWORKS AND INTEROPERABILITY Hydra2 facilitates a number of third-party control protocols, and provides an interface for transport protocols such as AVB, Ravenna, AES67 and Dante. The SW-P-08 protocol allows router control from third-party router panels, enabling 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, editing H2O I/O box and port labels, viewing 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 third-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

SOLID YET FLEXIBLE Calrec consoles still have the same excellent reputation for reliability and on-air stability. Unlike 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 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 buss output as the main mix without ever leaving the system. This gives broadcasters increased flexibility without the need for additional hardware.

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 – COMPLETE NETWORK CONTROL All modules of a DHD system are connected to each other with standard CAT cables. Just one cable carries audio, control signals and power for the modules. Audio signals are 16

connected via analogue or AES inputs, MADI, or the 3G/HD SDI embedder/de-embedder. In networked installations, Core modules transport multi-channel audio (up to 512 audio channels) between each other over fibre optics connected to DHD Gigabit Audio Ports. For Audio over IP the well-established Dante technology is used. The 52/XC Dante IP Audio Interface provides connectivity to other Dante nodes (hardware or software) on standard IP infrastructure. In the future, the emerging AES67 standard will also be supported on this platform. Ethernet and IP are also used for many other tasks. All configuration and monitoring is done over the network and there are options available to visualise the system status. Other systems can be interfaced using the open DHD Control Protocol or ‘classic’ GPIOs. 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 turn-key system; but there are software options to extend its functionality in larger set-ups.

52/SX. Compact and good value

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 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/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 The International Guide To Consoles 2015

DHD

52/RX. Solid hardware with full features

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 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.

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.

AUDIO OVER IP BUILT IN 52/DX – SMALL FOOTPRINT DESKTOP MIXER

52/DX. Small footprint

52/MX – FULLY FLEXIBLE CONSOLE

www.audiomedia.com

FLEXIBLE SOFTWARE OPTIONS Software plays a key role in all DHD systems. For setup and configuration, the Toolbox software is used. It also allows you to create a project on your PC without connected hardware. This is useful for project development and troubleshooting. The Remote Control Software package is used to monitor and remote control a DHD system. You also can design custom control screens both for TFT touch displays and larger status displays on standard monitors. Other systems can be integrated using the open DHD Control Protocol. If you need advanced routing and switching functions, you can run the Routing Software

INFORMATION

DHD Deubner Hoffmann Digital GmbH Haferkornstr. 5 04129 Leipzig, Germany T: +49 341 5897020 F: +49 341 5897022 E: dhd@dhd-audio.com Please find our international sales contacts at www.dhd-audio.com

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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 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.

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. 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 ‘Toolbox’ software used with the 52/MX system.

To run audio over standard IP networks, we use the established Dante™ technology from Audinate in the 52/XC Dante™ IP Audio Interface. This module supports up to 48 input and 48 output channels and connects audio from DHD systems to other Dante nodes. You can use it e.g. to interface your playout system via the Dante Virtual Soundcard instead of an expensive hardware sound card. If you connect two DHD Dante modules, you can create an ‘audio snake’ connection between two or more DHD systems within a larger facility. This gives you more flexibility for signal routing, talkback and monitoring. Also, in the future Dante will support the AES-67 standard, giving you better interoperability between devices of different vendors.

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52/MX. Fits your workflow

package. This application is used to control the audio switcher and to visualise its operation. It also provides sophisticated scheduling functions for automatic operation. All DHD software runs on standard Windows PCs and also includes functions for user management and backup.

LAWO

Lawo – Network. Audio. Video.

