a special promotional publication from the newbay …€¦ · 1 the international buyer’s guide a...

1THE INTERNATIONAL

BUYER’S GUIDEA SPECIAL PROMOTIONAL PUBLICATION FROM THE NEWBAY MEDIA GROUP

AUDIOMEDIAAUDIO-FOR-VIDEO • BROADCAST • INTERNET AUDIO • LIVE SOUND • MULTIMEDIA • POST PRODUCTION • RECORDING

T H E W O R L D ’ S L E A D I N G P R O F E S S I O N A L A U D I O T E C H N O L O G Y M A G A Z I N E

AUDIOCONSOLES

2012

AUDIO MEDIAPRODUCED BY

In associat ion with:

I N T E R N AT I O N A L E D I T I O N

2Your sound. Under your control.The Focusrite Control 2802 with Dual Layer Control – combining a superb analog console with powerful digital workstation control and fader automation, for the very best of both worlds.

www.focusrite.com/control2802

Eight Class A mic pres and ultra-wide-bandwidth signal path for superb performance. A fully-featured master section. Latency-free monitoring and up to 32 mix inputs. 100mm long-throw motorised faders.

Ethernet-based DAW control surface. Full transport controls. Instant flip between mix and control modes. Your favourite music software is always at your fingertips – without leaving the console.

Sound and control at your fingertips.

Focusrite’s Control 2802 is both a small-format analogue recording/mixing console and a DAW control surface in one. Eight smooth Class A mic preamps and an ultra-low-distortion extended-bandwidth audio path deliver the very best performance. Eight long-throw motorised faders, 24 mix channels and up to 32 mix bus inputs deliver maximum flexibility for tracking or mixing. There’s a stereo bus compressor featuring parallel compression, a fully-featured master section and unrivalled routing capabilities.

At the same time, Control 2802’s fully-featured Ethernet-based DAW control surface handles plug-ins, auxes, automation and more. The faders function in both analog and digital layers. Clear DAW feedback lets you manage channels without leaving the console: ten meters read channel input, output or DAW returns.

The best hybrid analogue console in its class, Focusrite’s Control 2802 brings you both the flexibility of a fully-specified analogue studio console, plus a powerful, versatile DAW control surface – in a single desktop package.

Focusrite Control 2802. Your sound – under your control.

analogUE DUal laYER TECHnologY

DIgITal DUal laYER TECHnologY

INCLUDES Focusrite’s classic EQ and Compression plug-in suites MIDNIGHT & FORTÉ

3 4 The Right Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6 Competitive Ergonomics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8 Allen & Heath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10 AMS Neve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12 Calrec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14 DHD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16 DiGiCo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

22 Lawo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24 Mandozzi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26 Midas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28 Roland Systems Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

30 Solid State Logic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

32 Soundcraft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34 Stagetec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

36 Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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c o n t e n t s Welcome to the updated Audio Consoles Buyer’s

Guide 2012, an exposé of the finest the audio

console market has to offer. Whether you’re in

recording, post production, broadcast, or sound

reinforcement, we’re sure there’s a selection of

products here for you.

This magazine is a collection of promotional articles looking at 11 of the world’s leading console manufacturers and their product ranges. Inside you’ll find the stories behind the gear – the ethos’ and design ethics that go into producing one of the core components in audio production – and details of the products themselves.

The hands-on approach to audio mixing has not yet been beaten. It’s an art form in itself and a skill that sonic operatives treasure. Every console on the market offers something different to complement both the work at hand and the preferences of the operator, so sometimes it’s difficult to narrow down the wide choice on offer to those products that are best suited to your needs. There’s also new technology to consider – are you surround-sound ready? Has your current console got the extra horsepower or capacity needed to cope with modern production demands? Do you need a step up in signal intergrity and product pedigree? Could a more versatile board work harder for you or do you need a more specialist tool for a specialist job? Everybody needs to address at least a few of these issues, and probably more besides.

That’s where this guide comes in. This, and the other Buyers Guides in the series (Monitors, Microphones, Recorders, Live Sound Technology, Live Sound Applications, and DAWs) are Audio

Media projects, designed to help you find your way though the information explosion and find the product that suits your needs. Audio Media is an internationally 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.

Paul Mac, Editor.

Sales ManagerGraham [email protected]

Editor In ChiefPaul [email protected]

Editorial Manager (Europe)Lanna [email protected]

Design & Production ManagerJohn-Paul [email protected]

AUDIO MEDIA www.audiomedia.com (UK) Tel: +44 (0)1480 461555 - Fax: +44 (0)1480 461550

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.

© 2012 NewBay Media. All rights reserved.

www.nbmedia.com

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The Right Choice

You’d think it’d be simple, wouldn’t you? A mixer, console, desk, board – whatever you want to call it – is, effectively, just a

posh router. Signals come in, are mixed, bussed, possibly effected, submixed, and spat out into the wild. Consoles get used in audio recording studios, recording and live broadcast, movie editing and dubbing, live theatre, music; and are installed into art galleries and museums around the globe. As all of these applications are widely varied, it stands to reason that the users will have different needs and priorities. If you’re in a studio or recording a live show you might want hundreds of input channels, but if you’re trying to fi t a studio in a van, you’ll need a small physical footprint. Dubbing mixers may need sophisticated multi-channel monitoring and sub mixing, while live sound engineers might need lots of effects and close integration with digital snakes. So how do some of the top players in the market address these multifarious demands?

Make It EasySolid State Logic (SSL) has an enviable reputation in the audio world, with each successive series of products being in huge demand with audio producers and engineers. Consequently, features have been added to make the lives of their intended users easier. SSL consoles feature lots of channels, fl exible monitoring, temporal automation, and a commitment to the highest fi delity, as Dan Duffell, Head of Marketing at SSL, explains: “We design consoles with a primary purpose or application or sector in mind – which does infl uence the control surface layout or audio architecture.

But these days, many commercial studios have several different revenue streams within their business model. They often do different types of work on different days to maximise their client base. For example, an SSL AWS console might be used for recording a band, mixing, producing a TV, fi lm, or advertisement soundtrack. They are used for Sound For Picture work; music production or entertainment broadcasts, where a studio is used to simultaneously mix for live-to-air and capture a multi-track recording. We designed the console to be as versatile as possible specifi cally because of the diverse nature of our clientele and the applications to which they put our products. Versatility is part of our success – and it always has been. To try and pigeonhole the type of work studios do these days could be seen as misreading the current business models which are prevalent in the industry – it is a bit of an old fashioned way of looking at the world. Duality operates in exactly the same market sector but on a larger scale and is equally used in a massive variety of applications, including several dedicated broadcast studios.”

SSL is also specifi cally present in the broadcast world, and Duffell explains that the company has a

similar approach there. “The C100 console is used in broadcast studios and outside broadcast vehicles covering entertainment and news production and so on. But it is also used as a front of house console in large venues such as Opera Houses and Stadia, and for live music production in TV studios. Again, we designed the console

to be able to handle all these applications. The C200 is used as a straight music console, but it is widely used in music broadcast environments where there is a heavy music component, for example, the Saturday Night Live TV show and in those circumstances, the console needs to also handle the rest of the functionality required for broadcast. It’s also used for location recording vehicles and outside broadcast (OB) vehicles all over the world. The C300 is primarily designed for traditional fi lm post, but it is also used for music and large scale combined Front Of House & Broadcast applications such as Houses Of Worship. In today’s diversifi ed business and media world a manufacturer needs to assume that its products will be used in a huge range of applications and ‘design in’ the versatility required.”

On A Different NoteCalrec, however, takes a slightly different approach, as Henry Goodman, Head of Sales and Marketing explains. “As a manufacturer of audio consoles specifi cally designed for live-to-air and live-to-tape broadcast, Calrec Audio prides itself in designing and manufacturing groundbreaking products that surpass current industry requirements by anticipating the future needs of broadcasters. The Bluefi n2 range incorporates advanced FPGA technology and is designed for surround sound mixing from the outset. The current standard for surround sound in live broadcast is 5.1, but the unrivalled channel count (1020 channels in Calrec’s fl agship Apollo

AUDIO makes a step into the bewildering array of consoles out there, and asks some of the major manufacturers what they believe are the most important features to look for within their fi elds.

SSL’s AWS series can be used for a variety

of tasks.

Calrec’s fl agship Apollo leaves scope for future advancement.

4 THE INTERNATIONAL CONSOLE BUYER’S GUIDE

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THE INTERNATIONAL CONSOLE BUYER’S GUIDE 5

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The Right Choiceconsole) leaves plenty of scope for movement to 7.1 and more in years to come.”

From these comments, it’s obvious where Calrec’s focus lies; yet in the past, the company’s products have found favour in many a recording studio too because of their high audio quality. Though its current range is designed for broadcast, it could be equally at home in a live concert or theatre situation, where reliability is a key feature. “The reputation of Calrec’s consoles can be attributed to their reliability and on-air stability,” explains Goodman. “Built on the success of Bluefi n, Bluefi n2 consoles like the Apollo and Artemis offer true full on-line redundancy of hardware for critical systems. The DSP, router, router expansion, processing and PSU cards all have a secondary card which continually monitors the primary card, and are all hot-pluggable for easy replacement ensuring no loss of audio.”

Ian Cookson, Calrec’s Marketing Coordinator is adamant that Calrec is focused tightly on their intended market though. “Our consoles are designed specifi cally for live broadcast. As this is our target demographic we have put all our efforts into creating a console that will meet the needs of broadcasters. We’ve included a lot of broadcast specifi c features that would be superfl uous in post or front of house environments, e.g., full redundancy, therefore our consoles would not be appropriate for other audio engineering disciplines. In other words I am not aware of any of our consoles being used outside of their design purposes.”

Next GenerationPresonus also takes an individual approach to the section of the marketplace its products are aimed at. “Rather than offer ‘old-skool’ mixers, PreSonus has integrated hardware and software to provide affordable systems that seamlessly integrate mixing, recording, and wireless control,” says Steve Oppenheimer, Public Relations Manager at PreSonus Audio Electronics, Inc. “StudioLive consoles are designed for both live sound and studio recording, without compromising the requirements for either. The StudioLive has a built-in, multi-channel FireWire interface and comes bundled with PreSonus Capture recording software, which is preconfi gured for the mixer so it needs no set-up. When you use the included Virtual StudioLive (VSL) bi-directional control software for Mac and Windows and free StudioLive Remote control

software for iPad, you really begin to see the possibilities of hardware-software integration. With VSL, you can control almost the entire mixer from a FireWire-connected laptop. You can load and save mixer scenes and individual processor and channel presets via drag-and-drop and can visually edit signal processing. Add SL Remote, and you can control any StudioLive mixer wirelessly from anywhere in a venue. You can use up to ten iPads on the same mixer and can assign rights to each iPad, so, for instance, each band member could control just their own monitor mix without interfering with other mixer operations. The applications for bands, clubs, concerts, theatres, and churches are obvious. The mixer’s outstanding sound quality, with Class A XMAX preamps and high-defi nition converters with 118 dB dynamic range, makes it suitable for studio use, yet its feature set and layout fully support live applications. And of course you can easily save and recall full mixer scenes and presets.”

“Our design philosophy always carries three prime elements – user interface, audio quality, and integration,” says Dave Neal, Marketing Communications Manager at Harman Pro Group UK. “We continually strive to ensure ease of use, especially with today’s digital technology. Our Vistonics user interface used on the Studer Vista and Soundcraft Vi series has received worldwide acclaim for its analogue-style usability, while the Soundcraft Si Compact is really easy for any engineer to quickly assimilate. All our digital consoles include effects (FX) and dynamics, reducing the additional outboard racks required for any given application. The use of consoles in different applications depends on scale of input and output size, physical size demands, and level of operator knowledge and experience, but the end result is always the same – to deliver an intelligible end-product to the audience, be they in a club, watching a TV broadcast, listening to

radio or a CD, or watching a musical in the West End. Delivering pristine audio quality through the console helps achieve this aim.”

Seeking A Certain SoundOf course, some users may choose a console for a single overriding factor that may, in some cases, be more important than absolute usability or the feature set of a console. “It’s the ‘Neve’ sound that customers

want, defi nitely,” says Gez Kahan, Marketing Communications at AMS Neve. The company realises that many different kinds of user desire a Neve desk, and have thus created a range of consoles useable in, or adaptable to, many different working environments. “We do three main consoles; the analogue 88R and Digital 88D are used both for music and a lot of fi lm score work. So you’ll fi nd that there’s a pair of 88R’s in Abbey Road, one at Air, and we’ve got them in every major Hollywood scoring facility. Those that are used for scoring have the SP2 scoring panel that gives you a lot more routing fl exibility and makes the creation of stems easier – which are the more usual form of delivery for dubbing rather than a complete mix. We also do the DFC (Digital Film Console) and there are several versions of this console used in postproduction houses, such as Warners, Fox, and Disney – Skywalker Sound has one alongside an 88R too. When they put the second 88 into Abbey Road – it’s not a very wide studio – they had a choice between a SP2 enabled 60-fader desk and or a 72 fader one without, and they went for the former. The extra routing and mixing fl exibility of the SP2 was more important than the extra faders. They use it not only on fi lm mixing but also as a general router – which is important as people make fi nal decisions later and later these days.”