With experience gathered over more than 40 years, Lawo is distinguished by its engineering and manufacturing of most reliable and most advanced audio mixing consoles available. Originally developed for broadcast environments with zero tolerance for failure, Lawo consoles are also widely chosen for their audio quality in theatres, studios and live performance applications. Thanks to its broad range of audio and video products, Lawo can offer every customer a suitable solution for every task. Lawo’s virtual mixing desks and radio tools software help to streamline workflows in self-op situations and its RAVENNA / AES67 enabled audio and video products allow for efficient integration into IP network infrastructures. With Lawo, customers choose high reliability, great ease of use and maximum functionality – and Lawo quality, made 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 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: Lawo is 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 made Lawo the first choice for the 2014 sports TV productions in Sochi and Brazil. Plus cost saving remote production features like RAVENNA / AES67 compatibility and advanced networking options. These qualities and the number of installations have made the mc² series a standard around the world.

mc²66 – 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.

THE mc²56 – PERFORMANCE, PURE AND 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).

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 2015

LAWO

mc²36 – EASY, VERSATILE, RELIABLE The mc²36 console is an all-in-one production console with a comprehensive feature set that covers broadcast, theatre, house of worship, live and install applications. Along with uncompromised sound quality, Lawo-grade mic preamps and AES67 compatibility, it offers unprecedented value for money.

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. Hot-plugging, status monitoring of all components, or reconfiguration and expansion of the system during run-time is possible, even when on-air.

V_pro8 – COMPACT VIDEO POWER The V_pro8 is the perfect Swiss Army Knife video processing tool, interconnecting signals of different video formats, as well as between audio and video, all in highest quality, using either MADI or RAVENNA. User-friendly operation via HTML5 web browser. V_link4 – THE ALL-IN-ONE VIDEO-OVER-IP SOLUTION If you need to transport Video-over-IP in real-time, the new V__link4 is for you. It includes everything from Video-over-IP coding to various monitoring and processing tools.

mxGUI – THE PERFECT ON AND OFFLINE SOFTWARE TOOL The mc² series is equipped with an mxGUI user interface and control software, providing many useful features: •

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Offline preparation: from console layout to matrix control, partial snapshots and preamplifier settings, through to the creation of complete snapshot and production data.

INFORMATION

Lawo AG (Headquarters) Am Oberwald 8 76437 Rastatt GERMANY T: +49 7222 1002 0 E: info@lawo.com W: www.lawo.com Sales T: +49 7222 1002 0 E: sales@lawo.com For international sales contacts please consult the Lawo website.

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Online remote: operation, 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.

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crystal – COMPACT, INTUITIVE, AUTOMAGIC A cost-effective entry point into the Lawo world of mixing, the new crystal brings comprehensive out-of-the-box functionality plus all of the flexibility and customisability for which Lawo is renowned. The console comes with the powerful touchscreenoptimized VisTool PC software. Accompanying the crystal hardware console is the introduction of Lawo’s fully touchscreen-based crystalCLEAR virtual radio mixing console, bringing the crystal product line to applications where no physical faders are needed.

V_line – VIDEO BY LAWO The Lawo V_line is designed for one purpose: to provide tools that increase the flexibility of any broadcast application while saving valuable rack-space, set-up time and production costs.

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 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 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.

MANDOZZI ELETTRONICA SA

Intelligent Mixer and Router Systems The engineers working for 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 realising custom designed audio products

THE DIGITAL MIXERS GMIX GMIX mixer at Swedish Radio

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 20

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 2015

MANDOZZI ELETTRONICA SA

THE NEW SMALL DIGITAL MIXER CIMIX The sensational new CiMix mixer offers the same features as the SERIX mixers, but at a lower price and in smaller dimensions. The CiMix concentrator occupies a 19” cabinet of only 1 RU. As with all Mandozzi mixers, CiMix can be integrated into Mandozzi’s audio router concept. CiMix is a precious tool for self operators and sound technicians who can manage several interacting studios.

Every mixer console can take over the job of any other one by a few key strokes using the snapshot functions. A mixer can also send the configuration of a fader channel to any other mixer. The sound engineer can remotely control from his own mixer a fader channel of a DJ mixer. The mixers remotely control Mandozzi’s audio over IP codecs as well as third-party codecs and telephone hybrids that are installed in the central router room. GMIX mixers perform audio measurements according to R128. GMIX mixers are ideally suited for large broadcast installations with interacting mixers. THE DIGITAL MIXERS SERIX The SERIX mixers were developed to satisfy the customers looking for stand alone mixers 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.

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SOME MILESTONES OF MANDOZZI ELETTRONICA SA Mandozzi Elettronica SA was founded in 1965. Due to its close contacts with 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

www.audiomedia.com

PRESONUS AUDIO ELECTRONICS, INC.

StudioLive RM Systems – Active Integration Mixing at your Fingertips PreSonus® StudioLive™ RM-series Active Integration™ rack-mount digital mixers are controlled with intuitive UC Surface software for Mac, Windows, and iPad, which supports Windows 8 touchscreens as well as iPad gestures

Based on the StudioLive™ AI-series mix engine and controlled with battle-ready UC Surface software for Mac®, Windows®, and iOS®, the StudioLive RM32AI and RM16AI 32-channel, 25-bus rack-mount Active Integration™ digital mixers are scalable, compact, and 100 percent recallable. Designed for live-sound mixing and studio recording and controlled with powerful UC Surface touch software for Mac®, Windows®, and iOS®, StudioLive RM-series rack-mount digital mixers’ Active Integration™ technology provides unrivalled sound quality, recallable preamps, powerful DSP, direct Wi-Fi and wired LAN communication, fast and intuitive workflow, an onboard FireWire S800 interface, and tightly integrated software, creating a streamlined working environment. Unlike most competing digital mixers, there are no limitations or compromises, no shared resources. All processing is available at all times. PreSonus® offers two StudioLive RM models. The RM32AI has 32 mic inputs and 16 Mix outputs and mounts in four rack spaces; the RM16AI has 16 mic inputs and 8 Mix outputs and mounts in three rack spaces. Otherwise, the two are identical, with 32 internal channels and 25 buses; a 52x34 FireWire S800 recording interface; 96 kHz operation; and extensive signal processing. 22

Need more channels? An update will soon allow you to cascade any two StudioLive RM mixers so that they act as a single, integrated mixing system. Get up to 64 channels for less than $4,000! COMPLETE RECALLABLE TOUCH CONTROL When you’re mixing a live show, you don’t have time PreSonus StudioLive RM32AI and RM16AI 32-channel, 25-bus to search for controls and rack-mount Active Integration™ digital mixers are scalable and meters, as you must do with 100 percent recallable and are controlled with powerful UC most digital mixers. With Surface software for Mac, Windows, and iPad UC Surface remote-control or with your iPad, or any combination. software and StudioLive RM-series mixers, To further enhance your workflow, you every control you need to mix a show is can assign Channel Types that set a default, literally under your fingers because UC Surface customisable channel name, along with a supports iPad and Windows 8 touchscreens channel icon for quick identification. Channel (not included), taking full advantage of these Types set up unique channel filters for your intuitive multi-touch interface technologies. presets, making it easy to find and audition You can control your StudioLive RM mixer Fat Channel settings designed specifically for with your laptop, with or without touchscreen, The International Guide To Consoles 2015

PRESONUS AUDIO ELECTRONICS, INC.

COMPLETE STORE AND RECALL— INSTANTLY With UC Surface, it’s quick and easy to save your StudioLive RM settings for quick setup and recall – unlike some digital mixers. Save and name scenes that include every setting on the mixer – or save just the Fat Channel settings. Copy-and-paste settings across multiple channels and buses. Save individual DSP effects. Eight user-assignable Quick Scenes allow you to quickly create and recall a scene without having to navigate the list of 99 available scenes and giving it a name.

that Channel Type. They also automatically create DCA Filters based on the Channel Types, giving you a great starting point for streamlined navigation and control of your mix. ACTIVELY INTEGRATED SOFTWARE In addition to UC Surface, the StudioLive RM suite of free, integrated software includes PreSonus’ Capture™ multitrack-recording software and Studio One Artist DAW for Mac and Windows, which make it easy to mix and record a live performance and then take that mix to the studio, complete with levels, pans, and processing. QMix-AI™ aux-mix control for iPhone®/iPod® touch is available free from the Apple App Store. All of these applications are designed to communicate with each other and with the mixer. You also get a Nimbit® Free account to market and sell your recordings, providing an end-to-end solution.