Of course it’s the users who ultimately choose which console to use in which application and they’re usually a pretty messy bunch, often upsetting the nicely laid plans of marketing departments everywhere. But it seems that, in the days of fl exible applications and marketplace diversity, you’ll see many more ‘made for’ consoles turn up in locations you might not expect.

A classic 80-series Neve console.

The Vi series from Soundcraft has analogue-style

useability.


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Competitive Ergonomics

Ergonomics: ‘The study of people’s effi ciency in their working environment (OED)’.

Console ergonomics: ‘How to make an engineer’s work easier and more fun (AM)’.

Long gone are the days of noisy tubes, greasing faders to reduce ticks, tiny amounts of channels and unpredictable results. The relevant technology has come so far that if you buy a console, you can pretty much be sure that the quality of the parts and the sound is going to be good. If you can take the quality as read, what is it that makes engineers slavishly declare their devotion to a particular brand or even just one model from a particular manufacturer? Every console has its own bells and whistles, but sometimes it’s simply down to how nice it is to use.

Every manufacturer has its own ideas about what is necessary in a console, and it is essential to understand the particular ergonomic philosophy of the manufacturer when considering the end product.

“The Midas ergonomic philosophy is actually quite straightforward; providing the user with what they want, when they need it,” said Simon Moss, Midas Product Development Manager. He explained how this translates into the design of the console. “The control surfaces are laid out in a simple, clear, and logical manner for the engineer, with an emphasis on the speed of navigation in a potentially stressful live situation. Daylight-viewable screens, colour co-ordination, and a ‘muscle memory-friendly’ control strip are good examples.” Midas wants to prioritise the user. “We developed POP groups and the VCA-centric way of working to ‘bring the console to the engineer’, rather than burying channels

under layers in the conventional way that most digital consoles work,” explained Moss. Midas has placed importance on an intuitive way of working, and in doing so prioritised the more imaginative side of audio engineering. “This approach allows the engineer to get on with the creative task of mixing the show, rather than having to think about operating the console.”

Creativity RulesEnabling creative freedom is a common theme among those responsible for console design. Keith Watson, Global Head of Marketing for Soundcraft and Studer sums up his company’s approach: “The result of a solid ergonomic design reduces the cognitive responses from the engineer and releases their mind and frees them to listen and mix.”

The importance of speed of access informs the design. “The engineer doesn’t want to spend valuable time looking for features, or paging for access to commands,” said Watson. “The console should assist the user by presenting him or her with the logical progression of options, based on where the engineer is within the mix process.”

Bob Tudor, PreSonus Chief Technology Offi cer, co-leads the StudioLive design team. Tudor designed several groundbreaking digital consoles before joining PreSonus to help create the StudioLive, and is also a pioneer in designing control surfaces for DAWs. His approach to console ergonomics is business-like; perhaps the key to why his products have been so

successful. “I try to focus on

the problem we’re solving in a ‘simple is best’ way,” he explained. “And most of my work is focused on the

‘low cost, high

value’ equation. One of the hardest things to do in product design is make a product with a great user interface, but on a tight budget so that tens of thousands of people can get to use it.”

Of course, a challenge is often what stimulates a designer. Carey Davies, Design Specifi cations Manager at Allen & Heath, told me: “The digital mixer presents many new challenges and opportunities. A&H has always put ergonomic design of the control surface high up in the priority list.” Designing its consoles to fi t in with the quick thinking and improvisational nature of live sound, responsiveness is at the heart of its philosophy. “Unlike the studio environment, live mixing is about working fast, dealing with the unexpected, often problem solving on the fl y,” said Davies. “You need to listen with your ears, not your eyes; and watch the stage, not the console. You need to respond quickly, get to a function fast – instant access, not navigating through screen menus or squinting at tiny icons.”

All have strong, often similar, ergonomic philosophies. But each manufacturer produces quite a different console from the others. The design of specifi c products reveals the passions of each designer and manufacturer.

At Allen & Heath, Carey Davies is excited by the opportunities presented by the evolution of digital consoles. Analogue consoles, while variable and unpredictable, did have the advantage of being pretty simple and almost generic, so that they were easy to fi gure out, and an engineer could usually be fairly profi cient almost straight away even if they had not encountered the particular console before. “Digital consoles have not yet reached that point,” said Davies. “It is daunting for the live engineer today to walk into a venue and fi nd a digital console unfamiliar to them. It is important that any digital design is quick to learn – and indeed, to teach – otherwise the operator may compromise the performance by ignoring processing or functions that they cannot fi nd intuitively.”

This was a key element in the thinking behind A&H’s iLive console. “Our target was to ensure a guest engineer walking up to iLive

AUDIO MEDIA examines what it takes to tame the maelstrom of digital console architecture and give the user a surface that takes the strain out of gain.

good examples.” Midas wants to prioritise the user. “We developed POP groups and the VCA-centric way of working to ‘bring the console to the engineer’, rather than burying channels

successful. “I try to focus on

the problem we’re solving in a ‘simple is best’ way,” he explained. “And most of my work is focused on the

‘low cost, high




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Competitive Ergonomicsfor the fi rst time is able to comfortably mix their band within minutes.” This ease of use was partly achieved by presenting a familiar analogue style rotary control layout. However, as Davies points out, new generations of engineers are now more familiar with touch-driven digital surfaces and less familiar with analogue as a starting point. This is why iLive offers two ways of working, either with a touch screen, or with knobs. The industry change from analogue to digital is an important consideration in the design of new equipment, as well as maximising the potential of digital technology.

But Not FlawlessHaving multiple capabilities in one piece of equipment is one of most exciting things about digital consoles, but it does bring some problems, as Davies explained. “The challenge here is to keep the control surface uncluttered. The iLive solution is to let the user assign just the channels and masters they want to use to the fader strips, and bury less-used ones in layers below.” Allen & Heath is looking forward with the design of iLive, with the ability to incorporate new technologies into its use. “The MixRack is a network device and can therefore be controlled even without a surface using a PC, touch tablet or iPad over wifi , affording a new freedom for the engineer.” This is an unexpected leap. That digital technology could release the engineer from hunching over rotary dials, bringing ease of use with touch screens and personalisation – you could see that coming. That the engineer could be freed from the desk altogether seems like a vision of a different future altogether.

Over at PreSonus, Bob Tudor’s work on StudioLive has some similarities, in that the goal was to allow engineers to be able to instantly understand the console, and that this is achieved through the use of familiar analogue design. “The ergonomic requirement of StudioLive was to ‘take the digital out of digital’. We essentially made an analogue console with digital ‘guts’,” explained Tudor. While A&H courted a more digital-savvy generation of engineers with dual controls, PreSonus concentrated on the many advantages of analogue-style control. “We intentionally put a tiny LCD on the front panel and intentionally made the mixer work ‘analogue’ in user interface,” said Tudor. “The StudioLive family concept was to be analogue live oriented, yet fully integrated with a PC or Mac for those that wanted to get more

advanced.” Freedom from the desk allegedly began here. “We added iPad remote control so you can walk around the room and mix wireless – that was a fi rst in our price range, if not the fi rst one.”

Studer and Soundcraft have something that sets them apart – the Vistonics control surface, originally introduced on the Studer Vista range of digital consoles and now used across the Vista and Soundcraft Vi Series. The patented technology combines rotary controls and buttons into fl at screen displays, bypassing the ergonomic limitations caused by arranging controls around a display, with audio parameters displayed on screen but relevant controls located elsewhere. “We based its design on comprehensive research looking into methods of saving time for the engineer, reducing eye movement and fatigue, and making the system highly intuitive,” said Keith Watson. The necessity of keeping touch with the analogue age is again demonstrated in the design. “Although the ranges are all digital consoles, we have remained faithful to the analogue channel strip convention – something our customers have insisted on.” The design philosophy behind the use of Vistonics can be summed up in one phrase – ‘where you look is where you control’.

Midas consoles, although technologically quite different, are designed with similar principles. “When we began our digital console project (XL8), we spent a considerable amount of time researching the psychology of audio and the way in which humans interact with this medium,” said Richard Ferriday, Midas Brand Development Manager. “We looked at things like the McGurk effect, the way in which the visual and audio senses interact, and at the more prosaic way in which engineers use groupings and colour to speed the process of navigation.” Designers must consider the impact of the ability to reduce the size of consoles with technological advances. Smaller user interfaces have to work harder to provide adequate visual support for the operator, Simon Moss explained. “With the Midas PRO2 and PRO2C, we took the ‘bringing the console to the engineer’ concept a step further, and designed a

console which is not only intuitive, but actually shortcuts many thought processes for the operator. Employing features like the advanced navigation modes and MCA (mix control association) groups make it possible for an operator to easily mix a 64-channel front of house mix or multiple complex monitor mixes on a couple of handfuls of faders.”

No Call For ModestyIn the digital age, with relatively standardised sound quality, manufacturers must persuade potential customers that their console is ergonomically the best. A desk that makes an engineer’s job easier, more pleasant, releases them from the tedium of having to fi ght through complex controls – that is the holy grail. Some manufacturers think they have already found it. “The term ‘intuitive’ is much over-used just to tick the boxes these days,” said Studer and Soundcraft’s Keith Watson. “However we have spent many years perfecting the Vistonics interface and believe it is truly intuitive, and this is the regular feedback from users.” It is the users, after all, who will ultimately decide if a console is up to the job. “Ergonomics and the effect on workfl ow is one of the most discussed aspects of our console design with our customers,” says Watson. “A console is the most tactile and maybe ‘personal’ piece of kit in a signal path.”

Allen & Heath’s Carey Davies stresses the importance of remembering the user in the design as console technology moves forward. “These are exciting times for our industry. However, regardless of where technology takes us, we remain simply human, and proper consideration for intuitive layout, easy learning curve, good visibility and fast operation must remain a prime design consideration for audio 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 Adele, AIR, President Obama’s Nobel Peace Prize ceremony, ESPN Sports, Sasha, and Deadmau5.

Products include the iLive digital mixing family,GLD digital mixing system, iDR digital installation series, Xone DJ range, ZED USB compact mixers, XB-14 dedicated broadcast console, GS-R24 and ZED-R16 recording mixers, GL multi-purpose series, MixWizard compact series and PA portable series.

GLD Live Digital Mixing SystemThe new GLD mixer is a user-friendly, cost effective, and scalable live digital mixing system, conceptually based on the hugely successful digital iLive series. A standard GLD 32 input system

8 PROMOTIONAL FEATURE

+ + + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H

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.

40 Years Of Audio Excellence And Innovation

Allen & Heath’s iLive Digital Mixing System tours with

artists such as Adele.

bands Genesis, The Who, and Pink Floyd. Its current portfolio covers a broad spectrum of the industry, with recent

installation series, Xone DJ range, ZED USB compact

series, MixWizard compact series and PA portable series.

The new GLD mixer is a user-friendly, cost effective, and scalable live digital mixing system, conceptually based on the hugely successful digital iLive series. A standard GLD 32 input system

PROMOTIONAL FEATURE

consoles 2012consoles 2012

CONTACT DETAILS

Allen & Heath Ltd.t +44 (0) 1326 372 070

e [email protected]

w www.allen-heath.com

offers 28 XLR mic inputs with plug n’ play I/O expanders allowing easy expansion up to 48 inputs (44 XLR mic inputs).

At the heart of the system is the GLD-80 mixer, providing 48 input processing channels, eight stereo FX returns fed by iLive’s acclaimed FX emulations, 30 confi gurable busses, 20 mix processing channels, and DSP power to provide full processing without compromise. The GLD-80 connects to a range of plug ‘n play I/O racks to ‘build’ 28, 36, or 44 mic input systems. A primary AR2412 rack (24 XLR inputs, 12 XLR outs) and up to two AR84 expander racks (eight XLR inputs, four XLR outs each) can be connected over 120m CAT5 runs using A&H’s dSNAKE protocol. dSNAKE provides control to the remote pre-amp, and all mic pre-amps are scene recallable. AR2412 also includes a connection for personal monitoring systems.

iLive Digital Mixing SystemAllen & Heath’s iLive digital mixing systems have built a strong reputation for audio quality and ease of use. Featuring an extremely fl exible architecture with large-scale audio distribution and control, iLive is designed to bring an analogue feel to digital mixing and draws on the company’s extensive experience in live sound and digital technology.

There are several Control Surface and MixRack variants, which can be mixed and matched in any combination and share the same fi rmware, so that show fi les 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 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 traffi c.

All MixRacks feature the same 64x32 RackExtra DSP mix engine architecture, providing processing for 64 channels, 32 mixes, and eight stereo FX processors. The latest dualcore DSP technology handles all the FX and mixing along with the full dynamics, EQ and delay for all inputs and outputs simultaneously. iLive’s RackExtra FX suite includes a comprehensive range of classic emulations including reverb, delay, ADT, chorus, fl anger, 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 offl ine 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.

ZED SeriesThe ZED range of small format, USB-equipped mixers is designed to be fl exible and affordable for the modern working musician to use on the road or in the studio. The series comprises the ZED-10, ZED-14, ZED-18, and ZED-24 stereo mixers; the ZED-10FX, ZED-12FX, ZED-16FX, and ZED-22FX containing a comprehensive and beautifully-crafted set of in-house designed FX; the ZED 4-Bus range, designed for professional live sound applications which require more detailed EQ control, audio groups and matrix outputs; and the ZED-R16 dedicated recording mixer, which combines Firewire with multi-mode MIDI/audio faders, MIDI controls and ‘home-studio’ routing, enabling the user to build tracks in the studio or record a live gig, mix-down and remix.

+ + + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H + + + + A L L E N + H E AT H

GSR-24

Specifi cally aimed at busy project studios, the GS-R24 is a high quality analogue console and summing mixer with boutique preamps, parametric EQ and comprehensive routing and monitoring options, combined with full DAW integration thanks to MIDI controllers and motorised faders. It is available with a choice of interface cards: an Analogue card and a 32-channel Firewire card with ADAT optical connectivity.

processing channels, and DSP power to provide full processing without compromise. The GLD-80 connects to a range of plug ‘n play I/O racks to ‘build’ 28, 36, or 44 mic input systems. A primary AR2412 rack (24 XLR inputs, 12 XLR outs) and up to two AR84 expander racks (eight XLR inputs, four XLR outs each) can be connected over 120m CAT5 runs using A&H’s

all mic pre-amps are scene recallable. AR2412 also includes a connection for personal

Allen & Heath’s iLive digital mixing systems have built a strong reputation for audio quality and ease of use. Featuring an extremely fl exible architecture with large-scale audio distribution and control, iLive is designed to bring an analogue feel to digital mixing and draws on the company’s extensive experience in live sound

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 offl ine set up and

All MixRacks feature the same 64x32 RackExtra DSP mix engine architecture, providing processing for 64 channels, 32 mixes, and eight stereo FX processors. The latest dualcore DSP technology handles all the FX and mixing along with the full dynamics, EQ and delay for all inputs and outputs simultaneously. iLive’s RackExtra FX suite includes a comprehensive range of classic emulations including reverb, delay, ADT, chorus, fl anger, 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


10Whether it’s our fl agship 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 – workfl ow-enhancing ease of operation.

GenesysA hand-built expandable analogue recording console with digital workstation control and a base confi guration starting at under GB£30,000, Genesys puts Neve quality within reach of the smaller studio. Building on 40 years of technical heritage, it includes our legendary mic pre-amplifi ers 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 confi guration, Genesys offers 16 channels of mic/line pre-amps, 16-channel DAW monitoring, hands-on DAW control for Pro Tools, Logic, Nuendo and more, eight auxiliary buses, eight group busses, 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 confi guration, 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.

88RSWith 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 fi rst choice for recording and

mixing the purest fi delity 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 fi lm scores, and it’s the unanimous choice of Hollywood’s big four scoring stages – Fox, Skywalker, Sony, and Warner.

SP2 Scoring Panel for 88RSA specially designed fi lm-scoring option for the 88RS, the SP2 Scoring Panel and stem-maker delivers an astonishing increase in fl exibility 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


+ + + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E + + + + A M S N E V E

Custom-crafted in Burnley UK, to an uncompromising British specifi cation and using only top quality components, AMS Neve’s mixing consoles – both analogue and digital – are the gold standard throughout the world. You’ll fi nd 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.

Neve – The Rolls Royce of Consoles

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, eight-track and two-track metering• Optional Neve EQ & Dynamics and

transformer-coupled microphone pre-amp inputs

• Optional digital inputs and outputs with FireWire interface, motorised faders (with Encore automation software)

• Optional Total Recall™ software

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 fl exibility


CONTACT DETAILS

AMS NEVE LtdBillington Road, Burnley,

Lancashire BB11 5UB, UK

t +44 (0)1282 457 011

f +44 (0)1282 417 282

e [email protected]

w www.ams-neve.com

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 – specifi ed 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 GeminiDFC Gemini is by far the most accomplished digital mixing console designed specifi cally for multi-format fi lm dubbing and post production.

With an unrivalled installation base, DFC is the standard among the world’s premier motion picture facilities.

From the outset, the DFC Gemini was designed for optimum mix performance. At the heart of the DFC Gemini is USP, the world’s most powerful mix engine, capable of delivering the legendary Neve sound across 1,000 audio signal paths at 96kHz 24-bit in a single, high-resolution, DFC signal processing tower.

AMS Neve’s wealth of experience in ergonomic design has created the most fl exible surface in the industry designed to maximise both controllability and feedback to the user.

The control surface provides rapid access to every aspect of routing and monitoring no matter how complex the mix. Channel strips provide total control with the patented touch sensitive Logicator™ pots, giving instant visual reference to each knob setting. Enhanced visual feedback is provided by high res TFT monitors, powered by the AMS Neve proprietary ViewMix™ engine, allowing you, for the fi rst 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.


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Neve – The Rolls Royce of Consoles


Encore AutomationWhen 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 works tirelessly to give them more fl exibility, more options, and increased throughput. AMS Neve’s proprietary Encore automation 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 fi ve million events per mix/pass (up from 1.5 million in v6).

The AMS Neve DFC Gemini at Alvernia Studios, Poland.

The Neve 88RS in Fox’s scoring studio.

One of two Neve Genesys consoles in Tokyo’s Syn Studios, co-owned by Nick Wood and Simon Le Bon.

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 fi lters• 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

12 HD Audio for broadcast demands cutting-edge technology. The global transition to HD has been nothing short of revolutionary. With the uptake of live 3D forcing broadcasters to re-assess their audio output yet again, neither broadcasters nor broadcast equipment manufacturers can afford to fall behind.

Ahead of the PackThroughout its history, Calrec’s team of innovators has anticipated such major changes, and consistently provided superior products that

have allowed forward-thinking broadcasters to remain one step ahead: Calrec introduced the world’s fi rst true stereo broadcast console and the fi rst point-source surround microphone in the 1970s, anticipating the growth of multi-channel broadcast audio. Calrec produced the world’s fi rst digitally controlled assignable broadcast console in the early 1980s, predicting the separation of control surfaces from networked processing hardware. In 2007 Calrec launched Bluefi n, the world’s fi rst DSP processing engine based on FPGA (Field Programmable Gate Array)

technology, which enabled broadcast consoles to work effi ciently with true discrete-channel 5.1 surround for the fi rst time. Bluefi n2, the next generation of Calrec’s FPGA technology, has been designed for surround operation from the outset.

Increasingly broadcasters want to be able to link equipment together, providing tighter network control. Calrec’s desire to meet these customer needs has resulted in several protocol developments. Integration with EMBER and Pro Bel allow Hydra2 to communicate with

As broadcast specialists for 40 years, Calrec is exclusively dedicated to excellence in audio mixing for on-air and live production. This understanding has helped Calrec develop a range of consoles relied on by the world’s most successful broadcasters.

Putting Sound In The Picture

A variety of operating modes and ways to display information to make

every operator feel at home.

Apollo and Artemis incorporate 30 years of refi nement of Calrec’s assignable console designs, using rotary controls and buttons that change colour to refl ect the type of control they are assigned to. The consoles also use colour to denote mono, stereo, or 5.1 channel inputs, or whether a fader is assigned to mains or groups.

Using these technologies, they provide instant visual feedback about control assignments, and the soft nature of the panels allows the operator to reconfi gure them to refl ect a variety of operating set-ups. In Assign Mode, panels can replicate a classic Calrec assignable console. In Wilds Mode each vertical channel strip is assigned to represent a single channel.

Bluefi n2 gives the Apollo console a staggering 1020 channel processing paths, and the Artemis console up to 680. It provides up

to 16 Main and up to 48 Group outputs (from a pool of 128 resources), up to 96 track busses (up to 64 on the Artemis), up to 48 Aux busses (up to 32 on the Artemis), 12 dual layers, a six-band parametric EQ, more than 70 minutes of assignable delay, and up to three independent APFL systems. As with all Calrec designs, the facilities do not share resources so they are available to the user at all times. It is the DSP powerhouse for the next generation of Calrec consoles, and provides enough processing muscle to cope with the biggest 5.1 projects.

A variety of operating modes and ways to display information to make

Apollo and Artemis incorporate 30 years of refi nement of Calrec’s assignable console designs, using rotary controls and buttons that change colour to refl ect the type of control they are assigned to. The consoles also use colour to denote mono, stereo, or 5.1 channel inputs,

Using these technologies, they provide instant visual feedback about control assignments, and the soft nature of the panels allows the operator to reconfi gure them to refl ect a variety of operating set-ups. In Assign Mode, panels can replicate a classic Calrec assignable console. In Wilds Mode each vertical channel strip is assigned to

Bluefi n2 gives the Apollo console a staggering 1020 channel processing paths, and the Artemis console up to 680. It provides up


Apollo and Artemis

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CONTACT DETAILS

Calrec AudioNutclough Mill, Hebden Bridge, HX7 8EZ

t +44 (0) 1422 842159

f +44 (0) 1422 842244

e [email protected]

w www.calrec.com / community.calrec.com

Putting Sound In The Picture router control software such as VSM, and the Calrec Serial Control Protocol allows remote control from third party equipment such as vision mixers and production automation software.

The Next GenerationThe Apollo and Artemis consoles, including the new Artemis Light, build on the success of the Alpha platform of consoles and leverage the increased power of modern FPGA technology. These consoles provide more digital audio channels than any other and more assignable, more ergonomic control surfaces to deal with them. With the benefi t of many years of user interface design, these consoles represent Calrec’s sixth generation assignable control surface. They are changeable to accommodate the operator’s needs, while maintaining clear and unambiguous visual feedback. This enhanced fl exibility and control allows consoles with relatively few physical controls to drive a much greater number of channels, tracks, busses, and other outputs.

Working in SurroundThe switch to a multi-channel surround environment not only demands more from the mixing console, but also requires an elegant and intuitive way of manipulating those surround signals. Calrec gives operators the ability to control a complete six-channel surround buss on a single fader, in the same manner as a mono or stereo source.

Individual control of the constituent channels of the surround signal is also possible as it is automatically split into component channels (L/R, Ls/Rs, Centre and LFE) for individual adjustment on four faders on the dedicated Spill panel. Processing may then be controlled on each leg of the surround mix individually.

The DSP architecture is also designed to handle any possible changes in multi-channel audio broadcast standards, for example 7.1 surround.

Solid Yet FlexibleDespite this huge shift towards enhanced HD audio, some things never change. Calrec consoles have an excellent reputation for reliability and on-air stability. Unlike many other consoles that offer redundancy, Calrec provides on-line redundant hardware for critical systems as standard. Elements are hot-pluggable for easy replacement; and DSP, router, router expansion, processing, and PSU cards all have spares as standard. All this contained within a

single, lightweight, energy conscious 8U rack, and in an incredible space saving 4U rack in the case of the new Artemis Light. 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 fl exibility without the need for additional hardware.


Hydra2 links the Apollo and Artemis consoles to their 8192² routers, and on to more complex networks if required. Offering up to 512 bi-directional channels of I/O per copper or fi bre connection, Hydra2 offers true ‘one-to-many’ routing and allows the construction of large-scale distributed mixing networks with multiple control surfaces and routers/processors. The Hydra2 control software makes connecting resources very straightforward. Audio interfaces and consoles may be added and removed without the need for manual intervention – the control software recognises the changes and informs all parts of the network so that new resources are made available to console operators instantaneously.

Both fi xed and modular stageboxes are available, allowing fl exible confi guration of interfaces and extremely high port density. As with all Hydra2 interface units, the modular I/O box features dual redundant power supplies and Hydra2 connections. Modules include SDI, AES, and analogue inputs and outputs using various connectors.

The H2O Network Control Software is browser based, allowing it to operate on any connected Windows, Mac OS X, or Linux computer. H2O provides a powerful and convenient method of monitoring and controlling a Hydra2 network without installing any extra software. Simply connect a computer to a console or standalone router and direct a browser to H2O

+ + + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O + + + + C A L R E C A U D I O


Broadcast studios today work differently from how they did ten years ago. Progress in electronics and Information Technology allow much greater fl exibility in design and operation. But more fl exibility often means more complexity on the technical side. In this situation, DHD consoles are the right choice for any application: From a small DJ self-op studio or compact OB van, all the way up to multi-console studios or complete broadcast facilities.

The DHD Philosophy……is simple: “Make it powerful, but easy to use.” Equipment from DHD is a successful combination of rock-solid hardware with sophisticated software. As a result, DHD offers a wide range of different Series 52 components. Since your options include both hardware modules and software, you can create the matching solution for your specifi c application. In case your requirements or your workfl ows change in the future, you can easily adapt or extend your DHD systems.

52/SX – Compact Console This compact system 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 easily as their main console, thanks to its attractive pricing. Hardware features and software functions of the 52/SX are designed in a way to give you a complete console, which needs very little space. The 52/SX is a real turn-key system; but there are software options available to extend its functionality in larger setups.

The console desk consists of a central control module, up to 16 faders and a 7-inch TFT touch display. You can mount the modules fl at within the furniture or put them in a slight angle on a table with different mounting frame styles. Fader modules can also be split-mounted. All modules are connected with the same standard RJ45 interface and use Power over Ethernet. This way power, control and audio signals all travel on the same cable.

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 professional grade USB sound cards on your PC. The special DHD hardware inside uses very little power; there is no fan, no PC, and no hard disk.

Today’s broadcast workfl ows are becoming more fl exible – but also more complex. DHD Systems make sure you stay on top of these challenges – now and in the future.

52/SX – Compact Console (12-fader version).

Future-Proof Consoles Made for You

+ + + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + + D H D + + + +

LIMITED+ + + + MANDOZZI+ + + + MANDOZZI+ + + + MANDOZZI+ + + +


52/RX – Modular ConsoleThe modular 52/RX console is based on a proven modular design – and it allows you to build consoles with up to 48 faders. Its fader modules are four faders wide and are available in different versions, including several 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. This works very well, because all Series 52 devices share the same platform for hardware and software. All 52/RX control modules use Power over Ethernet, and are connected with standard Cat5 cables.

The DSP core of the Series 52 consoles is both fl exible and powerful. It is available in three, six, or nine rack units and gives you the choice to select the matching audio cards for your application. That way, you can create both small self-op studios and audio routers with signal processing (and everything in between)from the same pool of components.

52/MX – Fully Flexible ConsoleThe 52/MX is the fl agship of DHD’s Series 52 consoles. Its design is fully modular – which means 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 module frames available to give you a variety of mounting options. You can also mount the 52/MX modules in rack or table top cases, and of course use TFT touch displays where necessary. All 52/MX modules are connected

with Power over Ethernet on standard Cat5 cabling, enabling you to place them anywhere in your studio setup.

However, the real power of this fl exible design comes with the Toolbox confi guration software. With this Windows application you confi gure your DHD system exactly the way you want. Signal fl ows, audio processing, control functions, GPIO functions, TFT views, and many things more are entirely defi ned in software. This makes the initial setup easy and future changes to the system are often done with a few mouse clicks.

52/XR – Powerful MADI RouterWith the 52/XR MADI Router, you can switch up to 4096 x 4096 crosspoints to distribute up to 3072 input signals to up to 3072 output signals. If necessary, you can also put additional processing (gain, dynamics, EQs) on any signal. For reliable monitoring of signals, there is a dedicated True Output Monitoring Module. It allows you to monitor any signal independently from the routing matrix on dedicated monitoring lines. To control the router over an IP network, you use the special DHD Routing Software, which provides direct matrix control, snapshots, automatic scheduling, and multi-user access. The 52/XR Router also

CONTACT DETAILS

DHD Deubner Hoffmann Digital GmbHHaferkornstr. 5

04129 Leipzig, Germany

t +49 341 5897020

f +49 341 5897022

e [email protected]

Please fi nd our international sales contacts at

www.dhd-audio.com

52/RX –

Modular

Console

(12-fader

version).

52/MX - Fully Modular Console.

integrates well with other Series 52 systems. For example, a specially confi gured TFT touch display or several 52/MX modules can serve as a compact matrix switch. Third-party systems can interact with the 52/XR using the open DHD Router Control Protocol or other protocols.

The 52/XR Router uses the proven signal processing technology of all Series 52 devices. Its DSP frame is available in 3U and 6U height and runs totally silently – there are no fans, and no PC inside. To keep your signals running at all times, you can order the 52/XR with comprehensive resilience features. These options include redundant power supplies, MADI ports, Routing Kernels and Communication Controllers.

Software Options Typically, you use the DHD Toolbox software to confi gure and maintain Series 52 devices. However, this Windows application is not necessary to actually run the audio hardware. Other software components are available as options. These include a fully graphical Remote Control, the 52/XR Operation Server & Operation Manager, and of course the Routing Software. Please check the DHD website to learn more about the functions that can work for you.


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consoles 2012consoles 2012consoles 2012

16The acclaimed SD Series is DiGiCo’s latest generation of consoles. Based on the power of Super FPGA technology and adopting a multi application approach, it includes the SD7, SD7T, SD7-B, SD10, SD10-B, SD10-24, SD8, SD8-24, SD9, SD11, SD11i, and SD11-B.

DiGiCo has developed a simple system for its consoles. This incorporates a touch screen interface and integrated engine, operating system and dual power supplies combined within the console worksurface, plus a digital snake and remote control studio quality pre-amps.

All SD consoles have a common user interface, providing a level of familiarity that makes it easy for engineers to move around the whole range, with the emphasis always on allowing them to get their job done quickly, easily, and with exceptional sonic performance thanks to the power of Stealth Digital Processing™.

Using fl oating-point FPGA processors gives vastly increased headroom and a system that is almost impossible to clip. Even low-frequency signals maintain their integrity, with the new 2GB Optocore allowing the transfer of up to 512 channels at 96k over distances in excess of 1,000 metres in a redundant loop. DiGiCo is the only manufacturer that employs Gain Tracking™ to allow up to fi ve consoles to share inputs/house racks without affecting each other’s gain structure, requiring splitters, or conversion from digital to analogue. This is ideal for the live and broadcast environments where there may be a front of house, monitor, mobile broadcast, and recording console.

DiGiCo consoles also have a different approach for accessing channels, providing a visual indication of what is happening on all the console’s faders. With the exception of the I/O racks, DiGiCo consoles are a one-box solution,

allowing engineers to turn up, turn on, and mix.All SD consoles are Waves SoundGrid ready

and a range of I/O rack options is available with full redundancy provided, both in terms of power supply and the MADI or optical connection to the racks. DiGiCo has always championed the use of remote stage racks with digital multi-cores, as they minimise signal degradation from onstage sources and eliminate the need for bulky analogue snakes.

SD consoles also provide integrated I/O within the surface, eliminating the need for an external rack for local I/O. A seamless interface is provided with the standard MADI or optional Optocore connection, providing up to 696 inputs/696 outputs with the SD7. I/O cards include analogue, AES/EBU, Aviom, EtherSound, and D-TuBe.

Multi-track recording and playing back of performances, pioneered by DiGiCo back in

2012 marks an anniversary milestone for DiGiCo and highlights its experience and its success in console manufacture, with the original company formed 40 years ago, 20 years later producing its fi rst digital console, and the DiGiCo brand now celebrating double fi gures.

Ultimate Control

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+ + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O



Ultimate Control



2002, has never been easier than when the desks are teamed up with various third-party MADI interfaces and DAW software.

Offl ine/online software allows preparation on an off-site computer, or remote control of the worksurface, allowing huge savings in venue times. All DiGiCo SD consoles are software/fi rmware upgradeable.

Company EthosListening to engineers and understanding their desires is fundamental to DiGiCo’s ethos. This means that the company produces what the market wants, not just what it thinks it needs.

The DiGiCo team is as important as its products. The R&D department probably has more digital experience than any other, with Technical Director John Stadius having been with the company for 33 years, including his time at Soundtracs.

Add Managing Director James Gordon, Marketing Director David Webster, the skills of Helen Culleton and Maria Fiorellino, plus a knowledgeable sales force in Ian Staddon, Tim Shaxson, James ‘Digger’ Bradley, and James Lawford, and you know that the company is staffed by the very best in the business.

Left to right; James Gordon, John Stadius, Helen Culleton and David Webster.

SD11i SD9 Supercharged SD8 Overdrive 2 SD10 Nitrous SD7

Input Channels 32 Flexi 48 Flexi 60 Flexi 96 + 12 Flexi 256 confi gurable

Busses 12 Flexi (+ Master + Matrix + 2 Solos)

16 Flexi (+ Master + Matrix + 2 Solos)


48 Confi gurable (+ Master + Matrix + 2 Solos)

128 confi gurable

Dynamic EQ 6 8 10 16 256

DiGiTubes 6 8 10 16 256

Multiband Comp 6 8 10 16 256

FX 6 8 12 16 48

GEQ 12 16 24 24 32

Matrix 8x8 12x8 16x12 16x16 32x32

CG 8 8 12 24 36

Reorder Busses No Yes Yes Yes Yes

Multi channel Yes Yes Yes Yes Yes

Set Spill Yes Yes Yes Yes Yes

Input Channels

Busses

Dynamic EQ

DiGiTubes

Multiband Comp

FX

GEQ

Matrix

CG

Reorder Busses

Multi channel

Set Spill

18+ + + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O


SD7The SD7 was the fi rst digital mixing console to use Stealth Digital Processing™. It is the most powerful live performance console to date, with more than eight times the processing power of its nearest rival. The fl exible bussing structure features a possible 128 busses and 256 processing paths, plus a 32 x 32 Matrix,

32 x 32 band graphic EQ, and a plethora of internal effects. Packing all this power into just four chips, the SD7’s effi ciency is remarkable, also freeing space to allow two redundant processing engines to be accommodated. SD7 options include the EX-007 expander unit. It is possible to connect two EX-007s, increasing your fader count to 100.

SD7T The SD7T is a theatre-specifi c application extension based on the SD7 platform. Amongst its features the SD7T includes: Delay on Matrix inputs per node (node delay); next generation Live Update, known as Audio Update; complete integration of Cue Editor for fast editing of VCA; assignment ripple through VCA control.

SD7BThe SD7B is a broadcast specifi c application extension. Its feature set has been created to manage the extensive and challenging work of the broadcast market. In addition to the standard console’s impressive feature set, it handles up to 996 simultaneous optical plus 224 MADI, 24 analogue and AES/EBU connections. It can run two high-speed Optocore loops, with any combination of 448 inputs and outputs on each loop and all at 96kHz. Local I/O connections are ideal for fast outside broadcast setup before setting up the racks. Backstop PFL is available on every channel, while 256 dynamic EQ processors are available on any input or output on each band of EQ, as are 256 multi-band compressors, also available on any input or output. 48 simultaneous internal Stealth digital effects, from a palette of 33, are also provided.

SD10Sitting comfortably above the SD8, the SD10 has all the refi nements you would expect, but with the addition of some exciting new options. 96 channels with full processing – 12 of which can be confi gured as full Flexi Channels – and outputs that can be assigned across the surface. Smart Key Marcros, rear located local I/O, Dynamic EQ on all four bands of parametric EQ, 48 assignable busses and insertable FX and graphic EQs that can be routed, controlled and snapshot recalled, are just some of the features that aid the most complex show design.

SD10BAs with the SD7B, the SD10B’s broadcast specifi c feature set includes such innovations as multi-channel ‘folding’ under a single fader, allowing users to confi gure stereo, LCR, 5.1, or up to 11 mono channels under a single fader strip that can be unfolded for individual control, or neatly folded up for convenience and effi cient work surface use, making it an exciting, cost-effective option for any broadcast project.

SD10-24 and SD10-24BThe SD10-24 is designed for situations where space is at a premium. It measures under a metre in width, but still benefi ts from all the advanced features of the standard SD10 and fi les are fully compatible between both frame sizes.





SD8 The SD8 is a mid-level console with the power of Stealth Digital Processing™ via a single chip super FPGA engine. It provides the same audio quality as the fl agship SD7, up to 60 Flexi Channels (equivalent to 120 channels of DSP), 24 busses (stereo or mono) plus two solo busses and a master, four band parametric EQ (with dynamic EQ on up to eight channels), hi/lo pass fi lters and dynamics on all inputs and outputs, 24 graphic EQs, eight stereo effects, and a 16 x 12 matrix. When fi tted with the optical option, the SD8 can have up to 14 racks connected to it.

SD8-24Like the SD10-24, the SD8-24 is designed for situations where space is at a premium.

It measures under a metre in width, but still benefi ts from all the advanced features of

the standard SD8 and session fi les are fully compatible between both frame sizes.

SD9The SD9 is a complete, integrated system that provides the same sonic performance as all the SD Range consoles. It provides a 12 x 8 output matrix, its eight busses being additional to the console’s 16 stereo, solo and master busses, with 48 Flexi Channels (mono or stereo) providing the equivalent of 96 channels of full DSP processing.

SD11The SD11 is designed to be equally at home as a desktop console or mounted in a 19-inch rack. By simply removing the end cheeks and armrest, 19-inch rack fi xings are revealed, making it straightforward to incorporate the SD11 into any touring or installation environment. Manufactured with a steel chassis for strength and a polycarbonate-overlaid, aluminium work surface for reduced weight, the SD11 features 12 touch sensitive moving faders below a 15-inch touch sensitive screen. Sixteen microphone pre-amps, eight line outputs, and two mono AES I/O are provided on the console, in addition to which users have the option to connect a DiGiCo D-Rack to the CAT5E port. This provides a remote I/O rack frame with an additional 32 microphone inputs and up to 16 outputs.

Further connections are a MADI port, GPI/O, MIDI, Overview screen output, Word Clock I/O, an Ethernet port for console remote control/

networking, and a USB port for fi le exchange and session backup. Thirty two channels with eight Flexi Channels and 12 Flexi Busses can be user confi gured as either mono or stereo. In its maximum confi guration, these could be used as 12 stereo mixes – equal to a remarkable 24 busses.

SD11iA set of software/fi rmware upgrades provides the SD11i with more 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).

SD11BThis application specifi c extension for the SD11, which includes the addition of multi-channel folding and sets, makes it an incredibly powerful, yet compact console for the broadcast market.

20+ + + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O


SD-RackThe largest in the range, the SD-Rack offers high resolution analogue to digital converters, incredible fl exibility and superior sound quality to complement the power of your SD console. Running sample rates up to 192kHz, the SD-Rack can run multiple digital formats simultaneously including AES/EBU, Dante, AES-42, MADI, ADAT, and Aviom.

Based around the same Stealth FPGA technology as the Digital Engines in the SD7 itself, the SD-Rack can run the optical loop at 96kHz, while providing a down-sampled 48kHz feed to the broadcast truck from one of the MADI output streams, even with Gain Tracking™.