www.audiomedia.com

THE SOUND IS PURE PRESONUS Until now, recallable mic preamps meant using a cheap integrated circuit that compromised sound quality. StudioLive’s XMAX™ Class A preamplifiers deliver more headroom, deeper lows, smoother highs, and a richer overall sound than the preamps found in competing mixers, and we didn’t want to change that, so we came up with a separate digital volume-control circuit ahead of the analogue preamp. Voila! Digital recall of quality analogue mic preamps! High-headroom, 32-bit floating-point processing is used for all mixing. The BurrBrown digital converters on every input and output are state-of-the art, with 118 dB dynamic range. The StudioLive RM mixer’s synchronisation to your computer is stable and robust, thanks to JetPLL™ synchronisation technology.

SOUNDS LIKE A WINNER! This combination of intuitive, touchscreencapable control; fast workflow; high-end audio; no-compromises signal processing; a convenient, rackmount design; and tightly integrated recording, computer control, and wireless control sets PreSonus StudioLive RM mixers apart. And it does so at an amazingly low price. For more information, visit www.presonus. com/products/StudioLive-RM-Series

INFORMATION

PreSonus Audio Electronics 18011 Grand Bay Court Baton Rouge LA 70809 USA Tel. +1-225-216-7887 www.presonus.com/products/ StudioLive-RM-Series

UC Surface makes it easy to work with saved, named mix scenes (bottom left) and save and load up to eight user-assignable Quick Scenes (upper right). Note also the eight Mute Groups (upper left)

Source Distribution Unit 7 Pembroke Buildings Cumberland House Business Park London NW10 6RE UK T: +44 020 8962 5080 www.sourcedistribution.co.uk

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A GIGANTIC CONSOLE IN A FEW RACK SPACES Each StudioLive RM mixer channel and bus has its own studio-grade compressor, limiter, gate/expander, and 4-band parametric equalizer. Each input channel, aux and FX bus also has a highpass filter, and input channels have polarity invert. It all is part of a remarkable processing and routing section known as the Fat Channel. You can even create two complete sets of EQ and dynamics-processor settings for every channel and bus, then make quick A/B comparisons at the touch of a button in UC Surface. It’s like having two complete channel

strips on every input and output – but simpler and more efficient! You also get graphic EQ on 12 aux buses and the 3 main channels, with two settings for each and an A/B option. Add to that two 32-bit stereo effects engines on dedicated buses, loaded with reverbs so rich and detailed that you feel like you’re there. Two more dedicated buses are equipped with delay effects that you can really use.

SAFE AND SECURE Security features protect the entire system – in addition to whatever protection your wireless router affords. UC Surface lets you set permissions that determine which features can be controlled from each iPad or laptop on the network. You can completely block any device from accessing the network, even if someone has the router password.

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NETWORKING AND RECORDING MADE EASY StudioLive RM mixers offer a USB 2.0 port with a Wi-Fi LAN adapter, plus a standard Ethernet port for control; you can connect to a wireless router either way. Creating a wireless network is easy: You never have to create an IP address or enter a subnet mask, or even know what those are. If you’ve ever connected your computer, iPad, or iPhone to a wireless network, you know how to connect your StudioLive RM mixer to the network. Every RM-series mixer sports a pair of FireWire S800 ports that let you connect the StudioLive RM mixer to a Mac or Windows PC and record up to 52 streams and play back up to 34 streams. But you aren’t limited to FireWire and standard Ethernet. The FireWire S800 and Ethernet ports come preinstalled on a card that can be replaced with optional Dante, AVB, or Thunderbolt cards (coming soon) so you can use the latest technology.

Designed for live mixing but also great in the studio, battle-ready UC Surface software for Mac, Windows, and iPad supports touchscreens so every control you need to mix a show is literally under your fingers. Note the small meter bridge at the bottom; wherever you are in UC Surface, you can always monitor channel and main bus levels