Of course, it all starts with the mic pre-

amplifi er and here is the beginning of a high quality, sophisticated, and sonically superior signal path. With the same FPGA technology onboard as the console itself, the SD range of racks provides industry leading A/D conversion and DiGiCo’s famous Gain Tracking™.

The SD-Rack features 14 slots, providing up to 56 ins and outs, and comes with or without optics. Running at 48kHz the two MADI ins and outs provide 56 fully redundant input and output channels via a duplicate MADI aux. If you need to run at 96kHz you can get a full complement of 56 channels of MADI in and out.

Each interface card is hot swappable and the rack will automatically identify the type of card and confi gure it. The dual power supplies are also

hot swappable and easily accessible at the top of the rack, ensuring you won’t have to fi ght a mass of cables to get it out.

D-RackThe next rack in the DiGiCo series of high sample rate interfaces is the D-Rack. It comes complete with CAT5 audio as standard, or with optional optical loop, can run sample rates up to 96kHz and provides 32 inputs and eight outputs as standard, with the option of eight modular outputs that can either run AES or analogue. This small, fl exible rack is designed to sit on the fl oor, but can just as easily be rack mounted using the optional ears. Additionally, the D-Rack will now also support the new 16-channel Aviom interface.

With up to a total of 14 rack IDs on one optical loop, or 28 on a dual loop system, it is easy to see the potential for large corporate events, installations, or just expansive stages. This, coupled with the ability for any of the fi ve consoles that can sit on one optical loop being able to address all inputs and individually address output slots on any rack, giving any engineer or system designer the fl exibility and power they need to make any complex situation easy and intuitive.

Audio Networking

192k

Hz M

ic/L

ine

Inpu

t Car

d

192k

Hz A

nalo

gue

Out

put C

ard

AES/

EBU

Out

put C

ard

AES/

EBU

Inpu

t/O

utpu

t Car

d w

ith

bi-d

irect

iona

l sam

ple

rate

conv

ersio

n

Dant

e In

put/

Out

put C

ard

AES/

EBU

Inpu

t Car

d (X

LR)

AES/

EBU

Inpu

t /O

utpu

t Car

d (B

NC)

AES-

42 In

put C

ard

for

digi

tal m

icro

phon

es

ADAT

Inpu

t/O

utpu

t Car

d w

ith

optic

al co

nnec

tions

HD-S

DI C

ard

Avio

m D

-16c

A-N

et C

ard

HD-S

DI C

ard

Avio

m D

-16c

A-N

et C

ard



THE INTERNATIONAL CONSOLE BUYER’S GUIDE 2120 PROMOTIONAL FEATURE

CONTACT DETAILS

DiGiCo UK Ltd.Unit 10, Silverglade Business Park

Leatherhead Road, Chessington

Surrey KT9 2QL

t +44 (0) 1372 845 600

f +44 (0) 1372 845 656

w www.digico.biz

e [email protected]

Audio Networking

consoles 2012consoles 2012+ + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O+ + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O + + + + D I G I C O

SD-Mini and SD-Nano The SD-Mini and SD-Nano Racks are the latest additions to the DiGiCo range of high sample rate racks, complementing the SD and D racks to make a completely fl exible remote rack solution for any situation.

The SD-Mini is a 4U rack and can accept SD input and output cards, be they analogue or digital. Running purely digital the Mini can run up to 32 ins and outs. The Mini has MADI

connectivity as standard with optical as an option, the ability to multi sample rate to external devices via MADI and also the ability for Gain Tracking™.

At the smallest end of the spectrum is the SD-Nano Rack. This 2U stage box works almost exactly the same way as the Mini, except it is half the size and therefore can only handle half the amount of inputs and outputs. The Nano is only available with optical connectivity.

22+ + + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + +



Power, Flexibility, Intuitive Operation – the mc² SeriesWith 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 fl exibility is one of the major contributors to cost saving, due to easy and fast adaptation, whatever the production.

The Lawo-developed ‘Dual Star Technology’ has found its way into mixing console design. This 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 fi rst choice for the 2010 sports TV productions in Vancouver and South Africa. Lawo is continuously expanding the toolbox for modern surround productions. The latest advancements are the AMBIT Upmix, providing a high-quality upmix in every surround channel, creating a 100% downmix compatible, fully-fl edged 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 signifi cant modules where you need them. In addition, external control devices can be integrated smoothly. There are no compromises regarding fl exibility.

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 Iive/theatre applications. Twenty four to 104 fader sizes are available.

mc²56 – Performance, Pure and Simple

This console brings you the same processing power that already distinguishes the mc²66 and mc²90. What makes the mc²56 different to its siblings is its compact layout. In a width of only 1.2 metres, it provides 32 faders (64 faders fi t in an OB van).

Lawo consoles and routers have gained an international reputation for quality, user-friendliness, fl exibility, capacity, and reliability. Lawo stands for customer partnership, effi cient 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 contests 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.

Lawo – New Perspectives in Broadcast

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 R 128 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 the loudness metering of any individual channel in Momentary or Short-term mode, with each main output facilitating the integration of loudness metering over time.

23 THE INTERNATIONAL CONSOLE BUYER’S GUIDE 23

+ + + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + +


SERIX console in Sweden


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 countersunk into the furniture; and networking capabilities that are unparalleled when creating radio or production studio environments. The advantage: while technicians will be assured by maximum fl exibility and sophisticated functionality, broadcasters will be continually impressed by the modern control surface, which makes working with the new sapphire fun.

sapphire delivers top quality, intuitive user guidance, and neat solutions,

all of which guarantee even greater working effi ciency.

crystal –

Welcome to Digital Broadcasting

Introduced in late 2008, crystal has already made its way into the 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 invest in professional equipment, crystal is characterised by its easy to operate surface – guaranteeing a short training curve and the best operational security.

Nova29 – Exactly the Right Size

Nova29 is the perfect crosspoint router for medium sized studios, OB vans, and intercom applications with up to 16 users. A network centre with 1024 x 1024 I/O, based on MADI technology – and at a very attractive price. Nova29 can be either used as stand-alone unit with full remote control, or can be networked with other Lawo consoles, ensuring the best possible integration.

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 fi bre-optically linked network infrastructure, or to connect multiple Nova73s over WANs.

Nova73 HD integrates seamless into an existing infrastructure, and can be controlled remotely; this enables complex switching and workfl ows to be reduced to a simple push of a button. Via an intuitive display, the mxGUI package enables control from any PC of all functions, offl ine 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 reconfi guration 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:

• Offl ine preparation: from console layout to matrix control, partial snapshots and preamplifi er settings, through to the creation of complete snapshot and production data.

• Online remote: maintenance, service, or confi guration. 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.

CONTACT DETAILS

Lawo AG (Headquarters)Am Oberwald 8, 76437 Rastatt, GERMANY

t +49 7222 1002 0

e [email protected]

w www.lawo.de

Sales

t +49 7222 1002 0

e [email protected]

For international sales contacts please consult the

Lawo website.

sophisticated functionality, broadcasters will be continually impressed by the modern control surface, which makes working with the new sapphire fun.

sapphire delivers top quality, intuitive user guidance, and neat solutions,

all of which guarantee even greater working effi ciency.

crystal –

Welcome to Digital Broadcasting CONTACT DETAILSWelcome to Digital Broadcasting

+ + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + + L A W O + + + +

sapphire – A Step Ahead

The sapphire, Lawo’s top of the line on

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 fi bre-optically linked network infrastructure, or to connect multiple Nova73s over WANs.

Nova73 HD integrates seamless into an existing infrastructure, and can be controlled remotely; this enables complex

The mc² series is equipped with an mxGUI providing many useful features:

Offl ine preparation: from console layout to matrix control, partial

consoles 2012consoles 2012

24+ + + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A


Custom Designed ProductsMandozzi’s developing engineers are used to listening to customers and understanding their individual requirements, and they are ready to adapt the hardware and software of their proven products to the special operational and technical needs of their clients.

Due to close contact with the customers over the last thirty years, Mandozzi’s audio routers and mixers have matured to offer a lot of comfortable features that facilitate the tasks of the operators.

Mandozzi Elettronica is the ideal partner for realising custom designed audio products.

The Intelligent Audio Routers IDEAMandozzi’s routers are best suited for switching centres, or for serving several mixers in a radio

house. They are known for their extremely high reliability that is reached, among others, by redundant vital modules, and for the comfortable control surfaces. The two redundant halves of the router can be installed in separate rooms for immunity against incidents. The IDEA routers offer sophisticated scheduling functions and a great variety of interface modules including 2Mbps and Audio over IP modules with integrated audio codecs. All routers offer 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, they 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.

The Digital Mixers GMIXMandozzi designed the GMIX system to allow radio stations maximum interoperability between their mixers. The mixer consoles are simply 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 interface modules of the studio and mixer room signals are either built into concentrators (stage boxes) that are installed locally, or – if the distances are short – directly into the router. The concentrators are connected to the router via redundant optical fi bres or CAT5 cables.

The centralised architecture of the GMIX system offers a lot of very important advantages. Every mixer has access to any signal of the radio house. This allows a mixer to manage several studios that are easily selected by loading into the mixer pre-recorded snapshots. The intercom between the studios is integrated, so there is no need for a third-party intercom system.

The operators can save the snapshots either in a private memory or in a public memory that is accessible by all other mixers as well. Therefore it is possible to load into any mixer

Intelligent Mixer And Router SystemsThe engineers working for the Swiss enterprise Mandozzi Elettronica SA near Lugano are inspired by the beautiful landscape to design intelligent solutions that satisfy all operational and technical desires of their customers.

Sixteen IP codecs installed into an IDEA router.


SERIX console with fader extension modules in Sweden.

25consoles 2012consoles 2012


the snapshots assembled on another mixer. Every mixer console can take over the job of any other one by a few key strokes using the snapshot functions. A mixer can also send the confi guration 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 are ideally suited for large broadcast installations with interacting mixers.

The Digital Mixers SERIXThe SERIX mixers were developed to satisfy the customers looking for stand alone mixers that work autonomously and do not necessarily depend on a central router. These mixers allow the customers to start by installing a few single mixers and to expand the station step by step later on. SERIX mixers are well suited to realise complex radio house installations with a central router. In this case, the SERIX mixers remotely 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-amplifi ers, 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 confi guration, 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 confi gurable by the user. SERIX also offers the

+ + + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A + + + + M A N D O Z Z I E L E T T R O N I C A S A


Some Milestones of Mandozzi Elettronica SA

CONTACT DETAILS

Mandozzi Elettronica SA Via Volta 2, CH-6946 Ponte Capriasca,

Switzerland

t +41 91 935 78 00

f +41 91 935 78 10

e [email protected]

w www.mandozzi.ch

Mandozzi Elettronica SA was founded 1965. The company is located near Lugano, the economic centre of Italian speaking Southern Switzerland. Due to close contact with its customers, the enterprise realised the following milestones during its evolution:

The fi rst analogue audio router was installed in 1980, and the fi rst digital routers in 1993. The fi rst 2Mbps digital audio transmission equipment COMBIMUX was delivered in 1999. In 2001, Mandozzi supplied the fi rst radio station with fi ve interlinked routers and 11 GMIX mixers to the German ORB. Since 2002, Mandozzi has supplied to Swedish Radio 25 digital radio stations composed of a redundant central matrix and up to 11 GMIX mixers.

In 2007 the Swiss Broadcasting Corporation ordered a radio house with a redundant central router and 33 SERIX mixers. Mandozzi developed in 2009 the Audio over IP codecs UMAC that can be integrated into and controlled by Mandozzi’s routers and mixers. Since 2009, Mandozzi has promoted a software tool to generate RDS texts for FM transmission and PAD information for DAB. In 2010, Mandozzi supplied to Austrian Telecom a redundant router with 240 integrated redundant analogue line equalisers. In 2011, we developed specially designed remotely controlled matrices with audio level monitoring and back-up connections for broadcast transmitter sites in Finland.

SERIX console in Switzerland.

SERIX console in Sweden


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 confi gurable by the user. SERIX

In 2007 the Swiss Broadcasting Corporation ordered a radio house with a redundant central router and 33 SERIX mixers. Mandozzi developed in 2009 the Audio over IP codecs UMAC that

processing of 5.1 signals.For every SERIX mixer, up to three satellite or

split mixers can be installed at a distance from the main surface, e.g., in the studios.

The operator can decide whether the satellite mixers shall function as an integral part of the

main console (but with independent intercom

and monitoring), or as autonomous mixers.

SERIX mixers are best suited for small to

large broadcast installations, for

DJ and assisted operation.

SERIX table top mixer with 16 faders.

26 Midas Digital Systems OverviewThe Midas XL8 and the expanded range of PRO series digital mixing systems consist of a control centre and a number of fi xed or confi gurable 19-inch rack modules, which are inter-connected by a networked audio and data system. The network carries both proprietary control data and open architecture AES50 digital audio via CAT-5e/CAT-6 and fi bre optic cabling. This ‘system’ approach means Midas provides not only a mixing console, but a complete analogue and digital audio control and distribution system.

The PRO series comprises of fi ve control surfaces, three of which have modular remote processing engines and all have a choice of fi ve different models of I/O hardware. The PRO3, 6, and 9 consoles are expandable up to 288 inputs and 288 outputs at the network level, and the

PRO3 and PRO6 can be upgraded at a later date to full PRO9 specifi cation, offering up to 88 inputs and 35 buses. The PRO2 and PRO2C offer the same Midas audio quality and performance at easily accessible price points. Both have 56 primary inputs with an expanded network of up to 156 inputs and 166 outputs.

The XL8 is the perfect solution for high-capacity and high-profi le touring and install applications. It has a network capacity of up to 432 inputs and 432 outputs in 18 different locations, up to 144 simultaneous channels and 51 mix busses, plus built-in tolerance to any failure scenario.

Midas Sound QualityThe Midas reputation for fantastic audio quality has evolved over 40 years of research and development. By designing the best mic pres,

An audio console is, fi rst and foremost, about audio. Midas has always set the gold standard for live sound, and continues to ensure that the adoption of new technologies does not compromise this in any way.

Designed for a Pure Performance

Digi-log Goes Midas

Continuing a policy of innovation, the Midas VeniceF, Midas’ fi rst ‘digi-log’ console. VeniceF offers the simplicity and ease-of-use of a compact analogue mixer, combined with the power and fl exibility of digital processing. Four models of this powerful, low-cost Midas are available, offering 16 inputs in a rack mount format and 16, 24, and 32 inputs in a console confi guration. All are fi tted as standard with a digital FireWire interface, which, when connected to a laptop computer with appropriate software, facilitates multi-track recording, playback, live FX, and the ability to run third party plug ins as inserts on an analogue mixer.

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Midas PRO2 and PRO2C



CONTACT DETAILS

Midas Walter Nash Road, Kidderminster, Worcs DY11 7HJ, UK

t + 44 (0) 1562 741515

f +44 (0) 1562 745371

w www.midasconsoles.com / www.klarkteknik.com

e [email protected]

Designed for a Pure Performance The Company

Midas has been designing and manufacturing live performance mixing consoles for the world’s most demanding sound engineers, performers and production rental companies since the early 1970s.

The evolution of Midas consoles throughout the history of this classic brand has always paralleled, and often led, increasingly sophisticated audio innovations for the worldwide entertainment technology industry. Raising the standards of sonic quality through continual research and development has always been – and still remains – the company’s overall aim.

Equally important to Midas is the design and implementation of many new areas of technology, specifi cally in the area of digital audio networking and advanced console navigation methods. Midas continues to anticipate and accommodate the rapidly changing and expanding needs of audio professionals who specify Midas consoles for their major tours, festivals, international events, broadcast projects, and high-demand fi xed installations.

+ + + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S + + + + M I D A S


equalisation, and using superior components, Midas has carried this tradition into the digital realm. Adding the best converters and custom processing algorithms to the mix, Midas takes audio quality to another level. In addition Midas digital systems are the only live sound systems in the world to have a comprehensive and automatic latency management system. Which, in addition to managing all internal routing and processing latency, also includes compensation for external analogue inserts. This means that all audio samples are synchronised before summing, resulting in absolute phase coherency at all outputs.

Midas digital feels, as well as sounds, superb. All the variable controls on the console are genuine analogue high precision potentiometers, not mechanical encoders. These access the FPGA-DSP engine through precision instrumentation A-D converters and Midas’ custom interpolation algorithms. This means that as well as all audio, all the operator input is fully interpolated to ensure a linear, analogue-style, silky smooth ‘feel’ to your mix.

The Midas microphone pre-amp is the one by which all others are judged. Still built from discrete components and still based on the designs that

were so successful in the legendary Midas analogue consoles such as the XL3, XL4, and Heritage, the current expressions in the XL8 range and PRO Series sound better than ever. Whether you want pristine, transparent reproduction, or that renowned Midas warmth and colouration, Midas’ dual (analogue and digital) gain stages enable you to shape the mic amps’ character according to your own preference. Midas does not rely on gadgetry processing options for audio performance. Computing power is used for complex interpolation algorithms and other proprietary processing methods to ensure that the legendary Midas sound is faithfully reproduced, with improved clarity and imaging.

Klark Teknik Complementary Products

Midas’ sister company, Klark

Teknik, manufactures a set of

complementary hardware that

enhances and expands the

capabilities of the Midas digital

console range. These include the

DN9696 high defi nition audio

recorder, which is unique in its ability

to record 96 tracks of 24-bit 96

kHz audio. The DN9650 is a digital

audio network bridge, providing

multiple AES50 conversion to many

other network protocols. DN9652

is capable of converting most

common network protocols, such

as CobraNet, Madi, and Dante to

their counterparts. Both units offer

many diverse clocking options and

72 channels of bi-directional sample-

rate conversion.

Midas VeniceF16R and

VeniceF16

28+ + + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + +

Powerful Mixing Capacity and Newly Developed EngineThe M-480 boasts a powerful mixing capacity of 48 mixing channels, six stereo returns, main LCR outputs, 16 AUX buses, and eight matrices making it suitable for a variety of applications. The fully assignable REAC A and B patchbays allow for fl exible internal routing whilst a post pre-amp patchpoint allows direct routing from inputs to outputs without having to route

through the console. All inputs and outputs are equipped with a four-band fully parametric EQ and a gate, compressor, and delay are also available on all mixing channels. Channel parameters are controlled using the dedicated knobs and buttons.

Rich Effects Along with Twelve GEQs/PEQsThe M-480 is equipped with six multi-effects processors that are available as AUX or insert

Roland M-480Digital Live Mixing ConsoleWith superb sound quality, powerful functions and intuitive operation, the M-480 is the fl agship mixing console of the Roland V-Mixing System. Ideal for live events, mobile production, broadcasting, and sound installation, the V-Mixing System with the M-480 V-Mixer at its heart provides a premium level of innovation for any live mixing venue.

Easy, intuitive and award-winning interface design. The user interface of the M-480 is designed to be easy to learn and use with a large colour display, dedicated knobs and buttons in the channel edit

section and the cursor buttons positioned around the value dial.

Advanced Processing Power

The processing power of the M-480 supports the widest range of venues and applications thanks to a newly developed mixing engine that provides a four-band fully parametric EQ, gate, compressor, and delay on each input channel with 214 possible patch points with 90 discreet outputs.


The cascade capability of the M-480 enables a solution for high channel counts.



+ + + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + + R O L A N D S Y S T E M S G R O U P + + + +

Roland History and Ethos

Roland Systems Group is dedicated to supporting audio and video professionals who demand excellence in terms of performance and system design by consistently providing the entertainment industry with the most creative and technically advanced products. Offering solutions to many markets including broadcast, education, live production, theatre, visual performance, and worship, Roland System Group provides intuitive, fl exible products that can be used in stand alone or system confi gurations using the V-Mixing System, Digital Snakes, or S-MADI connectivity.

CONTACT DETAILS

Company Headquarters:

Roland Corporation2-7 Kandasuda-cho, Chiyoda-ku, Tokyo 101-0041,

Japan

w www.roland.com

UK:

Roland Systems GroupStudio 3.3, 114 Power Road, London W4 5PY

t +44 (0)1792 702701

e [email protected]

w www.rolandsystemsgroup.co.uk

US:

Roland Systems Group801 West Orchard Drive,

Suite 3 Bellingham, WA98225,

+1 (360) 5944282

e [email protected]

w www.rolandsystemsgroup.com

effects, each with 18 algorithms of various types such as reverb, delay, chorus, pitch shift, and advanced channel strip. Six types of precisely emulated legendary vintage Roland effects such as the RE-201, SDE-3000, and SRV-2000 are included and in addition, twelve 31-band graphic EQs or eight-band fully parametric EQs are included for sound adjustment. The six multi-effects and twelve GEQs/PEQs can be used simultaneously for a total of 24 GEQs if needed.

All Inputs and Outputs are Equipped with DelayAll input channels and output busses on the M-480 are equipped with delay, allowing the user to tackle sound delay problems in a concert venue or broadcast application by using the internal processor. The delay time is adjustable up to 400msec, and is selectable in both time and distance units between msec/feet/metres/frames. The M-480 also features a high performance graphical real time analyzer for precise and focused sound adjustment.

Remote Control and Offl ine Set-up Using a PCThe M-480 can be controlled remotely by using a USB connected PC or Mac, and via a USB Wireless Device Server. The M-480 RCS (Remote Control Software) has the same user interface as the built-in display on the product, and can be used when the M-480 is not connected to allow offl ine set-up and confi guring of the system

before an event. To save time and effort, set-up data can be copied to a USB Flash drive ready to load into the console at the venue.

Live Recording OptionsThe M-480 supports live multi-channel recording and can be connected easily with Cat5e/6 cables to the Roland R-1000 Recorder to record (or playback) up to 48 channels of 24-bit audio.

Uncompressed BWF fi le data is stored on a removable SSD or HDD from which it can be edited later in the studio with a DAW

of choice. By using Roland Cakewalk SONAR Producer software, up to 40 channels can be recorded by simply connecting a single REAC cable to a PC (a REAC driver kit is required

The M-480 supports V-LINK for synchronizing with video equipment such

as the V-1600HD Multi Format Video Switcher.


CONTACT DETAILS

Company Headquarters:

Roland Corporation2-7 Kandasuda-cho, Chiyoda-ku, Tokyo 101-0041,

Japan

w www.roland.com

UK:

Roland Systems GroupStudio 3.3, 114 Power Road, London W4 5PY

t +44 (0)1792 702701

e [email protected] [email protected]

w www.rolandsystemsgroup.co.uk www.rolandsystemsgroup.co.uk

US:

Roland Systems Group801 West Orchard Drive,

Suite 3 Bellingham, WA98225,

+1 (360) 5944282 +1 (360) 5944282

The M-480 supports V-LINK for synchronizing with video equipment such

as the V-1600HD Multi Format Video Switcher.

to record using Cakewalk SONAR directly). In addition, the built-in USB memory recorder can record a stereo output signal from the M-480 as an uncompressed WAV fi le. The USB memory recorder also supports WAV fi le playback for convenient playback of music and announcements.

M-480 Cascade Feature

The M-480 is the fi rst V-Mixer to support a cascade connection that enables 96 channels of mixing by connecting a second unit – all via one simple Cat5e/6 cable. Connecting two M-480s with one REAC cable enables the mixing of up to 96 channels, as well as advanced synchronization of internal buses creating a mixing environment equivalent to a large format console but within a minimal footprint and budget.

30+ + + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + + S O L I D S TAT E L O G I C + + + +


Proven Excellence in Music, Broadcast, and PostOver three decades SSL has established its status as a marketleader by developing new technology that enables engineersand producers to work faster and sound better. A deepunderstanding of the needs of users remains at the heart ofSSL’s ongoing evolution and its strong legacy delivering toolsfor music, broadcast, and post continues with leading edge solutions in all three areas.


Proven Excellence in Music,

Over three decades SSL has established its status as a marketleader by developing new technology that enables engineers

SSL’s ongoing evolution and its strong legacy delivering tools

SSL For MusicIn 2004, when SSL launched the original AWS 900, it was the fi rst product to combine an analogue mixing console and a comprehensive DAW Controller. This hybrid approach to production workfl ow delivers the best of both worlds; the workfl ow advantages of hardware controlled DAW production and the sonic depth, precision, and character of analogue processing and summing. Today SSL’s Hybrid Workfl ow Technology is available in a range of SuperAnalogue™ Consoles with integrated DAW control to suit everybody from the pro project studio to the large scale commercial facility.

About SSL DAW Control

SSL DAW Control employs high speed MIDI over Ethernet and USB Keyboard Emulation with HUI & MCU to control all leading DAWs including Pro Tools®, Logic®, Cubase/Nuendo® etc. Digital scribble strips provide comprehensive visual feedback and are combined with assignable encoders (with position indicator LEDs), 100mm touch sensitive motorised faders, soft keys, and heavy duty transport controls to deliver an ergonomically elegant and comprehensive DAW Control environment. SSL DAW control is multi-layer, enabling control over multiple applications simultaneously. AWS and Duality also feature a dedicated on-board TFT and soft key system for plug-in control.

Matrix – SSL At The Heart Of Your Studio

Matrix is a console/controller designed for smaller production suites where a DAW is used in conjunction with a collection of boutique analogue outboard. Its analogue side features a 40-input SuperAnalogue™ summing mixer, a software controlled analogue routing matrix (any of up to 16 analogue outboard processors can be inserted in chains on any channel), and fully featured Artist & Studio Monitoring.

AWS 924 & AWS 948 – The original Analogue Workstation System… Evolved

Designed for mid-scale commercial recording and production, AWS has become the choice of leading international artists, producers, and

engineers with more than 600 units sold. In 2010 SSL expanded the AWS range with two console/controller options; the AWS 924 and AWS 948. Both consoles use the same 24-fader frame and feature the proven formula of 24 ultra-clean mic pres, classic SSL dual curve EQ, assignable SSL dynamics, in-built Stereo Buss Compressor, full 5.1 monitoring, and TotalRecall™. The AWS 948 features new stereo channel strips enabling up to 48 inputs with stereo EQ and dual path channel strip. In addition to SSL on board Automation AWS also features the unique ‘AFADA’ system where DAW Automation data can be used to control the motorised analogue faders. Duality SE – The Analogue Console For The Digital Age

Duality SE is a large format console/controller that is in use in hundreds of commercial recording facilities worldwide. Available in 24-, 48-, 72-, or 96-channel confi gurations, Duality is everything you would expect from a classic SSL console with a number of key added benefi ts. Each channel features transparent SSL mic pre and full channel strip processing, but the input stage also offers the option to add warmth or punch with SSL’s VHD™ system. A unique ‘dual path’ channel enables use of console processing within the DAW mixer signal path. Duality is highly suited to surround production. TFT displays provide comprehensive visual feedback on levels, routing, etc, and enable multi-operator Total Recall™.

SSL Duality at Abbey Road UK.

AWS 948.



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CONTACT DETAILS

Solid State Logic25 Springhill Road, Begbroke, Oxford, England

OX5 1RU

t +44 (0)1865 842 300.

e [email protected]

w www.solidstatelogic.com

SSL For BroadcastSSL has been building specialised digital consoles for on-air production for over 25 years. Its development of new technology for the industry has produced unique control surface, processing, I/O, and routing hardware that combine to offer extremely robust systems, capable of meeting the requirements of even the most sophisticated multi-studio, multi-control-room installations. SSL’s constant contact with leading operators has aided the evolution of exceptionally refi ned and elegant control surfaces. There are three consoles available, meeting the requirements of large scale, mid scale, and mobile applications.

C100 HDS – Scalable On-Air Mixing And Routing System

The C100 HDS is designed for on-air production applications where audio quality matters and operators deal with sophisticated confi gurations in fast paced workfl ow. The control surface combines assignable hardware controls, strong visual feedback, and touch screen operation to provide an uncluttered interface. It provides the experienced operator with an environment that makes day to day running of shows comfortable whilst ensuring that the extraordinary depth and power of the C100 can be accessed and editing quickly and easily when the need arises.

C10 HD – Compact, Affordable On-Air Mixing

The C10 HD brings an unprecedented combination of size, price, and performance to the broadcast console market. It takes the power

and sophistication of C100 technology and presents it in an affordable system designed for the smaller budget broadcast market. C10 solves many broadcast and production challenges with operational features that simplify and/or automate key tasks, helping users of all skill levels deliver professional results with a simple, logical interface that is easy to operate.

The C200 HD – Hands-On Digital Production Console

C200 HD is a digital console with a dedicated ‘knob per function’ control surface, making it ideal for creative mixing applications, such as music or entertainment, where ‘hands on’ access to a large number of controls is essential, and the benefi ts of instant and complete parameter recall is also a key factor.

Nucleus

Designed for music and post applications Nucleus

re-defi nes the professional project studio with a perfect blend

of advanced DAW control, transparent SuperAnalogue™ monitoring, high class

analogue mic pres, pro quality USB audio interface, and bundled SSL Duende Native plug-ins. It provides

everything you need to record and monitor audio and to control your DAW quickly and effi ciently without resorting to your mouse.

SSL Matrix @ Timbaland Tour Bus, USA.

SSL C100 HDS @ Comcast Sportsnet, USA.

SSL For PostThe C300 HD, which has been adopted by over 40 post facilities worldwide, is a fully confi gurable, multi-format stem-based digital mixing console and DAW controller. It provides 500 mix inputs, 80 mix busses, comprehensive multi-format monitoring, multi-system machine control, and highly evolved hands-on control of both the console and multiple DAWs. C300 HD offers unrivalled control of the modern studio environment. SSL C300 HD @ Creative Sound, France.

32+ + + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + + S O U N D C R A F T S T U D E R + + + +


Small is Just a Concept


Soundcraft Si CompactAs the ‘smallest’ model in the Soundcraft range, the Soundcraft® Si Compact offers unrivalled processing power in its price class and is available in 16 (rackmount), 24 and 32 input models, catering for up to 40 inputs to mix, with routing to 14 group/aux buses, four integral Lexicon® FX engines, Soundcraft FaderGlow™, BSS Audio® graphic EQ’s on all output busses, and a palette of delays and parametric EQ to cater for almost any processing requirement. This power is always available to the user, without sacrifi cing any channels of processing thanks to the high-capacity EMMA DSP engine.

New V2 software for the Si Compact (available January 2012) provides the user with the ability to customise fader layers, selective copy and paste, snapshot control via MIDI, and readiness for the forthcoming remote control application for the Apple iPad®.

Flexible onboard and expansion I/O options ensure the Si Compact integrates effortlessly with other system components; along with the mic input XLRs there are two pairs of stereo analogue line in, AES in and out, 16 analogue line outputs, headphone monitor out, and a 64x64 channel expansion card slot capable of utilising any of the Si series option cards that includes AES, AVIOM®, CobraNet® and MADI, adding the patching of up to 64 sources and destinations in addition to the onboard I/O.

The MADI card, as well as being an interface to multi-track recording systems links the Si Compact to the Soundcraft Compact Stagebox, which extends the I/O power and fl exibility; but all this power is nothing without control

and here lies the core strength of the Si Compact; a comprehensive but ‘simple to use’ control surface.

Soundcraft Vi1™ Digital Live Sound ConsoleBuilding upon the success of the acclaimed Vi Series, the Soundcraft Vi1 provides an all-in-one box solution for smaller events where the input count and power of the larger Vi Series is not needed.

In a very compact chassis, the Vi1 still provides a simple user interface via the Widescreen Vistonics™ II interface, which controls the 16 surface channels. Full input and output connections for 32 inputs and 27 outputs are found on the rear of the Vi1, which also includes the power supply. Two standard Studer D21m expansion slots allow the use of a MADI card to attach a stagebox to increase the input capacity to 64.

Naturally, the Vi1 inherits many of the facilities of its larger siblings, including Soundcraft FaderGlow™, four stereo Lexicon effects engines, BSS Audio graphic EQs on

all output busses, and integral dynamics on all channels. The desk is also compatible with Vi2, 4 and 6 show fi les, and the Virtual Vi offl ine editor, along with the forthcoming remote control iPad app.

Soundcraft Vi SeriesThe Soundcraft Vi6™ and Vi4™ use the

Vistonics™ II user interface to allow the engineer to operate the desk intuitively.

The Soundcraft Vi6 console has an input-to-mix capacity of up to 96 inputs,

mapped out on three user-confi gurable motorised fader layers. These can be assigned to 32 outputs (plus a stereo and mono mix), which can be any combination of group and aux busses. Up to 16 Matrix Outputs can be confi gured from the pool of 32 busses.

The Soundcraft Vi4 has up to 72 inputs on 24 faders, with 35 outputs. The compact Vi2 uses the same racks to deliver up to 96 inputs to mix in a small footprint.

Adjustment of EQ, aux levels, routing or dynamics all takes place in-line with the channel, and colour-coded sections are enhanced by the patented Soundcraft FaderGlow™ system.

While Soundcraft Studer provides mixing solutions for the largest live tour or broadcast productions, today’s technology has delivered smaller and smaller digital consoles which provide unparalleled power for their size. However, small simply describes the physical size – there’s nothing small about the power and capabilities of our range, with uncompromised feature sets.



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CONTACT DETAILS

Soundcraft StuderCranborne House, Cranborne Road

Potters Bar, Herts EN6 3JN, UK

t +44 (0) 1707 665000

f +44 (0) 1707 668159

w www.soundcraft.com

e [email protected]

w www.studer.ch

e [email protected]

Soundcraft Studer USA8500 Balboa Boulevard,

Northridge CA 91329 USA

t +1 818 920 3212

f +1 818 920 3209

w http://usa.soundcraft.com

e [email protected]

w http://usa.studer.ch

e [email protected]

Studer OnAir 1500 Radio Production/On-Air ConsoleThe Studer OnAir 1500 is the new compact solution for on-air and production, combining a small and simple work surface with sophisticated underlying functionality along with a powerful external core and I/O unit. Integrated USB playback and record functions make the OnAir 1500 a very compact yet complete mixer. The user interface is based on the OnAir 3000 system so provides complete familiarity for existing users.

Flexibility is increased with the addition of a six-fader extension bay, creating a 12-fader surface. Alternately six faders can be remotely placed in a producer’s bay, or used as a redundant surface. The system offers all the features and functions to improve ease and effi ciency to execute great programming in either setting, all of the time.

Input channel parameters such as EQ and dynamics can be comfortably edited using console controls in combination with the OLED channel displays without requiring an additional screen or PC. For more advanced operation, the console provides interfaces for connecting a PC screen, keyboard, and mouse.

The master section gives the operator simple yet comprehensive access to the signal monitoring and switching for control room and studio with an internal speaker preconfi gured to output CUE and talkback signals. Audio monitoring is augmented by two 29 segment stereo bargraph PPMs providing constant overview of all important signals, with six different meter standards available. Unique features such as Headphone Split allow the user to listen to two different sources, one through the left earpiece, the

other through the right. Pre-set buttons also allow one-

touch control of all monitoring. Additional

monitoring for separate studios is available via an

external Monitoring/Talkback unit for added fl exibility.

Studer NANO SCOREThe separate core of the OnAir 1500

contains the audio and control engine. Its straightforward design provides standard

sockets making any additional breakout panel unnecessary. Two separate card slots can be equipped with any optional D21m I/O module, such as MADI (up to 64 ch in/56 ch out), ADAT, AES, or additional MIC inputs. The front panel carries three USB ports, one of which is used to identify the console operator. The second port can host a USB stick for recording and playout, while the third one can be switched to deliver an additional eight channels of I/O to/from a USB device.

Studer Vista 5 M2Successfully established for fi ve

years, the Vista 5 M2 gains the unique and powerful TFT

metering from the fl agship

Vista 9 console, and

the range has been extended with

the addition of the compact 22-fader model which is highly

suited for space-restricted positions such as OB vans and theatres.

Augmenting the acclaimed Vistonics™ user interface, the TFT-based metering system, capable of being confi gured to show channel metering from mono right through to 7.1 sources, along with bus assignment and a unique ‘history’ mode, shows a dynamic time-based waveform showing in red any unusual events such as overloads or

channel displays without requiring an additional

the console

interfaces for connecting a PC screen, keyboard, and mouse.

The master section gives the operator simple yet comprehensive access to the signal monitoring and switching for

Studer Vista 5 M2Successfully established for fi ve

years, the Vista 5 M2 gains the unique and powerful TFT

metering from the fl agship

Vista 9 console, and

the range has been extended with

the addition of the compact 22-fader model which is highly

suited for space-restricted positions such as OB vans and theatres.

unexpected absence of audio. Supplementing the Vista range are two

new stagebox solutions, the Studer Compact Stagebox and the Studer Vi Stagebox, which offer out-of-the box cost-effective I/O solutions for small and medium scale systems.

Soundcraft FX-Based ConsolesSoundcraft offers a range of multi-purpose mixers with integral effects. From the EFX, MFXi, and FX16ii consoles equipped with world-leading Lexicon FX, every model delivers uncompromising Soundcraft audio quality and high standards of mechanical construction.

Other Soundcraft analogue consoles: GB2R rackmount mixer, GB Series, MH2, M Series, and Broadcast consoles such as the B800, Series 10, Series 15 and BB100.

More from StuderStuder also offers consoles for theatre and live such as the Vista 9 and Vista 5 SR with new software specifi cally developed for high-end musical theatre applications, which enables faster and more accurate workfl ow for scenes and actor management.

Broadcast production applications are served by the OnAir 2500 and OnAir 3000 consoles and the Route 6000 routing system.

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AURUS – The Direct Access ConsoleThe AURUS is STAGETEC’s fl agship digital production console. The main objective was to combine the instant access of a conventional analogue desk with the confi gurability, fl exibility, and electro-acoustic characteristics of an advanced digital console. AURUS is a lightweight console optimised for broadcasting, theatres, sound reinforcement, recording, and live use supporting clear and intuitive operation.

Space-saving dual-concentric encoders are a STAGETEC innovation that enables the AURUS to offer more physical controls per channel strip than other digital console, and provides direct access to all frequently used audio parameters. Instantaneous visual feedback of the audio parameters being adjusted is displayed on dual LED arc indicators and TFT screens on the top of the channel bays. The fi xed association of encoders to parameters considerably simplifi es operation for new users and gives the console a truly intuitive feel.

Depending on the requirements, up to 300 audio channels and 96 assignable fader strips can be supplied. True multi-channel capabilities including monitoring, as well as several types of mixing desk automation, are standard features. The desk is fi tted as standard with snapshot, scene and dynamic automation, giving the AURUS the ability to function as a true multi-

purpose workhorse whether driving the console as a single or multiple operators.

CRESCENDO – The Digital Production ConsoleThe CRESCENDO offers a more compact approach to surface design than the AURUS but still incorporates many of the concepts that make it a true contender in the broadcast and live production arena. Using the same backbone and processing as the AURUS, the CRESCENDO can have up to 48 faders that can control up to 300 channels and 128 buses, and is designed as a multi-format console.

CRESCENDO has been designed to meet the requirements of more space and budget conscious applications. Using the same dual-concentric encoders as all STAGETEC consoles, the CRESCENDO still offers extended channel parameters as well as a central panel approach where there is 1 knob per function.

Full of broadcast/live friendly features such as mix minus and extensive logic control, the CRESCENDO also has extensive snapshot and scene change automation onboard. The console can store projects locally and can work independently of the control computer, which also enables it to start up to “last-known state”.

AURATUS – The Compact Broadcast ConsoleThe basic idea behind the AURATUS was to design a compact digital console that can be used in predefi ned workfl ows in radio and TV production. Therefore, it features not only a hardwired bus layout but also a user interface optimised for quick and simple operation.

The surface is available in eight, 16, and 24 fader desktop or table fi tted versions. AURATUS’ entire DSP power is accommodated on a single, standard NEXUS base device card consuming just 8 watts. All critical audio-channel parameters can simply be set using the dual encoders on the channel strip familiar from the AURUS, as well as from the master section.

German Precision In Audio EngineeringSince its foundation in 1993, STAGETEC has specialised in the design and manufacture of digital audio technology. Constantly setting new standards due to continued research and development activities, the association with pristine audio quality has always been a major criteria in its designs.

Hundreds of venues throughout the world depend on STAGETEC´s products daily, and installations can be found primarily in broadcast production facilities, O.B. trucks, opera houses, and theatres.


Crescendo

Aurus


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CONTACT DETAILS

Salzbrenner Stagetec Mediagroup Industriegebiet See D-96155 Buttenheim

t +49 9545 440 0

e [email protected]

Stagetec USA

t +1 888 782 4391

e [email protected]

w www.stagetec.com

NEW: ON AIR 24 – Compact Broadcast SolutionSALZBRENNER STAGETEC MEDIAGROUP presented the new compact and intuitive ON AIR 24 radio broadcast console for self-op use at IBC 2010.

The console itself consists of very compact fader panels with four faders each, plus a monitor panel. In this way a high degree of modularity, a very compact design, and quick and accurate operation could be achieved. ON AIR 24 can be expanded from the smallest version, with only four faders, up to 24 faders. The modules are intended to be installed directly into the presenter’s table and can be arranged as desired around the table surface. This concept even supports more complex programs, for example two-hander presentation or presenter with producer and occasional technical assistance.

An additional GUI-based PC software application enables the technical supervisor to prepare and support self-op use in the best possible way. The PC software makes many confi guration options available and can even be used for full remote control. A conventional

Ethernet connection or a USB cable is all that is required to link the ON AIR 24 to the PC. In a larger network with several ON AIR 24 consoles, the PC software can confi gure, monitor, and remote control all of the attached mixers.

On the hardware side, the ON AIR 24 console is similar to the STAGETEC AURATUS compact mixing console in that it is based on the NEXUS audio router. NEXUS not only provides the I/O interfaces but also serves as host to the mixing-console processing DSP board. Thanks to this proven design, the new mixing console offers the same degree of exceptional audio quality, reliability and easy integration familiar to users of other STAGETEC products including the large AURUS, CRESCENDO, and AURATUS consoles.

Everybody who is familiar with STAGETEC products knows about their outstanding versatility. The new ON AIR 24 is no exception to this product philosophy. Besides being a self-op console for radio broadcasting, the ON AIR 24 also integrates perfectly into video Postpro suites or small audio production suites.

The BackboneNEXUS – Distributed Audio Network and I/O SystemIt truly is an all-encompassing modular routing platform that enables the STAGETEC systems to stand above the rest!

Also available independently of the consoles, the NEXUS is a fully digital routing system for audio and control signals.

Designed as a distributed system, it comprises multiple Base Devices having a modular structure interconnected by fi bre-optic cables.

NEXUS – System Highlights:• Fibre interconnectivity • Fully redundant (switch over in one sample) • TrueMatch® mic input giving 158dBA

headroom • True four-way mic splitter option with

independent control • Various Interfaces: analogue, AES, MADI,

3G-HDSDI, Dolby E ®, etc • Data Routing: RS232, RS422, RS485, MIDI,

etc…• No noise on I/O power loss • Hotswappable I/O • NEXUS STAR router 4,096 x 4,096 crosspoints• Latency: six samples• Easy to expand


All consoles offer:

• Fibre interconnectivity • Extreme fl exibility • Simple layout with ease of

reach • Extensive visual feedback

with switchable TFT screens • Vast logic control with

unlimited events per cue • 40-bit fl oating point

processing • Show can be run direct from

console – no PC required! • Up and running in less than

20 seconds from power on! • Proven STAGETEC reliability

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Auratus


ON AIR 24

3636 CONSOLE MANUFACTURERS DIRECTORY

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, top quality 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 hi-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

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 GL 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 AMX Series of mixers.www.altoproaudio.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

APB-DYNASONICS

Designing and manufacturing its Spectra series analogue consoles in New 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 amplifi er, 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 new Zen console looks to follow this lead, being named as one of the top 20 hits at AES NY 09. www.audient.co.uk

AUDIO & DESIGN

Audio & Design was successful with its range of transistor-designed limiters and compressors in the 1970s, but has today 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

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

Avid (Digidesign) solutions can be found at the heart of most studios around the world, not least through its ubiquitous ProTools. There’s much more to Digi though, and ICON and VENUE represent the company at the fore of the consoles market. Avid acquired Euphonix in mid 2010.www.digidesign.com

AXEL TECHNOLOGY

An Italian broadcast solutions company founded in 1996, Axel’s client list includes Deutsche Telekom Germany, Virgin Radio Italy, and Radiotelevisione Italiana. www.axeltechnology.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 ELECTRONICS

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 S-Type and X16.www.cadac-sound.com

CALREC

Calrec’s focus has been on broadcast audio mixing consoles since 1971, although has been manufacturing high-quality audio products since 1964. Its well-respected consoles today include the Apollo, Alpha, X2, Bluefi n, and S2. www.calrec.com

DATEQ

DATEQ was started in the 1970s with production of audio equipment for DJs and pro end users; and 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 amplifi ers for tours, Crest Audio has expanded and since 1989 has been producing consoles alongside many other products designed ‘to address every aspect of installation confi guration and control’. www.crestaudio.com

DEVIL TECHNOLOGIES

Founded as recently as 2005 and building on talent and high-standards, Devil has recently introduced the DRT-101, an advanced DAW control surface that the company describes as the fi rst building block in its networkable digital environment. www.deviltechnologies.net

DHD

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

Some might claim DiGiCo as a bit of a pioneer, and this was certainly the case when the company launched its D5 Live system that re-aligned the expectations of digital consoles. Its latest consoles include the SD8 and SD9. www.digiconsoles.com

Console Manufacturers Directory

audio equipment for DJs and pro end users; and today the

aimed squarely at broadcast

DIGICO

Some might claim DiGiCo as a bit of a pioneer, and this

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36 CONSOLE MANUFACTURERS DIRECTORY THE INTERNATIONAL CONSOLE BUYER’S GUIDE 37

D&R ELECTRONICA

Coming from a pop star background, Duco de Rijk and Ronnie Goene built their fi rst tube mixing console in 1972, and in 1973, D&R was offi cially 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 WEF 1010.www.equipson.es

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 Constellation and Xynergy. 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 new 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

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 refl ects 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 fi rst 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

HARRISON CONSOLES

Harrison’s fi rst console was delivered in 1975, and to date over 1,500 have since been installed. The PP-1 became the ‘Hollywood standard’ for modern fi lm console designs in 1979, although its current fl agship is the MPC4-D.www.glw.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 Eclipse and Sy48. 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 and Vadis D.C.II consoles. www.klotz-digital.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

LAWO

Based in Germany, Lawo was founded in 1970 as an engineer’s offi ce for electronic equipment and later began manufacturing mixing consoles. It now has fi ve 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 Yugoslav fi rm in the AV media fi eld, and for over 25 years has been producing modular audio mixing consoles among other hi-tech products. www.lolaudio.com

M AUDIO

ProjectMix I/O, Torq Xponent, and X-Session Pro form the console sector of M-Audio’s product range. www.m-audio.com

MACKIE

Mackie is part of the LOUD Technologies family of brands, whose logo reads ‘Small footprints, big features, great sound’, and this is epitomised by the Onyx and VLZ3 Series.www.mackie.com

MANDOZZI

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 amongst the most popular in the market, and have been found in live applications around the world since the 1970s. Its current console line-up includes the XL8 and the new PRO2.www.midasconsoles.com

OTARI

Although its European branch has closed, Otari is still producing out of Japan as it has for over 40 years, and distributing worldwide. Its consoles include the DB-10 and DB-32.www.otari.com

PEAVEY

The PV, FX, and XR Series of consoles are among Peavey’s SR line-up that is produced out of Corby in Northamptonshire, UK. www.peavey.com

PHONIC CORPORATION

Phonic is a real customer-centric company; its mixers include the AM, Helix, and Impact Series.www.phonic.com

PRESONUS

PreSonus has come far since the days of trading from Jim Odom’s garage in 1995. Highlights of its path are the DigiMax and FireStudio; while today its products include the StudioLive 16.4.2 digital console. www.presonus.com

PROFESSIONAL SOUND CORP

1986 was the year PSC was born, and based in Valencia, CA, USA, the company’s range includes the Solica audio mixer. www.professionalsound.com

PUBLISON SYSTEMS

Publison designs and manufactures integrated post production systems, whose products include the Edimix II and Prod’Mix. www.publison.fr

RAINDIRK AUDIO

Raindirk’s fi rst console created by Cyril Jones was sold to Kingsway Studios back in 1972. Today’s rm4 modular series means a full console can be created using Raindirk components, while the company also supports Helios desks. www.raindirk.com

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

consoles 2012consoles 2012consoles 2012Console Manufacturers Directory

LAWO

MANDOZZI

Located in the sunny

MANDOZZI

Located in the sunny

PHONIC CORPORATION

Phonic is a real customer-centric company; its mixers include the AM, Helix, and Impact Series.www.phonic.com

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38 CONSOLE MANUFACTURERS DIRECTORY

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 M480 live mixing console, the fl agship of the V-Mixing system.www.rolandsystemsgroup.co.uk

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 fl agship console. www.rupertneve.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

SEEMIX SOUND

Seemix is a Norwegian company founded in 2001, whose offerings include the Seeport and Seelect mixers.www.seemix.no

SMART AV

Smart’s respected consoles include the Tango and Smart Professional Series, designed for the most demanding applications using ARC and MonARC technology. www.smartav.net

SOLID STATE LOGIC

SSL has had a long and note-worthy history since its formation in 1977, which via the Axiom, Aysis, XLogic, and C-Series, has led to today’s popular Matrix, Duende, and Duality consoles. 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 s@ are the company’s current broadcast mixers. www.sonifex.co.uk

SONOSAX

Swiss Sonosax brought its fi rst mixing console to market in 1980, the Sonosax SX-B. The new addition to the Sonosax range is the just-released SX-ES64.www.sonosax.ch

SOUNDCRAFT

A Harman company, Soundcraft made its mark in the early 1970s with the Series 1, the fi rst mixing console in a fl ight case. It remains a dedicated pro mixing console designer and manufacturer with consoles including the Si1-3, Vi4 and 6, Live 8, Ghost LE, and EFX. www.soundcraft.co.uk

SPECK ELECTRONICS

Speck’s LiLo is not a conventional mixer, but rather designed with minimalist ideals perfected for routing and blending external gear and DAW. www.speck.com

STAGETEC

The Cantus was Stagetec’s fi rst digital console, a success of the 1990s; although today the Aurus is taking the crown as Stagetec’s fi rst class mixing console.www.stagetec.com

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

TAPCO

Based in WA, USA, Tapo creates mixers for recording and live sound (the Blend Series), as well as compact and ultra-compact mixers in the Mix. range. www.tapcoworld.com

TASCAM/TEAC

PROFESSIONAL

Tascam/TEAC products deliver to the whole spectrum of musicians and engineers, from the hobbyist to pro. Headquartered in Japan and founded in 1953, its consoles today include the DM-3200, DM-4800, and M-164 (plus FX and UF derivatives). www.tascam.com

TL AUDIO

TL Audio began in the 1990s, restoring and re-selling 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

American-based Toft Audio produces the ATB analogue mixers, a platform that is continuously being developed under the guiding hand of Malcolm Toft. www.toftaudiodesigns.com

TONELUX

Paul Wolff in Vegas is the mastermind behind Tonelux’s range of audio gear, including the models 3, 4, 5, and 6 rack consoles, and the Tonelux Universal Console Series. www.tonelux.com

TRIDENT AUDIO

Malcolm Toft and Barry Porter developed their fi rst console, the A Range, for use at Trident Recording Studios in the 1970s. Trident is now designing and manufacturing new ideas under the PMI fl ag. www.tridentaudio.co.uk

WHEATSTONE CORPORATION

Wheatstone manufactures TV and radio broadcast consoles out of New Bern, NC, USA, in a distinctly ‘home-grown’ affair. Consoles like the Generation 3 pack a lot of power in for their small sizes. www.wheatstone.com

YAMAHA

Yamaha’s is a long and wide-reaching story, and similarly, it produces mixers for just about every fi eld of audio. The PM5D and LS9 are just two of these many.www.yamahacommercialaudio.

com

Console Manufacturers Directory

39With a choice of models to fit every budget and

application, PreSonus StudioLive mixers pack a lot offeatures into a limited space. Powerful digital mixing,automation, dynamics and DSP effects combine withflexible performance control facilities and seamlesslyintegrated recording/production software to make a

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Scan with a QR reader to watch a videooverview of the new StudioLive 16.0.2 Find out more at presonus.com

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#29549 - PreSonus SL AM_Layout 26/08/2011 12:41 Page 1

40Announcement

Early 2012

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